Written by
Billy Collins |
Sometimes the notes are ferocious,
skirmishes against the author
raging along the borders of every page
in tiny black script.
If I could just get my hands on you,
Kierkegaard, or Conor Cruise O'Brien,
they seem to say,
I would bolt the door and beat some logic into your head.
Other comments are more offhand, dismissive -
"Nonsense." "Please!" "HA!!" -
that kind of thing.
I remember once looking up from my reading,
my thumb as a bookmark,
trying to imagine what the person must look like
why wrote "Don't be a ninny"
alongside a paragraph in The Life of Emily Dickinson.
Students are more modest
needing to leave only their splayed footprints
along the shore of the page.
One scrawls "Metaphor" next to a stanza of Eliot's.
Another notes the presence of "Irony"
fifty times outside the paragraphs of A Modest Proposal.
Or they are fans who cheer from the empty bleachers,
Hands cupped around their mouths.
"Absolutely," they shout
to Duns Scotus and James Baldwin.
"Yes." "Bull's-eye." "My man!"
Check marks, asterisks, and exclamation points
rain down along the sidelines.
And if you have managed to graduate from college
without ever having written "Man vs. Nature"
in a margin, perhaps now
is the time to take one step forward.
We have all seized the white perimeter as our own
and reached for a pen if only to show
we did not just laze in an armchair turning pages;
we pressed a thought into the wayside,
planted an impression along the verge.
Even Irish monks in their cold scriptoria
jotted along the borders of the Gospels
brief asides about the pains of copying,
a bird signing near their window,
or the sunlight that illuminated their page-
anonymous men catching a ride into the future
on a vessel more lasting than themselves.
And you have not read Joshua Reynolds,
they say, until you have read him
enwreathed with Blake's furious scribbling.
Yet the one I think of most often,
the one that dangles from me like a locket,
was written in the copy of Catcher in the Rye
I borrowed from the local library
one slow, hot summer.
I was just beginning high school then,
reading books on a davenport in my parents' living room,
and I cannot tell you
how vastly my loneliness was deepened,
how poignant and amplified the world before me seemed,
when I found on one page
A few greasy looking smears
and next to them, written in soft pencil-
by a beautiful girl, I could tell,
whom I would never meet-
"Pardon the egg salad stains, but I'm in love."
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Written by
Mark Doty |
Glassmakers,
at century's end,
compounded metallic lusters
in reference
to natural sheens (dragonfly
and beetle wings,
marbled light on kerosene)
and invented names
as coolly lustrous
as their products'
scarab-gleam: Quetzal,
Aurene, Favrile.
Suggesting,
respectively, the glaze
of feathers,
that sun-shot fog
of which halos
are composed,
and -- what?
What to make of Favrile,
Tiffany's term
for his coppery-rose
flushed with gold
like the alchemized
atmosphere of sunbeams
in a Flemish room?
Faux Moorish,
fake Japanese,
his lamps illumine
chiefly themselves,
copying waterlilies'
bronzy stems,
wisteria or trout scales;
surfaces burnished
like a tidal stream
on which an excitation
of minnows boils
and blooms, artifice
made to show us
the lavish wardrobe
of things, the world's
glaze of appearances
worked into the thin
and gleaming stuff
of craft. A story:
at the puppet opera
--where one man animated
the entire cast
while another ghosted
the voices, basso
to coloratura -- Jimmy wept
at the world of tiny gestures,
forgot, he said,
these were puppets,
forgot these wire
and plaster fabrications
were actors at all,
since their pretense
allowed the passions
released to be--
well, operatic.
It's too much,
to be expected to believe;
art's a mercuried sheen
in which we may discern,
because it is surface,
clear or vague
suggestions of our depths,
Don't we need a word
for the luster
of things which insist
on the fact they're made,
which announce
their maker's bravura?
Favrile, I'd propose,
for the perfect lamp,
too dim and strange
to help us read.
For the kimono woven,
dipped in dyes, unraveled
and loomed again
that the pattern might take on
a subtler shading
For the sonnet's
blown-glass sateen,
for bel canto,
for Faberge
For everything
which begins in limit
(where else might our work
begin?) and ends in grace,
or at least extravagance.
For the silk sleeves
of the puppet queen,
held at a ravishing angle
over her puppet lover slain,
for her lush vowels
mouthed by the plain man
hunched behind the stage.
|
Written by
Anne Sexton |
We are born with luck
which is to say with gold in our mouth.
As new and smooth as a grape,
as pure as a pond in Alaska,
as good as the stem of a green bean--
we are born and that ought to be enough,
we ought to be able to carry on from that
but one must learn about evil,
learn what is subhuman,
learn how the blood pops out like a scream,
one must see the night
before one can realize the day,
one must listen hard to the animal within,
one must walk like a sleepwalker
on the edge of a roof,
one must throw some part of her body
into the devil's mouth.
Odd stuff, you'd say.
But I'd say
you must die a little,
have a book of matches go off in your hand,
see your best friend copying your exam,
visit an Indian reservation and see
their plastic feathers,
the dead dream.
One must be a prisoner just once to hear
the lock twist into his gut.
After all that
one is free to grasp at the trees, the stones,
the sky, the birds that make sense out of air.
But even in a telephone booth
evil can seep out of the receiver
and we must cover it with a mattress,
and then tear it from its roots
and bury it,
bury it.
|
Written by
Alexander Pope |
I
But our Great Turks in wit must reign alone
And ill can bear a Brother on the Throne.
II
Wit is like faith by such warm Fools profest
Who to be saved by one, must damn the rest.
III
Some who grow dull religious strait commence
And gain in morals what they lose in sence.
IV
Wits starve as useless to a Common weal
While Fools have places purely for their Zea.
V
Now wits gain praise by copying other wits
As one Hog lives on what another sh---.
VI
Wou'd you your writings to some Palates fit
Purged all you verses from the sin of wit
For authors now are so conceited grown
They praise no works but what are like their own.
|
Written by
Anne Sexton |
Just once I knew what life was for.
In Boston, quite suddenly, I understood;
walked there along the Charles River,
watched the lights copying themselves,
all neoned and strobe-hearted, opening
their mouths as wide as opera singers;
counted the stars, my little campaigners,
my scar daisies, and knew that I walked my love
on the night green side of it and cried
my heart to the eastbound cars and cried
my heart to the westbound cars and took
my truth across a small humped bridge
and hurried my truth, the charm of it, home
and hoarded these constants into morning
only to find them gone.
|
Written by
Barry Tebb |
We were three weeks
Into term, Sheila,
When you came
Through the classroom door;
Forty-four children
Bent over books,
Copying Roethke’s
‘The Lost Son’.
You wrote your
First poem on the ‘Moses’
Of Michelangelo.
Words cut like stone.
I taught you Greek
But your painting of
‘The Essence of the Rose’
Was pure Platonic form.
You drew the masks
Of Comedy and Tragedy
In perfect harmony.
Having seen neither;
So Socrates was right.
Those who have the Spirit’s gift
Will one day find the light.
|
Written by
Guillaume Apollinaire |
ZONE
In the end you are tired of this ancient world
Shepherd oh Eiffel Tower the herd of bridges is bleating this morning
You've had enough of living in Greek and Roman antiquity
Here even the cars look antique
Only religion has stayed new religion
Has stayed simple like the hangars at Port-Aviation
You alone in Europe are not ancient oh Christianity
The most modern European is you Pope Pius X
And shame keeps you whom the windows are watching
From entering a church and going to confession this morning
You read the flyers catalogues posters that shout out
There's the morning's poetry and as for prose there are the newspapers
There are 25 cent tabloids full of crimes
Celebrity items and a thousand different headlines
This morning I saw a pretty street whose name I forget
New and clean it was the sun's herald
Executives workers and beautiful stenos
Cross it four times a day from Monday morning to Saturday evening
In the morning the siren moans three times
An angry bell barks at noon
The inscriptions on the signs and walls
The billboards the notices squawk like parrots
I love the charm of this industrial street
In Paris between the Rue Aumont-Thiéville and the Avenue des Ternes
There's the young street and you're still just a little boy
Your mother dresses you only in blue and white
You're very pious and along with your oldest friend René Dalize
You like nothing better than the rituals of the Church
It is nine o'clock the gas is low and blue you sneak out of the dormitory
You pray all night in the school's chapel
While in eternal adorable amethyst depths
The flaming glory of Christ revolves forever
It's the beautiful lily we all cultivate
It's the torch with red hair the wind can't blow out
It's the pale rosy son of the grieving mother
It's the tree always leafy with prayers
It's the paired gallows of honor and eternity
It's the star with six branches
It's God who dies on Friday and comes back to life on Sunday
It's Christ who climbs to the sky better than any pilot
He holds the world record for altitude
Apple Christ of the eye
Twentieth pupil of the centuries he knows how to do it
And changed into a bird this century like Jesus climbs into the air
Devils in their depths raise their heads to look at him
They say he's copying Simon Magus in Judea
They shout if he's so good at flying let's call him a fugitive
Angels gyre around the handsome gymnast
Icarus Enoch Elijah Apollonius of Tyana
Hover around the first airplane
They scatter sometimes to let the ones carrying the Eucharist pass
Those priests that are forever ascending carrying the host
Finally the plane lands without folding its wings
And the sky is full of millions of swallows
Crows falcons owls come in full flight
Ibises flamingos storks come from Africa
The Roc Bird made famous by storytellers and poets
Soars holding in its claws Adam's skull the first head
The eagle swoops screaming from the horizon
And from America the little hummingbird comes
From China the long agile peehees have come
They have only one wing and fly in pairs
Now here's the dove immaculate spirit
Escorted by the lyre-bird and the spotted peacock
The phoenix that self-engendering pyre
For an instant hides all with its burning ash
Sirens leaving the dangerous straits
Arrive singing beautifully all three
And all eagle phoenix peehees from China
Hang out with the flying Machine
Now you're walking in Paris all alone in the crowd
Herds of buses amble by you mooing
The anguish of love tightens your throat
As if you were never going to be loved again
If you lived in the old days you would enter a monastery
You are ashamed when you catch yourself saying a prayer
You make fun of yourself and your laughter crackles like the fire of Hell
The sparks of your laughter gild the abyss of your life
It is a painting hung in a dark museum
And sometimes you go look at it close up
Today you're walking in Paris the women have turned blood-red
It was and I wish I didn't remember it was at the waning of beauty
Surrounded by fervent flames Our Lady looked at me in Chartres
The blood of your Sacred Heart drenched me in Montmartre
I am sick from hearing blissful phrases
The love I suffer from is a shameful sickness
And the image that possesses you makes you survive in insomnia and anguish
It is always near you this image that passes
Now you're on the shores of the Mediterranean
Under the lemon trees that are in flower all year long
You go boating with some friends
One is from Nice there's one from Menton and two from La Turbie
We look with dread at the octopus of the deep
And among the seaweed fish are swimming symbols of the Savior
You are in the garden of an inn just outside of Prague
You feel so happy a rose is on the table
And you observe instead of writing your story in prose
The Japanese beetle sleeping in the heart of the rose
Terrified you see yourself drawn in the agates of Saint Vitus
You were sad enough to die the day you saw yourself
You look like Lazarus thrown into a panic by the daylight
The hands on the clock in the Jewish district go counter-clockwise
And you too are going slowly backwards in your life
Climbing up to Hradcany and listening at night
To Czech songs being sung in taverns
Here you are in Marseilles in the middle of watermelons
Here you are in Coblenz at the Giant Hotel
Here you are in Rome sitting under a Japanese medlar tree
Here you are in Amsterdam with a young woman you think is beautiful she is ugly
She is engaged to a student from Leyden
There they rent rooms in Latin Cubicula Locanda
I remember I spent three days there and just as many in Gouda
You are in Paris getting interrogated
They're arresting you like a criminal
You made some miserable and happy journeys
Before you became aware of lies and of age
You suffered from love at twenty and at thirty
I've lived like a madman and I've wasted my time
You don't dare look at your hands anymore and all the time I want to cry
Over you over the women I love over everything that's terrified you
Your tear-filled eyes watch the poor emigrants
They believe in God they pray the women breast-feed the children
They fill the waiting-room at the St. Lazaire station with their smell
They have faith in their star like the Magi
They hope to earn money in Argentina
And go back to their country after making their fortune
One family is carrying a red eiderdown the way you carry your heart
The eiderdown and our dreams are equally unreal
Some of these emigrants stay here and put up at the
Rue des Rosiers or the Rue des Ecouffes in hovels
I've seen them often at night they're out for a breath of air in the street
And like chess pieces they rarely move
They are mostly Jews the wives wearing wigs
Sit still bloodless at the back of store-fronts
You're standing in front of the counter at a sleazy bar
You're having coffee for two sous with the down-and-out
At night you're in a big restaurant
These women aren't mean but they do have their troubles
All of them even the ugliest has made her lover suffer
She is a Jersey policeman's daughter
Her hands that I hadn't seen are hard and chapped
I feel immense pity for the scars on her belly
I humble my mouth now to a poor hooker with a horrible laugh
You are alone morning is approaching
Milkmen clink their cans in the streets
Night withdraws like a half-caste beauty
Ferdine the false or thoughtful Leah
And you drink this alcohol burning like your life
Your life that you drink like an eau-de-vie
You walk towards Auteuil you want to go home on foot
To sleep surrounded by your fetishes from the South Seas and from Guinea
They are Christs in another form and from a different creed
They are lower Christs of dim expectations
Goodbye Goodbye
Sun neck cut
from Alcools, 1913
Translation copyright Charlotte Mandell
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Written by
Francesco Petrarch |
SONNET LX. Ite, rime dolenti, al duro sasso. HE PRAYS THAT SHE WILL BE NEAR HIM AT HIS DEATH, WHICH HE FEELS APPROACHING. Go, plaintive verse, to the cold marble go,Which hides in earth my treasure from these eyes;[Pg 291]There call on her who answers from yon skies,Although the mortal part dwells dark and low.Of life how I am wearied make her know,Of stemming these dread waves that round me rise:But, copying all her virtues I so prize,Her track I follow, yet my steps are slow.I sing of her, living, or dead, alone;(Dead, did I say? She is immortal made!)That by the world she should be loved, and known.Oh! in my passage hence may she be near,To greet my coming that's not long delay'd;And may I hold in heaven the rank herself holds there! Nott. Go, melancholy rhymes! your tribute bringTo that cold stone, which holds the dear remainsOf all that earth held precious;—uttering,If heaven should deign to hear them, earthly strains.Tell her, that sport of tempests, fit no moreTo stem the troublous ocean,—here at lastHer votary treads the solitary shore;His only pleasure to recall the past.Tell her, that she who living ruled his fate,In death still holds her empire: all his care,So grant the Muse her aid,—to celebrateHer every word, and thought, and action fair.Be this my meed, that in the hour of deathHer kindred spirit may hail, and bless my parting breath! Woodhouselee.
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Written by
Sir Philip Sidney |
Let dainty wits cry on the sisters nine,
That, bravely mask'd, their fancies may be told;
Or, Pindar's apes, flaunt they in phrases fine,
Enam'ling with pied flowers their thoughts of gold.
Or else let them in statelier glory shine,
Ennobling newfound tropes with problems old;
Or with strange similes enrich each line,
Of herbs or beasts which Ind or Afric hold.
For me, in sooth, no Muse but one I know;
Phrases and problems from my reach do grow,
And strange things cost too dear for my poor sprites.
How then? even thus: in Stella's face I read
What love and beauty be; then all my deed
But copying is, what in her Nature writes.
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