Written by
Adrienne Rich |
Something spreading underground won't speak to us
under skin won't declare itself
not all life-forms want dialogue with the
machine-gods in their drama hogging down
the deep bush clear-cutting refugees
from ancient or transient villages into
our opportunistic fervor to search
crazily for a host a lifeboat
Suddenly instead of art we're eyeing
organisms traced and stained on cathedral transparencies
cruel blues embroidered purples succinct yellows
a beautiful tumor
•
I guess you're not alone I fear you're alone
There's, of course, poetry:
awful bridge rising over naked air: I first
took it as just a continuation of the road:
"a masterpiece of engineering
praised, etc.
" then on the radio:
"incline too steep for ease of, etc.
"
Drove it nonetheless because I had to
this being how— So this is how
I find you: alive and more
•
As if (how many conditionals must we suffer?)
I'm driving to your side
—an intimate collusion—
packed in the trunk my bag of foils for fencing with pain
glasses of varying spectrum for sun or fog or sun-struck
rain or bitterest night my sack of hidden
poetries, old glue shredding from their spines
my time exposure of the Leonids
over Joshua Tree
As if we're going to win this O because
•
If you have a sister I am not she
nor your mother nor you my daughter
nor are we lovers or any kind of couple
except in the intensive care
of poetry and
death's master plan architecture-in-progress
draft elevations of a black-and-white mosaic dome
the master left on your doorstep
with a white card in black calligraphy:
Make what you will of this
As if leaving purple roses
•
If (how many conditionals must we suffer?)
I tell you a letter from the master
is lying on my own doorstep
glued there with leaves and rain
and I haven't bent to it yet
if I tell you I surmise
he writes differently to me:
Do as you will, you have had your life
many have not
signing it in his olden script:
Meister aus Deutschland
•
In coldest Europe end of that war
frozen domes iron railings frozen stoves lit in the
streets
memory banks of cold
the Nike of Samothrace
on a staircase wings in blazing
backdraft said to me
: : to everyone she met
Displaced, amputated never discount me
Victory
indented in disaster striding
at the head of stairs
for Tory Dent
|
Written by
Adrienne Rich |
First having read the book of myths,
and loaded the camera,
and checked the edge of the knife-blade,
I put on
the body-armor of black rubber
the absurd flippers
the grave and awkward mask.
I am having to do this
not like Cousteau with his
assiduous team
aboard the sun-flooded schooner
but here alone.
There is a ladder.
The ladder is always there
hanging innocently
close to the side of the schooner.
We know what it is for,
we who have used it.
Otherwise
it is a piece of maritime floss
some sundry equipment.
I go down.
Rung after rung and still
the oxygen immerses me
the blue light
the clear atoms
of our human air.
I go down.
My flippers cripple me,
I crawl like an insect down the ladder
and there is no one
to tell me when the ocean
will begin.
First the air is blue and then
it is bluer and then green and then
black I am blacking out and yet
my mask is powerful
it pumps my blood with power
the sea is another story
the sea is not a question of power
I have to learn alone
to turn my body without force
in the deep element.
And now: it is easy to forget
what I came for
among so many who have always
lived here
swaying their crenellated fans
between the reefs
and besides
you breathe differently down here.
I came to explore the wreck.
The words are purposes.
The words are maps.
I came to see the damage that was done
and the treasures that prevail.
I stroke the beam of my lamp
slowly along the flank
of something more permanent
than fish or weed
the thing I came for:
the wreck and not the story of the wreck
the thing itself and not the myth
the drowned face always staring
toward the sun
the evidence of damage
worn by salt and away into this threadbare beauty
the ribs of the disaster
curving their assertion
among the tentative haunters.
This is the place.
And I am here, the mermaid whose dark hair
streams black, the merman in his armored body.
We circle silently
about the wreck
we dive into the hold.
I am she: I am he
whose drowned face sleeps with open eyes
whose breasts still bear the stress
whose silver, copper, vermeil cargo lies
obscurely inside barrels
half-wedged and left to rot
we are the half-destroyed instruments
that once held to a course
the water-eaten log
the fouled compass
We are, I am, you are
by cowardice or courage
the one who find our way
back to this scene
carrying a knife, a camera
a book of myths
in which
our names do not appear.
|
Written by
Lawrence Ferlinghetti |
It was a face which darkness could kill
in an instant
a face as easily hurt
by laughter or light
'We think differently at night'
she told me once
lying back languidly
And she would quote Cocteau
'I feel there is an angel in me' she'd say
'whom I am constantly shocking'
Then she would smile and look away
light a cigarette for me
sigh and rise
and stretch
her sweet anatomy
let fall a stocking
|
Written by
James A Emanuel |
I fish for words
to say what I fish for,
half-catch sometimes.
I have caught little pan fish flashing sunlight
(yellow perch, crappies, blue-gills),
lighthearted reeled them in,
filed them on stringers on the shore.
A nice mess, we called them,
and ate with our fingers, laughing.
Once, dreaming of fish in far-off waters,
I hooked a two-foot carp in Michigan,
on nylon line so fine
a fellow-fisher shook his head:
"He'll break it, sure; he'll roll on it and get away.
"
A quarter-hour it took to bring him in;
back-and-forth toward my net,
syllable by syllable I let him have his way
till he lay flopping on the grass—
beside no other, himself enough in size:
he fed the three of us (each differently)
new strategies of hook, leader, line, and rod.
Working well, I am a deep-water man,
a "Daredevil" silver wobbler
my lure for lake trout in midsummer.
Oh, I have tried the moon, thermometers—
the bait and time and place all by the rule—
fishing for the masterpiece,
the imperial muskellunge in Minnesota,
the peerless pike in Canada.
I have propped a well-thumbed book
against the butt of my favorite rod
and fished from my heart.
Yet, for my labors,
all I have to show
are tactics, lore—
so little I know
of that pea-sized brain I am casting for,
to think it could swim
with the phantom-words
that lure me to this shore.
|
Written by
Edward Taylor |
The common is unusually calm--they captured the storm
last night, it's sleeping in the stockade, relieved
of its duty, pacified, tamed, a pussycat.
But not before it tied the flagpole in knots,
and not before it alarmed the firemen out of their pants.
Now it's really calm, almost too calm, as though
anything could happen, and it would be a first.
It could be the worst thing that ever happened.
All the little rodents are sitting up and counting
their nuts.
What if nothing ever happened again?
Would there be enough to "eke out an existence,"
as they say? I wish "they" were here now, kicking
up a little dust, mussing my hair, taunting me
with weird syllogisms.
Instead, these are the windless,
halcyon days.
The lull dispassion is upon us.
Serenity has triumphed in its mindless, atrophied way.
A school of Stoics walks by, eager, in its phlegmatic way,
to observe human degradation, lust and debauchery
at close quarters.
They are disappointed,
but it barely shows on their faces.
They are late Stoa,
very late.
They missed the bus.
They should have
been here last night.
The joint was jumping.
But people change, they grow up, they fly around.
It's the same old story, but I don't remember it.
It's a tale of gore and glory, but we had to leave.
It could have turned out differently, and it did.
I feel much the same way about the city of Pompeii.
A police officer with a poodle cut squirts his gun
at me for saying that, and it's still just barely
possible that I didn't, and the clock is running
out on his sort of behavior.
I'm napping in a wigwam
as I write this, near Amity Street, which is buried
under fifteen feet of ashes and cinders and rocks.
Moss and a certain herblike creature are beginning to
whisper nearby.
I am beside myself, peering down,
senselessly, since, for us, in space, there is
neither above nor below; and thus the expression
"He is being nibbled to death by ducks" shines
with such style, such poise, and reserve,
a beautiful, puissant form and a lucid thought.
To which I reply "It is time we had our teeth examined
by a dentist.
" So said James the Lesser to James the More.
|
Written by
Philip Larkin |
Those long uneven lines
Standing as patiently
As if they were stretched outside
The Oval or Villa Park
The crowns of hats the sun
On moustached archaic faces
Grinning as if it were all
An August bank Holiday lark;
And the shut shops the bleached
Established names on the sunblinds
The farthings and sovereigns
Adn dark-clothed children at play
Called after kings and queens
The tin advertisements
For cocoa and twist and the pubs
Wide open all day;
And the countryside ont caring:
The place-names all hazed over
With flowering grasses and fields
Shadowing Domesday lines
Under wheat's restless silence;
The differently-dressed servants
With tiny rooms in huge houses
The dust behind limousines;
Never such innocence
Never before or since
As changed itself to past
Without a word--the men
Leaving the gardens tidy
The thousands of marriages
Lasting a littlewhile longer:
Never such innocence again.
1964
|
Written by
Philip Larkin |
Light spreads darkly downwards from the high
Clusters of lights over empty chairs
That face each other, coloured differently.
Through open doors, the dining-room declares
A larger loneliness of knives and glass
And silence laid like carpet.
A porter reads
An unsold evening paper.
Hours pass,
And all the salesmen have gone back to Leeds,
Leaving full ashtrays in the Conference Room.
In shoeless corridors, the lights burn.
How
Isolated, like a fort, it is -
The headed paper, made for writing home
(If home existed) letters of exile: Now
Night comes on.
Waves fold behind villages.
|
Written by
Laura Riding Jackson |
The little quids, the million quids,
The everywhere, everything, always quids,
The atoms of the Monoton—
Each turned three essences where it stood
And ground a gisty dust from its neighbors' edges
Until a powdery thoughtfall stormed in and out,
The cerebration of a slippery quid enterprise.
Each quid stirred.
The united quids
Waved through a sinuous decision.
The quids, that had never done anything before
But be, be, be, be, be,
The quids resolved to predicate
And dissipate in a little grammar.
Oh, the Monoton didn't care,
For whatever they did—
The Monoton's contributing quids—
The Monoton would always remain the same.
A quid here and there gyrated in place-position,
While many essential quids turned inside-out
For the fun of it
And a few refused to be anything but
Simple, unpredicated copulatives.
Little by little, this commotion of quids,
By threes, by tens, by casual millions,
Squirming within the state of things—
The metaphysical acrobats,
The naked, immaterial quids—
Turned inside on themselves
And came out dressed,
Each similar quid of the inward same,
Each similar quid dressed in a different way—
The quid's idea of a holiday.
The quids could never tell what was happening.
But the Monoton felt itself differently the same
In its different parts.
The silly quids upon their rambling exercise
Never knew, could never tell
What their pleasure was about,
What their carnival was like,
Being in, being in, being always in
Where they never could get out
Of the everywhere, everything, always in,
To derive themselves from the Monoton.
But I know, with a quid inside of me,
But I know what a quid's disguise is like,
Being one myself,
The gymnastic device
That a quid puts on for exercise.
And so should the trees,
And so should the worms,
And so should you,
And all the other predicates,
And all the other accessories
Of the quid's masquerade.
|
Written by
Philip Larkin |
How distant, the departure of young men
Down valleys, or watching
The green shore past the salt-white cordage
Rising and falling.
Cattlemen, or carpenters, or keen
Simply to get away
From married villages before morning,
Melodeons play
On tiny decks past fraying cliffs of water
Or late at night
Sweet under the differently-swung stars,
When the chance sight
Of a girl doing her laundry in the steerage
Ramifies endlessly.
This is being young,
Assumption of the startled century
Like new store clothes,
The huge decisions printed out by feet
Inventing where they tread,
The random windows conjuring a street.
|
Written by
Rainer Maria Rilke |
She sat just like the others as the table.
But on second glance she seemed to hold her cup
a little differently as she picked it up.
She smiled once.
It was almost painful.
And when they finished and it was time to stand
and slowly as chance selected them they left
and moved through many rooms (they talked and laughed)
I saw her.
She was moving far behind
The others absorbed like someone who will soon
have to sing before a large assembly;
upon her eyes which were radiant with joy
light played as on the surface of a pool.
She followed slowly taking a long time
as though there were some obstacle in the way;
and yet: as though once it was overcome
she would be beyond all walking and would fly.
|