Written by
Charles Bukowski |
we have everything and we have nothing
and some men do it in churches
and some men do it by tearing butterflies
in half
and some men do it in Palm Springs
laying it into butterblondes
with Cadillac souls
Cadillacs and butterflies
nothing and everything,
the face melting down to the last puff
in a cellar in Corpus Christi.
there's something for the touts, the nuns,
the grocery clerks and you .
.
.
something at 8 a.
m.
, something in the library
something in the river,
everything and nothing.
in the slaughterhouse it comes running along
the ceiling on a hook, and you swing it --
one
two
three
and then you've got it, $200 worth of dead
meat, its bones against your bones
something and nothing.
it's always early enough to die and
it's always too late,
and the drill of blood in the basin white
it tells you nothing at all
and the gravediggers playing poker over
5 a.
m.
coffee, waiting for the grass
to dismiss the frost .
.
.
they tell you nothing at all.
we have everything and we have nothing --
days with glass edges and the impossible stink
of river moss -- worse than ****;
checkerboard days of moves and countermoves,
fagged interest, with as much sense in defeat as
in victory; slow days like mules
humping it slagged and sullen and sun-glazed
up a road where a madman sits waiting among
bluejays and wrens netted in and sucked a flakey
grey.
good days too of wine and shouting, fights
in alleys, fat legs of women striving around
your bowels buried in moans,
the signs in bullrings like diamonds hollering
Mother Capri, violets coming out of the ground
telling you to forget the dead armies and the loves
that robbed you.
days when children say funny and brilliant things
like savages trying to send you a message through
their bodies while their bodies are still
alive enough to transmit and feel and run up
and down without locks and paychecks and
ideals and possessions and beetle-like
opinions.
days when you can cry all day long in
a green room with the door locked, days
when you can laugh at the breadman
because his legs are too long, days
of looking at hedges .
.
.
and nothing, and nothing, the days of
the bosses, yellow men
with bad breath and big feet, men
who look like frogs, hyenas, men who walk
as if melody had never been invented, men
who think it is intelligent to hire and fire and
profit, men with expensive wives they possess
like 60 acres of ground to be drilled
or shown-off or to be walled away from
the incompetent, men who'd kill you
because they're crazy and justify it because
it's the law, men who stand in front of
windows 30 feet wide and see nothing,
men with luxury yachts who can sail around
the world and yet never get out of their vest
pockets, men like snails, men like eels, men
like slugs, and not as good .
.
.
and nothing, getting your last paycheck
at a harbor, at a factory, at a hospital, at an
aircraft plant, at a penny arcade, at a
barbershop, at a job you didn't want
anyway.
income tax, sickness, servility, broken
arms, broken heads -- all the stuffing
come out like an old pillow.
we have everything and we have nothing.
some do it well enough for a while and
then give way.
fame gets them or disgust
or age or lack of proper diet or ink
across the eyes or children in college
or new cars or broken backs while skiing
in Switzerland or new politics or new wives
or just natural change and decay --
the man you knew yesterday hooking
for ten rounds or drinking for three days and
three nights by the Sawtooth mountains now
just something under a sheet or a cross
or a stone or under an easy delusion,
or packing a bible or a golf bag or a
briefcase: how they go, how they go! -- all
the ones you thought would never go.
days like this.
like your day today.
maybe the rain on the window trying to
get through to you.
what do you see today?
what is it? where are you? the best
days are sometimes the first, sometimes
the middle and even sometimes the last.
the vacant lots are not bad, churches in
Europe on postcards are not bad.
people in
wax museums frozen into their best sterility
are not bad, horrible but not bad.
the
cannon, think of the cannon, and toast for
breakfast the coffee hot enough you
know your tongue is still there, three
geraniums outside a window, trying to be
red and trying to be pink and trying to be
geraniums, no wonder sometimes the women
cry, no wonder the mules don't want
to go up the hill.
are you in a hotel room
in Detroit looking for a cigarette? one more
good day.
a little bit of it.
and as
the nurses come out of the building after
their shift, having had enough, eight nurses
with different names and different places
to go -- walking across the lawn, some of them
want cocoa and a paper, some of them want a
hot bath, some of them want a man, some
of them are hardly thinking at all.
enough
and not enough.
arcs and pilgrims, oranges
gutters, ferns, antibodies, boxes of
tissue paper.
in the most decent sometimes sun
there is the softsmoke feeling from urns
and the canned sound of old battleplanes
and if you go inside and run your finger
along the window ledge you'll find
dirt, maybe even earth.
and if you look out the window
there will be the day, and as you
get older you'll keep looking
keep looking
sucking your tongue in a little
ah ah no no maybe
some do it naturally
some obscenely
everywhere.
|
Written by
Etheridge Knight |
(or Blues for a Mississippi Black Boy)
I was born in Mississippi;
I walked barefooted thru the mud.
Born black in Mississippi,
Walked barefooted thru the mud.
But, when I reached the age of twelve
I left that place for good.
My daddy chopped cotton
And he drank his liquor straight.
Said my daddy chopped cotton
And he drank his liquor straight.
When I left that Sunday morning
He was leaning on the barnyard gate.
Left my mama standing
With the sun shining in her eyes.
Left her standing in the yard
With the sun shining in her eyes.
And I headed North
As straight as the Wild Goose Flies,
I been to Detroit & Chicago
Been to New York city too.
I been to Detroit & Chicago
Been to New York city too.
Said I done strolled all those funky avenues
I'm still the same old black boy with the same old blues.
Going back to Mississippi
This time to stay for good
Going back to Mississippi
This time to stay for good-
Gonna be free in Mississippi
Or dead in the Mississippi mud.
|
Written by
Philip Levine |
All afternoon my father drove the country roads
between Detroit and Lansing.
What he was looking for
I never learned, no doubt because he never knew himself,
though he would grab any unfamiliar side road
and follow where it led past fields of tall sweet corn
in August or in winter those of frozen sheaves.
Often he'd leave the Terraplane beside the highway
to enter the stunned silence of mid-September,
his eyes cast down for a sign, the only music
his own breath or the wind tracking slowly through
the stalks or riding above the barren ground.
Later
he'd come home, his dress shoes coated with dust or mud,
his long black overcoat stained or tattered
at the hem, sit wordless in his favorite chair,
his necktie loosened, and stare at nothing.
At first
my brothers and I tried conversation, questions
only he could answer: Why had he gone to war?
Where did he learn Arabic? Where was his father?
I remember none of this.
I read it all later,
years later as an old man, a grandfather myself,
in a journal he left my mother with little drawings
of ruined barns and telephone poles, receding
toward a future he never lived, aphorisms
from Montaigne, Juvenal, Voltaire, and perhaps a few
of his own: "He who looks for answers finds questions.
"
Three times he wrote, "I was meant to be someone else,"
and went on to describe the perfumes of the damp fields.
"It all starts with seeds," and a pencil drawing
of young apple trees he saw somewhere or else dreamed.
I inherited the book when I was almost seventy
and with it the need to return to who we were.
In the Detroit airport I rented a Taurus;
the woman at the counter was bored or crazy:
Did I want company? she asked; she knew every road
from here to Chicago.
She had a slight accent,
Dutch or German, long black hair, and one frozen eye.
I considered but decided to go alone,
determined to find what he had never found.
Slowly the autumn morning warmed, flocks of starlings
rose above the vacant fields and blotted out the sun.
I drove on until I found the grove of apple trees
heavy with fruit, and left the car, the motor running,
beside a sagging fence, and entered his life
on my own for maybe the first time.
A crow welcomed
me home, the sun rode above, austere and silent,
the early afternoon was cloudless, perfect.
When the crow dragged itself off to another world,
the shade deepened slowly in pools that darkened around
the trees; for a moment everything in sight stopped.
The wind hummed in my good ear, not words exactly,
not nonsense either, nor what I spoke to myself,
just the language creation once wakened to.
I took off my hat, a mistake in the presence
of my father's God, wiped my brow with what I had,
the back of my hand, and marveled at what was here:
nothing at all except the stubbornness of things.
|
Written by
Carl Sandburg |
THE SINS of Kalamazoo are neither scarlet nor crimson.
The sins of Kalamazoo are a convict gray, a dishwater drab.
And the people who sin the sins of Kalamazoo are neither scarlet nor crimson.
They run to drabs and grays—and some of them sing they shall be washed whiter than snow—and some: We should worry.
Yes, Kalamazoo is a spot on the map
And the passenger trains stop there
And the factory smokestacks smoke
And the grocery stores are open Saturday nights
And the streets are free for citizens who vote
And inhabitants counted in the census.
Saturday night is the big night.
Listen with your ears on a Saturday night in Kalamazoo
And say to yourself: I hear America, I hear, what do I hear?
Main street there runs through the middle of the twon
And there is a dirty postoffice
And a dirty city hall
And a dirty railroad station
And the United States flag cries, cries the Stars and Stripes to the four winds on Lincoln’s birthday and the Fourth of July.
Kalamazoo kisses a hand to something far off.
Kalamazoo calls to a long horizon, to a shivering silver angel, to a creeping mystic what-is-it.
“We’re here because we’re here,” is the song of Kalamazoo.
“We don’t know where we’re going but we’re on our way,” are the words.
There are hound dogs of bronze on the public square, hound dogs looking far beyond the public square.
Sweethearts there in Kalamazoo
Go to the general delivery window of the postoffice
And speak their names and ask for letters
And ask again, “Are you sure there is nothing for me?
I wish you’d look again—there must be a letter for me.
”
And sweethearts go to the city hall
And tell their names and say,“We want a license.
”
And they go to an installment house and buy a bed on time and a clock
And the children grow up asking each other, “What can we do to kill time?”
They grow up and go to the railroad station and buy tickets for Texas, Pennsylvania, Alaska.
“Kalamazoo is all right,” they say.
“But I want to see the world.
”
And when they have looked the world over they come back saying it is all like Kalamazoo.
The trains come in from the east and hoot for the crossings,
And buzz away to the peach country and Chicago to the west
Or they come from the west and shoot on to the Battle Creek breakfast bazaars
And the speedbug heavens of Detroit.
“I hear America, I hear, what do I hear?”
Said a loafer lagging along on the sidewalks of Kalamazoo,
Lagging along and asking questions, reading signs.
Oh yes, there is a town named Kalamazoo,
A spot on the map where the trains hesitate.
I saw the sign of a five and ten cent store there
And the Standard Oil Company and the International Harvester
And a graveyard and a ball grounds
And a short order counter where a man can get a stack of wheats
And a pool hall where a rounder leered confidential like and said:
“Lookin’ for a quiet game?”
The loafer lagged along and asked,
“Do you make guitars here?
Do you make boxes the singing wood winds ask to sleep in?
Do you rig up strings the singing wood winds sift over and sing low?”
The answer: “We manufacture musical instruments here.
”
Here I saw churches with steeples like hatpins,
Undertaking rooms with sample coffins in the show window
And signs everywhere satisfaction is guaranteed,
Shooting galleries where men kill imitation pigeons,
And there were doctors for the sick,
And lawyers for people waiting in jail,
And a dog catcher and a superintendent of streets,
And telephones, water-works, trolley cars,
And newspapers with a splatter of telegrams from sister cities of Kalamazoo the round world over.
And the loafer lagging along said:
Kalamazoo, you ain’t in a class by yourself;
I seen you before in a lot of places.
If you are nuts America is nuts.
And lagging along he said bitterly:
Before I came to Kalamazoo I was silent.
Now I am gabby, God help me, I am gabby.
Kalamazoo, both of us will do a fadeaway.
I will be carried out feet first
And time and the rain will chew you to dust
And the winds blow you away.
And an old, old mother will lay a green moss cover on my bones
And a green moss cover on the stones of your postoffice and city hall.
Best of all
I have loved your kiddies playing run-sheep-run
And cutting their initials on the ball ground fence.
They knew every time I fooled them who was fooled and how.
Best of all
I have loved the red gold smoke of your sunsets;
I have loved a moon with a ring around it
Floating over your public square;
I have loved the white dawn frost of early winter silver
And purple over your railroad tracks and lumber yards.
The wishing heart of you I loved, Kalamazoo.
I sang bye-lo, bye-lo to your dreams.
I sang bye-lo to your hopes and songs.
I wished to God there were hound dogs of bronze on your public square,
Hound dogs with bronze paws looking to a long horizon with a shivering silver angel, a creeping mystic what-is-it.
|
Written by
Philip Levine |
Hungry and cold, I stood in a doorway
on Delancey Street in 1946
as the rain came down.
The worst part is this
is not from a bad movie.
I'd read Dos Passos'
USA and thought, "Before the night ends
my life will change.
" A stranger would stop
to ask for my help, a single stranger
more needy than I, if such a woman
were possible.
I still had cigarettes,
damp matches, and an inaccurate map
of Manhattan in my head, and the change
from the one $20 traveler's check
I'd cashed in a dairy restaurant where
the amazed owner actually proclaimed
to the busy heads, "They got Jews in Detroit!"
You can forgive the night.
No one else was dumb
enough to be out.
Sure, it was Easter.
Was I expecting crocus and lilac
to burst from the pavement and sweeten
the air the way they did in Michigan once
upon a time? This wouldn't be so bad
if you were only young once.
Once would be fine.
You stand out in the rain once and get wet
expecting to enter fiction.
You huddle
under the Williamsburg Bridge posing for Life.
You trek to the Owl Hotel to lie awake
in a room the size of a cat box and smell
the dawn as it leaks under the shade
with the damp welcome you deserve.
Just the once
you earn your doctorate in mismanagement.
So I was eighteen, once, fifty years ago,
a kid from a small town with big ideas.
Gatsby said if Detroit is your idea
of a small town you need another idea,
and I needed several.
I retied my shoes, washed
my face, brushed my teeth with a furry tongue,
counted out my $11.
80
on the broken bed, and decided the time
had come to mature.
How else can I explain
voting for Adlai Stevenson once and once
again, planting a lemon tree in hard pan,
loaning my Charlie Parker 78s
to an out-of-work actor, eating pork loin
barbecued on Passover, tangoing
perfectly without music even with you?
|
Written by
Philip Levine |
Brooklyn, 1929.
Of course Crane's
been drinking and has no idea who
this curious Andalusian is, unable
even to speak the language of poetry.
The young man who brought them
together knows both Spanish and English,
but he has a headache from jumping
back and forth from one language
to another.
For a moment's relief
he goes to the window to look
down on the East River, darkening
below as the early light comes on.
Something flashes across his sight,
a double vision of such horror
he has to slap both his hands across
his mouth to keep from screaming.
Let's not be frivolous, let's
not pretend the two poets gave
each other wisdom or love or
even a good time, let's not
invent a dialogue of such eloquence
that even the ants in your own
house won't forget it.
The two
greatest poetic geniuses alive
meet, and what happens? A vision
comes to an ordinary man staring
at a filthy river.
Have you ever
had a vision? Have you ever shaken
your head to pieces and jerked back
at the image of your young son
falling through open space, not
from the stern of a ship bound
from Vera Cruz to New York but from
the roof of the building he works on?
Have you risen from bed to pace
until dawn to beg a merciless God
to take these pictures away? Oh, yes,
let's bless the imagination.
It gives
us the myths we live by.
Let's bless
the visionary power of the human—
the only animal that's got it—,
bless the exact image of your father
dead and mine dead, bless the images
that stalk the corners of our sight
and will not let go.
The young man
was my cousin, Arthur Lieberman,
then a language student at Columbia,
who told me all this before he died
quietly in his sleep in 1983
in a hotel in Perugia.
A good man,
Arthur, he survived graduate school,
later came home to Detroit and sold
pianos right through the Depression.
He loaned my brother a used one
to compose his hideous songs on,
which Arthur thought were genius.
What an imagination Arthur had!
|
Written by
Philip Levine |
The gates are chained, the barbed-wire fencing stands,
An iron authority against the snow,
And this grey monument to common sense
Resists the weather.
Fears of idle hands,
Of protest, men in league, and of the slow
Corrosion of their minds, still charge this fence.
Beyond, through broken windows one can see
Where the great presses paused between their strokes
And thus remain, in air suspended, caught
In the sure margin of eternity.
The cast-iron wheels have stopped; one counts the spokes
Which movement blurred, the struts inertia fought,
And estimates the loss of human power,
Experienced and slow, the loss of years,
The gradual decay of dignity.
Men lived within these foundries, hour by hour;
Nothing they forged outlived the rusted gears
Which might have served to grind their eulogy.
|
Written by
Carolyn Forche |
Grandma, come back, I forgot
How much lard for these rolls
Think you can put yourself in the ground
Like plain potatoes and grow in Ohio?
I am damn sick of getting fat like you
Think you can lie through your Slovak?
Tell filthy stories about the blood sausage?
Pish-pish nights at the virgin in Detroit?
I blame your raising me up for my Slav tongue
You beat me up out back, taught me to dance
I'll tell you I don't remember any kind of bread
Your wavy loaves of flesh
Stink through my sleep
The stars on your silk robes
But I'm glad I'll look when I'm old
Like a gypsy dusha hauling milk
|
Written by
Philip Levine |
We stripped in the first warm spring night
and ran down into the Detroit River
to baptize ourselves in the brine
of car parts, dead fish, stolen bicycles,
melted snow.
I remember going under
hand in hand with a Polish highschool girl
I'd never seen before, and the cries
our breath made caught at the same time
on the cold, and rising through the layers
of darkness into the final moonless atmosphere
that was this world, the girl breaking
the surface after me and swimming out
on the starless waters towards the lights
of Jefferson Ave.
and the stacks
of the old stove factory unwinking.
Turning at last to see no island at all
but a perfect calm dark as far
as there was sight, and then a light
and another riding low out ahead
to bring us home, ore boats maybe, or smokers
walking alone.
Back panting
to the gray coarse beach we didn't dare
fall on, the damp piles of clothes,
and dressing side by side in silence
to go back where we came from.
|
Written by
Philip Levine |
He made a line on the blackboard,
one bold stroke from right to left
diagonally downward and stood back
to ask, looking as always at no one
in particular, "What have I done?"
From the back of the room Freddie
shouted, "You've broken a piece
of chalk.
" M.
Degas did not smile.
"What have I done?" he repeated.
The most intellectual students
looked down to study their desks
except for Gertrude Bimmler, who raised
her hand before she spoke.
"M.
Degas,
you have created the hypotenuse
of an isosceles triangle.
" Degas mused.
Everyone knew that Gertrude could not
be incorrect.
"It is possible,"
Louis Warshowsky added precisely,
"that you have begun to represent
the roof of a barn.
" I remember
that it was exactly twenty minutes
past eleven, and I thought at worst
this would go on another forty
minutes.
It was early April,
the snow had all but melted on
the playgrounds, the elms and maples
bordering the cracked walks shivered
in the new winds, and I believed
that before I knew it I'd be
swaggering to the candy store
for a Milky Way.
M.
Degas
pursed his lips, and the room
stilled until the long hand
of the clock moved to twenty one
as though in complicity with Gertrude,
who added confidently, "You've begun
to separate the dark from the dark.
"
I looked back for help, but now
the trees bucked and quaked, and I
knew this could go on forever.
|