Written by
Allen Ginsberg |
What thoughts I have of you tonight, Walt Whit-
man, for I walked down the sidestreets under the trees
with a headache self-conscious looking at the full moon.
In my hungry fatigue, and shopping for images,
I went into the neon fruit supermarket, dreaming of
your enumerations!
What peaches and what penumbras! Whole fam-
ilies shopping at night! Aisles full of husbands! Wives
in the avocados, babies in the tomatoes!--and you,
Garcia Lorca, what were you doing down by the
watermelons?
I saw you, Walt Whitman, childless, lonely old
grubber, poking among the meats in the refrigerator
and eyeing the grocery boys.
I heard you asking questions of each: Who killed
the pork chops? What price bananas? Are you my
Angel?
I wandered in and out of the brilliant stacks of
cans following you, and followed in my imagination
by the store detective.
We strode down the open corridors together in
our solitary fancy tasting artichokes, possessing every
frozen delicacy, and never passing the cashier.
Where are we going, Walt Whitman? The doors
close in an hour.
Which way does your beard point
tonight?
(I touch your book and dream of our odyssey in the
supermarket and feel absurd.
)
Will we walk all night through solitary streets?
The trees add shade to shade, lights out in the houses,
we'll both be lonely.
Will we stroll dreaming ofthe lost America of love
past blue automobiles in driveways, home to our silent
cottage?
Ah, dear father, graybeard, lonely old courage-
teacher, what America did you have when Charon quit
poling his ferry and you got out on a smoking bank
and stood watching the boat disappear on the black
waters of Lethe?
|
Written by
David Lehman |
"My propositions serve as elucidations in the following way:
anyone who understands them eventually recognizes them as
nonsensical, when he has used them -- as steps -- to climb
up beyond them.
(He must, so to speak, throw away the ladder
after he has climbed up it.
)" -- Ludwig Wittgenstein, Tractatus
1.
The first time I met Wittgenstein, I was
late.
"The traffic was murder," I explained.
He spent the next forty-five minutes
analyzing this sentence.
Then he was silent.
I wondered why he had chosen a water tower
for our meeting.
I also wondered how
I would leave, since the ladder I had used
to climb up here had fallen to the ground.
2.
Wittgenstein served as a machine-gunner
in the Austrian Army in World War I.
Before the war he studied logic in Cambridge
with Bertrand Russell.
Having inherited
his father's fortune (iron and steel), he
gave away his money, not to the poor, whom
it would corrupt, but to relations so rich
it would not thus affect them.
3.
On leave in Vienna in August 1918
he assembled his notebook entries
into the Tractatus, Since it provided
the definitive solution to all the problems
of philosophy, he decided to broaden
his interests.
He became a schoolteacher,
then a gardener's assistant at a monastery
near Vienna.
He dabbled in architecture.
4.
He returned to Cambridge in 1929,
receiving his doctorate for the Tractatus,
"a work of genius," in G.
E.
Moore's opinion.
Starting in 1930 he gave a weekly lecture
and led a weekly discussion group.
He spoke
without notes amid long periods of silence.
Afterwards, exhausted, he went to the movies
and sat in the front row.
He liked Carmen Miranda.
5.
He would visit Russell's rooms at midnight
and pace back and forth "like a caged tiger.
On arrival, he would announce that when
he left he would commit suicide.
So, in spite
of getting sleepy, I did not like to turn him out.
" On
such a night, after hours of dead silence, Russell said,
"Wittgenstein, are you thinking about logic or about
yours sins?" "Both," he said, and resumed his silence.
6.
Philosophy was an activity, not a doctrine.
"Solipsism, when its implications are followed out
strictly, coincides with pure realism," he wrote.
Dozens of dons wondered what he meant.
Asked
how he knew that "this color is red," he smiled
and said, "because I have learnt English.
" There
were no other questions.
Wittgenstein let the
silence gather.
Then he said, "this itself is the answer.
"
7.
Religion went beyond the boundaries of language,
yet the impulse to run against "the walls of our cage,"
though "perfectly, absolutely useless," was not to be
dismissed.
A.
J.
Ayer, one of Oxford's ablest minds,
was puzzled.
If logic cannot prove a nonsensical
conclusion, why didn't Wittgenstein abandon it,
"along with the rest of metaphysics, as not worth
serious attention, except perhaps for sociologists"?
8.
Because God does not reveal himself in this world, and
"the value of this work," Wittgenstein wrote, "is that
it shows how little is achieved when these problems
are solved.
" When I quoted Gertrude Stein's line
about Oakland, "there's no there there," he nodded.
Was there a there, I persisted.
His answer: Yes and No.
It was as impossible to feel another's person's pain
as to suffer another person's toothache.
9.
At Cambridge the dons quoted him reverently.
I asked them what they thought was his biggest
contribution to philosophy.
"Whereof one cannot
speak, thereof one must be silent," one said.
Others spoke of his conception of important
nonsense.
But I liked best the answer John
Wisdom gave: "His asking of the question
`Can one play chess without the queen?'"
10.
Wittgenstein preferred American detective
stories to British philosophy.
He liked lunch
and didn't care what it was, "so long as it was
always the same," noted Professor Malcolm
of Cornell, a former student, in whose house
in Ithaca Wittgenstein spent hours doing
handyman chores.
He was happy then.
There was no need to say a word.
|
Written by
Nick Flynn |
He reads my latest attempt at a poem
and is silent for a long time, until it feels
like that night we waited for Apollo,
my mother wandering in and out of her bedroom, asking,
Haven't they landed yet? At last
Dugan throws it on the table and says,
This reads like a cheap detective novel
and I've got nothing to say about it.
It sits,
naked and white, with everyone's eyes
running over it.
The week before
he'd said I had a problem with time,
that in my poems everything
kept happening at once.
In 1969,
the voice of Mission Control
told a man named Buzz
that there was a bunch of guys turning blue
down here on Earth, and now I can understand
it was with anticipation, not sickness.
Next,
Dugan says, Let's move on.
The attempted poem
was about butterflies and my recurring desire
to return to a place I've never been.
It was inspired by reading this
in a National Geographic: monarchs
stream northward from winter roosts in Mexico,
laying their eggs atop milkweed
to foster new generations along the way.
With the old monarchs gone (I took this line as the title)
and all ties to the past ostensibly cut
the unimaginable happens--butterflies
that have never been to that plateau in Mexico
roost there the next winter.
.
.
.
I saw this
as a metaphor for a childhood I never had,
until Dugan pointed out
that metaphor has been dead for a hundred years.
A woman, new to the workshop, leans
behind his back and whispers, I like it,
but the silence is seamless, as deep
as outer space.
That night in 1969
I could turn my head from the television and see
the moon
filling the one pane over the bed completely
as we waited for Neil Armstrong
to leave his footprints all over it.
|
Written by
David Lehman |
The old war is over the new one has begun
between drivers and pedestrians on a Friday
in New York light is the variable and structure
the content according to Rodrigo Moynihan's
self-portraits at the Robert Miller Gallery where
the painter is serially pictured holding a canvas,
painting his mirror image, shirtless in summer,
with a nude, etc.
, it's two o'clock and I'm walking
at top speed from the huddled tourists yearning to be
a mass to Les Halles on Park and 28th for a Salade
Niçoise I've just watched The Singing Detective all
six hours of it and can't get it out of my mind,
the scarecrow that turns into Hitler, the sad-eyed
father wearing a black arm-band, the yellow umbrellas
as Bing Crosby's voice comes out of Michael Gambon's
mouth, "you've got to ac-cent-tchu-ate the positive,
e-lim-inate the negative" advice as sound today
as in 1945 though it also remains true that
the only thing to do with good advice is pass it on
|
Written by
Marilyn Hacker |
August First: it was a year ago
we drove down from St.
-Guilhem-le-Désert
to open the house in St.
Guiraud
rented unseen.
I'd stay; you'd go; that's where
our paths diverged.
I'd settle down to work,
you'd start the next month of your Wanderjahr.
I turned the iron key in the rusted lock
(it came, like a detective-story clue,
in a manila envelope, postmarked
elsewhere, unmarked otherwise) while you
stood behind me in the midday heat.
Somnolent shudders marked our progress.
Two
horses grazed on a roof across the street.
You didn't believe me until you turned around.
They were both old, one mottled gray, one white.
Past the kitchen's russet dark, we found
bookshelves on both sides of the fireplace:
Verlaine, L'Étranger, Notes from the Underground.
Through an archway, a fresh-plastered staircase
led steeply upward.
In a white room stood
a white-clad brass bed.
Sunlight in your face
came from the tree-filled window.
"You did good.
"
We laid crisp sheets we would inaugurate
that night, rescued from the grenier a wood-
en table we put under the window.
Date
our homes from that one, to which you returned
the last week of August, on a late
bus, in shorts, like a crew-cut, sunburned
bidasse.
Sunburned, in shorts, a new haircut,
with Auden and a racing pulse I'd earned
by "not being sentimental about
you," I sprinted to "La Populaire.
"
You walked into my arms when you got out.
At a two minute bus stop, who would care?
"La Populaire" puffed onward to Millau
while we hiked up to the hiatus where
we'd left ourselves when you left St.
Guiraud
after an unambiguous decade
of friendship, and some months of something new.
A long week before either of us said
a compromising word acknowledging
what happened every night in the brass bed
and every bird-heralded blue morning
was something we could claim and keep and use;
was, like the house, a place where we could bring
our road-worn, weary selves.
Now, we've a pause
in a year we wouldn't have wagered on.
Dusk climbs the tiled roof opposite; the blue's
still sun-soaked; it's a week now since you've gone
to be a daughter in the capital.
(I came north with you as far as Beaune.
)
I cook things you don't like.
Sometimes I fall
asleep, book open, one A.
M.
, sometimes
I long for you all night in Provencal
or langue d'oc, or wish I could, when I'm
too much awake.
My early walk, my late
walk mark the day's measures like rhyme.
(There's nothing I hate---perhaps I hate
the adipose deposits on my thighs
---as much as having to stay put and wait!)
Although a day alone cuts tight or lies
too limp sometimes, I know what I didn't know
a year ago, that makes it the right size:
owned certainty; perpetual surprise.
|
Written by
William Topaz McGonagall |
'Twas in the year of 1896, and on the 30th of September,
Which many people in Aberdeen will long remember;
The burning of the People's Variety Theatre, in Bridge Place
Because the fire spread like lightning at a rapid pace.
The fire broke out on the stage, about eight o'clock,
Which gave to the audience a very fearful shock;
Then a stampede ensued, and a rush was made pell-mell,
And in the crush, trying to get out, many people fell.
The stage flies took fire owing to the gas
Not having room enough by them to pass;
And with his jacket Mr.
Macaulay tried to put out the flame,
But oh! horrible to relate, it was all in vain.
Detective Innes, who was passing at the time of the fire,
Rendered help in every way the audience could desire,
By helping many of them for to get out,
Which was a heroic action, without any doubt.
Oh! it was a pitiful and fearful sight,
To see both old and young struggling with all their might,
For to escape from that merciless fire,
While it roared and mounted higher and higher.
Oh! it was horrible to hear the cries of that surging crowd,
Yelling and crying for "Help! help!" aloud;
While one old woman did fret and frown
Because her clothes were torn off when knocked down.
A lady and gentleman of the Music Hall company, Monti & Spry,
Managed to make their escape by climbing up very high
To an advertisement board, and smashing the glass of the fanlight,
And squeezed themselves through with a great fight.
But accidents will happen both on sea and land,
And the works of the Almighty is hard to understand;
And thank God there's only a few has fallen victims to the fire,
But I hope they are now in Heaven, amongst the Heavenly choir.
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