Written by
Allen Ginsberg |
At gauzy dusk, thin haze like cigarette smoke
ribbons past Chrysler Building's silver fins
tapering delicately needletopped, Empire State's
taller antenna filmed milky lit amid blocks
black and white apartmenting veil'd sky over Manhattan,
offices new built dark glassed in blueish heaven--The East
50's & 60's covered with castles & watertowers, seven storied
tar-topped house-banks over York Avenue, late may-green trees
surrounding Rockefellers' blue domed medical arbor--
Geodesic science at the waters edge--Cars running up
East River Drive, & parked at N.
Y.
Hospital's oval door
where perfect tulips flower the health of a thousand sick souls
trembling inside hospital rooms.
Triboro bridge steel-spiked
penthouse orange roofs, sunset tinges the river and in a few
Bronx windows, some magnesium vapor brilliances're
spotted five floors above E 59th St under grey painted bridge
trestles.
Way downstream along the river, as Monet saw Thames
100 years ago, Con Edison smokestacks 14th street,
& Brooklyn Bridge's skeined dim in modern mists--
Pipes sticking up to sky nine smokestacks huge visible--
U.
N.
Building hangs under an orange crane, & red lights on
vertical avenues below the trees turn green at the nod
of a skull with a mild nerve ache.
Dim dharma, I return
to this spectacle after weeks of poisoned lassitude, my thighs
belly chest & arms covered with poxied welts,
head pains fading back of the neck, right eyebrow cheek
mouth paralyzed--from taking the wrong medicine, sweated
too much in the forehead helpless, covered my rage from
gorge to prostate with grinding jaw and tightening anus
not released the weeping scream of horror at robot Mayaguez
World self ton billions metal grief unloaded
Pnom Penh to Nakon Thanom, Santiago & Tehran.
Fresh warm breeze in the window, day's release
>from pain, cars float downside the bridge trestle
and uncounted building-wall windows multiplied a mile
deep into ash-delicate sky beguile
my empty mind.
A seagull passes alone wings
spread silent over roofs.
- May 20, 1975 Mayaguez Crisis
|
Written by
Annie Finch |
HLF, August 8, 1918—August 22, 1997
“Bequeath us to no earthly shore until
Is answered in the vortex of our grave
The seal’s wide spindrift gaze towards paradise.
”
—Hart Crane, “Voyages”
“If a lion could talk, we couldn’t understand it”
—Ludwig Wittgenstein
Under the ocean that stretches out wordlessly
past the long edge of the last human shore,
there are deep windows the waves haven't opened,
where night is reflected through decades of glass.
There is the nursery, there is the nanny,
there are my father’s unreachable eyes
turned towards the window.
Is the child uneasy?
His is the death that is circling the stars.
In the deep room where candles burn soundlessly
and peace pours at last through the cells of our bodies,
three of us are watching, one of us is staring
with the wide gaze of a wild, wave-fed seal.
Incense and sage speak in smoke loud as waves,
and crickets sing sand towards the edge of the hourglass.
We wait outside time, while night collects courage
around us.
The vigil is wordless.
And you
watch the longest, move the farthest, besieged by your breath,
pulling into your body.
You stare towards your death,
head arched on the pillow, your left fingers curled.
Your mouth sucking gently, unmoved by these hours
and their vigil of salt spray, you show us how far
you are going, and how long the long minutes are,
while spiralling night watches over the room
and takes you, until you watch us in turn.
Lions speak their own language.
You are still breathing.
Here is release.
Here is your pillow,
cool like a handkerchief pressed in a pocket.
Here is your white tousled long growing hair.
Here is a kiss on your temple to hold you
safe through your solitude’s long steady war;
here, you can go.
We will stay with you,
keeping the silence we all came here for.
Night, take his left hand, turning the pages.
Spin with the windows and doors that he mended.
Spin with his answers, patient, impatient.
Spin with his dry independence, his arms
warmed by the needs of his family, his hands
flying under the wide, carved gold ring, and the pages
flying so his thought could fly.
His breath slows,
lending its edges out to the night.
Here is his open mouth.
Silence is here
like one more new question that he will not answer.
A leaf is his temple.
The dark is the prayer.
He has given his body; his hand lies above
the sheets in a symbol of wholeness, a curve
of thumb and forefinger, ringed with wide gold,
and the instant that empties his breath is a flame
faced with a sudden cathedral's new stone.
|
Written by
Stephen Crane |
I stood upon a high place,
And saw, below, many devils
Running, leaping,
and carousing in sin.
One looked up, grinning,
And said, "Comrade! Brother!"
|
Written by
William Shakespeare |
JANE, Jane,
Tall as a crane,
The morning light creaks down again;
Comb your cockscomb-ragged hair,
Jane, Jane, come down the stair.
Each dull blunt wooden stalactite
Of rain creaks, hardened by the light,
Sounding like an overtone
From some lonely world unknown.
But the creaking empty light
Will never harden into sight,
Will never penetrate your brain
With overtones like the blunt rain.
The light would show (if it could harden)
Eternities of kitchen garden,
Cockscomb flowers that none will pluck,
And wooden flowers that 'gin to cluck.
In the kitchen you must light
Flames as staring, red and white,
As carrots or as turnips shining
Where the cold dawn light lies whining.
Cockscomb hair on the cold wind
Hangs limp, turns the milk's weak mind .
.
.
Jane, Jane,
Tall as a crane,
The morning light creaks down again!
|
Written by
Stephen Crane |
There was crimson clash of war.
Lands turned black and bare;
Women wept;
Babes ran, wondering.
There came one who understood not these things.
He said, "Why is this?"
Whereupon a million strove to answer him.
There was such intricate clamour of tongues,
That still the reason was not.
|
Written by
Hart Crane |
How many dawns, chill from his rippling rest
The seagull's wings shall dip and pivot him,
Shedding white rings of tumult, building high
Over the chained bay waters Liberty--
Then, with inviolate curve, forsake our eyes
As apparitional as sails that cross
Some page of figures to be filed away;
--Till elevators drop us from our day .
.
.
I think of cinemas, panoramic sleights
With multitudes bent toward some flashing scene
Never disclosed, but hastened to again,
Foretold to other eyes on the same screen;
And Thee, across the harbor, silver-paced
As though the sun took step of thee, yet left
Some motion ever unspent in thy stride,--
Implicitly thy freedom staying thee!
Out of some subway scuttle, cell or loft
A bedlamite speeds to thy parapets,
Tilting there momently, shrill shirt ballooning,
A jest falls from the speechless caravan.
Down Wall, from girder into street noon leaks,
A rip-tooth of the sky's acetylene;
All afternoon the cloud-flown derricks turn .
.
.
Thy cables breathe the North Atlantic still.
And obscure as that heaven of the Jews,
Thy guerdon .
.
.
Accolade thou dost bestow
Of anonymity time cannot raise:
Vibrant reprieve and pardon thou dost show.
O harp and altar, of the fury fused,
(How could mere toil align thy choiring strings!)
Terrific threshold of the prophet's pledge,
Prayer of pariah, and the lover's cry,--
Again the traffic lights that skim thy swift
Unfractioned idiom, immaculate sigh of stars,
Beading thy path--condense eternity:
And we have seen night lifted in thine arms.
Under thy shadow by the piers I waited;
Only in darkness is thy shadow clear.
The City's fiery parcels all undone,
Already snow submerges an iron year .
.
.
O Sleepless as the river under thee,
Vaulting the sea, the prairies' dreaming sod,
Unto us lowliest sometime sweep, descend
And of the curveship lend a myth to God.
|
Written by
Annie Dillard |
New York: You take a train that rips through versts.
It feels as if the trains were running over your ears.
For many hours the train flies along the banks
of the Hudson about two feet from the water.
At the stops,
passengers run out, buy up bunches of celery,
and run back in, chewing the stalks as they go.
Bridges leap over the train with increasing frequency.
At each stop an additional story grows
onto the roofs.
Finally houses with squares
and dots of windows rise up.
No matter how far
you throw back your head, there are no tops.
Time and again, the telegraph poles are made
of wood.
Maybe it only seems that way.
In the narrow canyons between the buildings, a sort
of adventurer-wind howls and runs away
along the versts of the ten avenues.
Below
flows a solid human mass.
Only their yellow
waterproof slickers hiss like samovars and blaze.
The construction rises and with it the crane, as if
the building were being lifted up off the ground
by its pigtail.
It is hard to take it seriously.
The buildings are glowing with electricity; their evenly
cut-out windows are like a stencil.
Under awnings
the papers lie in heaps, delivered by trucks.
It is impossible to tear oneself away from this spectacle.
At midnight those leaving the theaters drink a last soda.
Puddles of rain stand cooling.
Poor people scavenge
bones.
In all directions is a labyrinth of trains
suffocated by vaults.
There is no hope, your eyes
are not accustomed to seeing such things.
They are starting to evolve an American gait out
of the cautious steps of the Indians on the paths of empty
Manhattan.
Maybe it only seems that way.
|
Written by
Stephen Crane |
A little ink more or less!
I surely can't matter?
Even the sky and the opulent sea,
The plains and the hills, aloof,
Hear the uproar of all these books.
But it is only a little ink more or less.
What?
You define me God with these trinkets?
Can my misery meal on an ordered walking
Of surpliced numskulls?
And a fanfare of lights?
Or even upon the measured pulpitings
Of the familiar false and true?
Is this God?
Where, then, is hell?
Show me some bastard mushroom
Sprung from a pollution of blood.
It is better.
Where is God?
|
Written by
Hart Crane |
My hands have not touched pleasure since your hands, --
No, -- nor my lips freed laughter since 'farewell',
And with the day, distance again expands
Voiceless between us, as an uncoiled shell.
Yet, love endures, though starving and alone.
A dove's wings clung about my heart each night
With surging gentleness, and the blue stone
Set in the tryst-ring has but worn more bright.
|
Written by
Stephen Crane |
To the maiden
The sea was blue meadow,
Alive with little froth-people
Singing.
To the sailor, wrecked,
The sea was dead grey walls
Superlative in vacancy,
Upon which nevertheless at fateful time
Was written
The grim hatred of nature.
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