Written by
Mark Doty |
Over the terminal,
the arms and chest
of the god
brightened by snow.
Formerly mercury,
formerly silver,
surface yellowed
by atmospheric sulphurs
acid exhalations,
and now the shining
thing's descendant.
Obscure passages,
dim apertures:
these clouded windows
show a few faces
or some empty car's
filmstrip of lit flames
--remember them
from school,
how they were supposed
to teach us something?--
waxy light hurrying
inches away from the phantom
smudge of us, vague
in spattered glass. Then
daylight's soft charcoal
lusters stone walls
and we ascend to what
passes for brightness,
this February,
scumbled sky
above graduated zones
of decline:
dead rowhouses,
charred windows'
wet frames
around empty space,
a few chipboard polemics
nailed over the gaps,
speeches too long
and obsessive for anyone
on this train to read,
sealing the hollowed interiors
--some of them grand once,
you can tell by
the fillips of decoration,
stone leaves, the frieze
of sunflowers.
Desolate fields--open spaces,
in a city where you
can hardly turn around!--
seem to center
on little flames,
something always burning
in a barrel or can
As if to represent
inextinguishable,
dogged persistence?
Though whether what burns
is will or rage or
harsh amalgam
I couldn't say.
But I can tell you this,
what I've seen that
won my allegiance most,
though it was also
the hallmark of our ruin,
and quick as anything
seen in transit:
where Manhattan ends
in the narrowing
geographical equivalent
of a sigh (asphalt,
arc of trestle, dull-witted
industrial tanks
and scaffoldings, ancient now,
visited by no one)
on the concrete
embankment just
above the river,
a sudden density
and concentration
of trash, so much
I couldn't pick out
any one thing
from our rising track
as it arced onto the bridge
over the fantastic
accumulation of jetsam
and contraband
strewn under
the uncompromising
vault of heaven.
An unbelievable mess,
so heaped and scattered
it seemed the core
of chaos itself--
but no, the junk was arranged
in rough aisles,
someone's intimate
clutter and collection,
no walls but still
a kind of apartment
and a fire ribboned out
of a ruined stove,
and white plates
were laid out
on the table beside it.
White china! Something
was moving, and
--you understand
it takes longer to tell this
than to see it, only
a train window's worth
of actuality--
I knew what moved
was an arm,
the arm of the (man
or woman?) in the center
of that hapless welter
in layer upon layer
of coats blankets scarves
until the form
constituted one more
gray unreadable;
whoever
was lifting a hammer,
and bringing it down
again, tapping at
what work
I couldn't say;
whoever, under
the great exhausted dome
of winter light,
which the steep
and steel surfaces of the city
made both more soft
and more severe,
was making something,
or repairing,
was in the act
(sheer stubborn nerve of it)
of putting together.
Who knows what.
(And there was more,
more I'd take all spring
to see. I'd pick my seat
and set my paper down
to study him again
--he, yes, some days not
at home though usually
in, huddled
by the smoldering,
and when my eye wandered
--five-second increments
of apprehension--I saw
he had a dog!
Who lay half in
half out his doghouse
in the rain, golden head
resting on splayed paws.
He had a ruined car,
and heaps of clothes,
and things to read--
was no emblem,
in other words,
but a citizen,
who'd built a citizen's
household, even
on the literal edge,
while I watched
from my quick,
high place, hurtling
over his encampment
by the waters of Babylon.)
Then we were gone,
in the heat and draft
of our silver, rattling
over the river
into the South Bronx,
against whose greasy
skyline rose that neoned
billboard for cigarettes
which hostages
my attention, always,
as it is meant to do,
its motto ruby
in the dark morning:
ALIVE WITH PLEASURE.
|
Written by
Russell Edson |
The big one went to sleep as to die and dreamed he
became a tiny one. So tiny as to have lost all substance. To have
become as theoretical as a point.
Then someone said, get up, big one, you're not doing
yourself any good. You puddle and stagnate in your weight.
Best to be up and toward. It irrigates you.
What, said the big one, have I not disappeared? Have you
not mistaken a cloud for me? Perhaps some local hill fulfills
your expectation?
No, it's no mistake, it's you; those interconnecting puddles
of flesh pulling at your bones, attempting that world-weary fall
toward the great waters of the world.
How you manage against gravity is one of the greater
triumphs of nature.
Do you think, said the big one, there's a woman who
would like to marry me?
Yes, had such a woman done everything in the world except
marry you, she might think it worthy before dying to complete
her catalogue. Or having done everything, go meekly
without decision or care to such a consummation.
Then you really feel, said the big one, that this woman
could come to care very deeply for me?
All is theoretical. Who knows enough to say the outcome
of any event, save that it was past us, and we saw the back of it
moving slowly into the Universe, seeking other settings to
repeat the fall of fate. . .
That sounds wonderful, that a woman like that could be in
love with me, said the big one.
But in a few moments the big one was back asleep, dreaming
that he had come to such enlargement that he constituted
all the matter in the Universe, which must include the earth
and the woman he would have loved. . .
|
Written by
Galway Kinnell |
At intermission I find her backstage
still practicing the piece coming up next.
She calls it the "solo in high dreary."
Her bow niggles at the string like a hand
stroking skin it never wanted to touch.
Probably under her scorn she is sick
that she can't do better by it. As I am,
at the dreary in me, such as the disparity
between all the tenderness I've received
and the amount I've given, and the way
I used to shrug off the imbalance
simply as how things are, as if the male
were constituted like those coffeemakers
that produce less black bitter than the quantity
of sweet clear you poured in--forgetting about
how much I spilled through unsteady walking,
and that lot I threw on the ground
in suspicion, and for fear I wasn't worthy,
and all I poured out for reasons I don't understand yet.
"Break a leg!" somebody tells her.
Back in my seat, I can see she is nervous
when she comes out; her hand shakes as she
re-dog-ears the top corners of the big pages
that look about to flop over on their own.
Now she raises the bow--its flat bundle of hair
harvested from the rear ends of horses--like a whetted
scimitar she is about to draw across a throat,
and attacks. In a back alley a cat opens
her pink-ceilinged mouth, gets netted
in full yowl, clubbed, bagged, bicycled off, haggled open,
gutted, the gut squeezed down to its highest pitch,
washed, sliced into cello strings, which bring
an ancient screaming into this duet of hair and gut.
Now she is flying--tossing back the goblets
of Saint-Amour standing empty,
half-empty, or full on the tablecloth-
like sheet music. Her knees tighten
and loosen around the big-hipped creature
wailing and groaning between them
as if in elemental amplexus.
The music seems to rise from the crater left
when heaven was torn up and taken off the earth;
more likely it comes up through her priest's dress,
up from that clump of hair which by now
may be so wet with its waters, like the waters
the fishes multiplied in at Galilee, that
each wick draws a portion all the way out
to its tip and fattens a droplet on the bush
of half notes now glittering in that dark.
At last she lifts off the bow and sits back.
Her face shines with the unselfconsciousness of a cat
screaming at night and the teary radiance of one
who gives everything no matter what has been given.
|
Written by
T S (Thomas Stearns) Eliot |
I
THE WINTER evening settles down
With smell of steaks in passageways.
Six o’clock.
The burnt-out ends of smoky days.
And now a gusty shower wraps
The grimy scraps
Of withered leaves about your feet
And newspapers from vacant lots;
The showers beat
On broken blinds and chimney-pots,
And at the corner of the street
A lonely cab-horse steams and stamps.
And then the lighting of the lamps.
II
The morning comes to consciousness
Of faint stale smells of beer
From the sawdust-trampled street
With all its muddy feet that press
To early coffee-stands.
With the other masquerades
That time resumes,
One thinks of all the hands
That are raising dingy shades
In a thousand furnished rooms.
III
You tossed a blanket from the bed,
You lay upon your back, and waited;
You dozed, and watched the night revealing
The thousand sordid images
Of which your soul was constituted;
They flickered against the ceiling.
And when all the world came back
And the light crept up between the shutters
And you heard the sparrows in the gutters,
You had such a vision of the street
As the street hardly understands;
Sitting along the bed’s edge, where
You curled the papers from your hair,
Or clasped the yellow soles of feet
In the palms of both soiled hands.
IV
His soul stretched tight across the skies
That fade behind a city block,
Or trampled by insistent feet
At four and five and six o’clock;
And short square fingers stuffing pipes,
And evening newspapers, and eyes
Assured of certain certainties,
The conscience of a blackened street
Impatient to assume the world.
I am moved by fancies that are curled
Around these images, and cling:
The notion of some infinitely gentle
Infinitely suffering thing.
Wipe your hand across your mouth, and laugh;
The worlds revolve like ancient women
Gathering fuel in vacant lots.
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