Written by
Robert Frost |
Her teacher's certainty it must be Mabel
Made Maple first take notice of her name.
She asked her father and he told her, "Maple—
Maple is right."
"But teacher told the school
There's no such name."
"Teachers don't know as much
As fathers about children, you tell teacher.
You tell her that it's M-A-P-L-E.
You ask her if she knows a maple tree.
Well, you were named after a maple tree.
Your mother named you. You and she just saw
Each other in passing in the room upstairs,
One coming this way into life, and one
Going the other out of life—you know?
So you can't have much recollection of her.
She had been having a long look at you.
She put her finger in your cheek so hard
It must have made your dimple there, and said,
'Maple.' I said it too: 'Yes, for her name.'
She nodded. So we're sure there's no mistake.
I don't know what she wanted it to mean,
But it seems like some word she left to bid you
Be a good girl—be like a maple tree.
How like a maple tree's for us to guess.
Or for a little girl to guess sometime.
Not now—at least I shouldn't try too hard now.
By and by I will tell you all I know
About the different trees, and something, too,
About your mother that perhaps may help."
Dangerous self-arousing words to sow.
Luckily all she wanted of her name then
Was to rebuke her teacher with it next day,
And give the teacher a scare as from her father.
Anything further had been wasted on her,
Or so he tried to think to avoid blame.
She would forget it. She all but forgot it.
What he sowed with her slept so long a sleep,
And came so near death in the dark of years,
That when it woke and came to life again
The flower was different from the parent seed.
It carne back vaguely at the glass one day,
As she stood saying her name over aloud,
Striking it gently across her lowered eyes
To make it go well with the way she looked.
What was it about her name? Its strangeness lay
In having too much meaning. Other names,
As Lesley, Carol, Irma, Marjorie,
Signified nothing. Rose could have a meaning,
But hadn't as it went. (She knew a Rose.)
This difference from other names it was
Made people notice it—and notice her.
(They either noticed it, or got it wrong.)
Her problem was to find out what it asked
In dress or manner of the girl who bore it.
If she could form some notion of her mother—
What she bad thought was lovely, and what good.
This was her mother's childhood home;
The house one story high in front, three stories
On the end it presented to the road.
(The arrangement made a pleasant sunny cellar.)
Her mother's bedroom was her father's still,
Where she could watch her mother's picture fading.
Once she found for a bookmark in the Bible
A maple leaf she thought must have been laid
In wait for her there. She read every word
Of the two pages it was pressed between,
As if it was her mother speaking to her.
But forgot to put the leaf back in closing
And lost the place never to read again.
She was sure, though, there had been nothing in it.
So she looked for herself, as everyone
Looks for himself, more or less outwardly.
And her self-seeking, fitful though it was,
May still have been what led her on to read,
And think a little, and get some city schooling.
She learned shorthand, whatever shorthand may
Have had to do with it--she sometimes wondered.
So, till she found herself in a strange place
For the name Maple to have brought her to,
Taking dictation on a paper pad
And, in the pauses when she raised her eyes,
Watching out of a nineteenth story window
An airship laboring with unshiplike motion
And a vague all-disturbing roar above the river
Beyond the highest city built with hands.
Someone was saying in such natural tones
She almost wrote the words down on her knee,
"Do you know you remind me of a tree--
A maple tree?"
"Because my name is Maple?"
"Isn't it Mabel? I thought it was Mabel."
"No doubt you've heard the office call me Mabel.
I have to let them call me what they like."
They were both stirred that he should have divined
Without the name her personal mystery.
It made it seem as if there must be something
She must have missed herself. So they were married,
And took the fancy home with them to live by.
They went on pilgrimage once to her father's
(The house one story high in front, three stories
On the side it presented to the road)
To see if there was not some special tree
She might have overlooked. They could find none,
Not so much as a single tree for shade,
Let alone grove of trees for sugar orchard.
She told him of the bookmark maple leaf
In the big Bible, and all she remembered
of the place marked with it—"Wave offering,
Something about wave offering, it said."
"You've never asked your father outright, have you?"
"I have, and been Put off sometime, I think."
(This was her faded memory of the way
Once long ago her father had put himself off.)
"Because no telling but it may have been
Something between your father and your mother
Not meant for us at all."
"Not meant for me?
Where would the fairness be in giving me
A name to carry for life and never know
The secret of?"
"And then it may have been
Something a father couldn't tell a daughter
As well as could a mother. And again
It may have been their one lapse into fancy
'Twould be too bad to make him sorry for
By bringing it up to him when be was too old.
Your father feels us round him with our questing,
And holds us off unnecessarily,
As if he didn't know what little thing
Might lead us on to a discovery.
It was as personal as be could be
About the way he saw it was with you
To say your mother, bad she lived, would be
As far again as from being born to bearing."
"Just one look more with what you say in mind,
And I give up"; which last look came to nothing.
But though they now gave up the search forever,
They clung to what one had seen in the other
By inspiration. It proved there was something.
They kept their thoughts away from when the maples
Stood uniform in buckets, and the steam
Of sap and snow rolled off the sugarhouse.
When they made her related to the maples,
It was the tree the autumn fire ran through
And swept of leathern leaves, but left the bark
Unscorched, unblackened, even, by any smoke.
They always took their holidays in autumn.
Once they came on a maple in a glade,
Standing alone with smooth arms lifted up,
And every leaf of foliage she'd worn
Laid scarlet and pale pink about her feet.
But its age kept them from considering this one.
Twenty-five years ago at Maple's naming
It hardly could have been a two-leaved seedling
The next cow might have licked up out at pasture.
Could it have been another maple like it?
They hovered for a moment near discovery,
Figurative enough to see the symbol,
But lacking faith in anything to mean
The same at different times to different people.
Perhaps a filial diffidence partly kept them
From thinking it could be a thing so bridal.
And anyway it came too late for Maple.
She used her hands to cover up her eyes.
"We would not see the secret if we could now:
We are not looking for it any more."
Thus had a name with meaning, given in death,
Made a girl's marriage, and ruled in her life.
No matter that the meaning was not clear.
A name with meaning could bring up a child,
Taking the child out of the parents' hands.
Better a meaningless name, I should say,
As leaving more to nature and happy chance.
Name children some names and see what you do.
|
Written by
Billy Collins |
Remember the 1340's? We were doing a dance called the Catapult.
You always wore brown, the color craze of the decade,
and I was draped in one of those capes that were popular,
the ones with unicorns and pomegranates in needlework.
Everyone would pause for beer and onions in the afternoon,
and at night we would play a game called "Find the Cow."
Everything was hand-lettered then, not like today.
Where has the summer of 1572 gone? Brocade and sonnet
marathons were the rage. We used to dress up in the flags
of rival baronies and conquer one another in cold rooms of stone.
Out on the dance floor we were all doing the Struggle
while your sister practiced the Daphne all alone in her room.
We borrowed the jargon of farriers for our slang.
These days language seems transparent a badly broken code.
The 1790's will never come again. Childhood was big.
People would take walks to the very tops of hills
and write down what they saw in their journals without speaking.
Our collars were high and our hats were extremely soft.
We would surprise each other with alphabets made of twigs.
It was a wonderful time to be alive, or even dead.
I am very fond of the period between 1815 and 1821.
Europe trembled while we sat still for our portraits.
And I would love to return to 1901 if only for a moment,
time enough to wind up a music box and do a few dance steps,
or shoot me back to 1922 or 1941, or at least let me
recapture the serenity of last month when we picked
berries and glided through afternoons in a canoe.
Even this morning would be an improvement over the present.
I was in the garden then, surrounded by the hum of bees
and the Latin names of flowers, watching the early light
flash off the slanted windows of the greenhouse
and silver the limbs on the rows of dark hemlocks.
As usual, I was thinking about the moments of the past,
letting my memory rush over them like water
rushing over the stones on the bottom of a stream.
I was even thinking a little about the future, that place
where people are doing a dance we cannot imagine,
a dance whose name we can only guess.
|
Written by
William Butler Yeats |
My Soul. I summon to the winding ancient stair;
Set all your mind upon the steep ascent,
Upon the broken, crumbling battlement,
Upon the breathless starlit air,
"Upon the star that marks the hidden pole;
Fix every wandering thought upon
That quarter where all thought is done:
Who can distinguish darkness from the soul
My Self. The consecretes blade upon my knees
Is Sato's ancient blade, still as it was,
Still razor-keen, still like a looking-glass
Unspotted by the centuries;
That flowering, silken, old embroidery, torn
From some court-lady's dress and round
The wodden scabbard bound and wound
Can, tattered, still protect, faded adorn
My Soul. Why should the imagination of a man
Long past his prime remember things that are
Emblematical of love and war?
Think of ancestral night that can,
If but imagination scorn the earth
And interllect is wandering
To this and that and t'other thing,
Deliver from the crime of death and birth.
My Self. Montashigi, third of his family, fashioned it
Five hundred years ago, about it lie
Flowers from I know not what embroidery -
Heart's purple - and all these I set
For emblems of the day against the tower
Emblematical of the night,
And claim as by a soldier's right
A charter to commit the crime once more.
My Soul. Such fullness in that quarter overflows
And falls into the basin of the mind
That man is stricken deaf and dumb and blind,
For intellect no longer knows
Is from the Ought, or knower from the Known -
That is to say, ascends to Heaven;
Only the dead can be forgiven;
But when I think of that my tongue's a stone.
II
My Self. A living man is blind and drinks his drop.
What matter if the ditches are impure?
What matter if I live it all once more?
Endure that toil of growing up;
The ignominy of boyhood; the distress
Of boyhood changing into man;
The unfinished man and his pain
Brought face to face with his own clumsiness;
The finished man among his enemies? -
How in the name of Heaven can he escape
That defiling and disfigured shape
The mirror of malicious eyes
Casts upon his eyes until at last
He thinks that shape must be his shape?
And what's the good of an escape
If honour find him in the wintry blast?
I am content to live it all again
And yet again, if it be life to pitch
Into the frog-spawn of a blind man's ditch,
A blind man battering blind men;
Or into that most fecund ditch of all,
The folly that man does
Or must suffer, if he woos
A proud woman not kindred of his soul.
I am content to follow to its source
Every event in action or in thought;
Measure the lot; forgive myself the lot!
When such as I cast out remorse
So great a sweetness flows into the breast
We must laugh and we must sing,
We are blest by everything,
Everything we look upon is blest.
|
Written by
Maya Angelou |
I've got the children to tend
The clothes to mend
The floor to mop
The food to shop
Then the chicken to fry
The baby to dry
I got company to feed
The garden to weed
I've got shirts to press
The tots to dress
The can to be cut
I gotta clean up this hut
Then see about the sick
And the cotton to pick.
Shine on me, sunshine
Rain on me, rain
Fall softly, dewdrops
And cool my brow again.
Storm, blow me from here
With your fiercest wind
Let me float across the sky
'Til I can rest again.
Fall gently, snowflakes
Cover me with white
Cold icy kisses and
Let me rest tonight.
Sun, rain, curving sky
Mountain, oceans, leaf and stone
Star shine, moon glow
You're all that I can call my own.
|
Written by
David Berman |
I know it's a bad title
but I'm giving it to myself as a gift
on a day nearly canceled by sunlight
when the entire hill is approaching
the ideal of Virginia
brochured with goldenrod and loblolly
and I think "at least I have not woken up
with a bloody knife in my hand"
by then having absently wandered
one hundred yards from the house
while still seated in this chair
with my eyes closed.
It is a certain hill
the one I imagine when I hear the word "hill"
and if the apocalypse turns out
to be a world-wide nervous breakdown
if our five billion minds collapse at once
well I'd call that a surprise ending
and this hill would still be beautiful
a place I wouldn't mind dying
alone or with you.
I am trying to get at something
and I want to talk very plainly to you
so that we are both comforted by the honesty.
You see there is a window by my desk
I stare out when I am stuck
though the outdoors has rarely inspired me to write
and I don't know why I keep staring at it.
My childhood hasn't made good material either
mostly being a mulch of white minutes
with a few stand out moments,
popping tar bubbles on the driveway in the summer
a certain amount of pride at school
everytime they called it "our sun"
and playing football when the only play
was "go out long" are what stand out now.
If squeezed for more information
I can remember old clock radios
with flipping metal numbers
and an entree called Surf and Turf.
As a way of getting in touch with my origins
every night I set the alarm clock
for the time I was born so that waking up
becomes a historical reenactment and the first thing I do
is take a reading of the day and try to flow with it like
when you're riding a mechanical bull and you strain to learn
the pattern quickly so you don't inadverantly resist it.
II two
I can't remember being born
and no one else can remember it either
even the doctor who I met years later
at a cocktail party.
It's one of the little disappointments
that makes you think about getting away
going to Holly Springs or Coral Gables
and taking a room on the square
with a landlady whose hands are scored
by disinfectant, telling the people you meet
that you are from Alaska, and listen
to what they have to say about Alaska
until you have learned much more about Alaska
than you ever will about Holly Springs or Coral Gables.
Sometimes I am buying a newspaper
in a strange city and think
"I am about to learn what it's like to live here."
Oftentimes there is a news item
about the complaints of homeowners
who live beside the airport
and I realize that I read an article
on this subject nearly once a year
and always receive the same image.
I am in bed late at night
in my house near the airport
listening to the jets fly overhead
a strange wife sleeping beside me.
In my mind, the bedroom is an amalgamation
of various cold medicine commercial sets
(there is always a box of tissue on the nightstand).
I know these recurring news articles are clues,
flaws in the design though I haven't figured out
how to string them together yet,
but I've begun to notice that the same people
are dying over and over again,
for instance Minnie Pearl
who died this year
for the fourth time in four years.
III three
Today is the first day of Lent
and once again I'm not really sure what it is.
How many more years will I let pass
before I take the trouble to ask someone?
It reminds of this morning
when you were getting ready for work.
I was sitting by the space heater
numbly watching you dress
and when you asked why I never wear a robe
I had so many good reasons
I didn't know where to begin.
If you were cool in high school
you didn't ask too many questions.
You could tell who'd been to last night's
big metal concert by the new t-shirts in the hallway.
You didn't have to ask
and that's what cool was:
the ability to deduct
to know without asking.
And the pressure to simulate coolness
means not asking when you don't know,
which is why kids grow ever more stupid.
A yearbook's endpages, filled with promises
to stay in touch, stand as proof of the uselessness
of a teenager's promise. Not like I'm dying
for a letter from the class stoner
ten years on but...
Do you remember the way the girls
would call out "love you!"
conveniently leaving out the "I"
as if they didn't want to commit
to their own declarations.
I agree that the "I" is a pretty heavy concept
and hope you won't get uncomfortable
if I should go into some deeper stuff here.
IV four
There are things I've given up on
like recording funny answering machine messages.
It's part of growing older
and the human race as a group
has matured along the same lines.
It seems our comedy dates the quickest.
If you laugh out loud at Shakespeare's jokes
I hope you won't be insulted
if I say you're trying too hard.
Even sketches from the original Saturday Night Live
seem slow-witted and obvious now.
It's just that our advances are irrepressible.
Nowadays little kids can't even set up lemonade stands.
It makes people too self-conscious about the past,
though try explaining that to a kid.
I'm not saying it should be this way.
All this new technology
will eventually give us new feelings
that will never completely displace the old ones
leaving everyone feeling quite nervous
and split in two.
We will travel to Mars
even as folks on Earth
are still ripping open potato chip
bags with their teeth.
Why? I don't have the time or intelligence
to make all the connections
like my friend Gordon
(this is a true story)
who grew up in Braintree Massachusetts
and had never pictured a brain snagged in a tree
until I brought it up.
He'd never broken the name down to its parts.
By then it was too late.
He had moved to Coral Gables.
V five
The hill out my window is still looking beautiful
suffused in a kind of gold national park light
and it seems to say,
I'm sorry the world could not possibly
use another poem about Orpheus
but I'm available if you're not working
on a self-portrait or anything.
I'm watching my dog have nightmares,
twitching and whining on the office floor
and I try to imagine what beast
has cornered him in the meadow
where his dreams are set.
I'm just letting the day be what it is:
a place for a large number of things
to gather and interact --
not even a place but an occasion
a reality for real things.
Friends warned me not to get too psychedelic
or religious with this piece:
"They won't accept it if it's too psychedelic
or religious," but these are valid topics
and I'm the one with the dog twitching on the floor
possibly dreaming of me
that part of me that would beat a dog
for no good reason
no reason that a dog could see.
I am trying to get at something so simple
that I have to talk plainly
so the words don't disfigure it
and if it turns out that what I say is untrue
then at least let it be harmless
like a leaky boat in the reeds
that is bothering no one.
VI six
I can't trust the accuracy of my own memories,
many of them having blended with sentimental
telephone and margarine commercials
plainly ruined by Madison Avenue
though no one seems to call the advertising world
"Madison Avenue" anymore. Have they moved?
Let's get an update on this.
But first I have some business to take care of.
I walked out to the hill behind our house
which looks positively Alaskan today
and it would be easier to explain this
if I had a picture to show you
but I was with our young dog
and he was running through the tall grass
like running through the tall grass
is all of life together
until a bird calls or he finds a beer can
and that thing fills all the space in his head.
You see,
his mind can only hold one thought at a time
and when he finally hears me call his name
he looks up and cocks his head
and for a single moment
my voice is everything:
Self-portrait at 28.
|
Written by
William Wordsworth |
A simple child, dear brother Jim, That lightly draws its breath, And feels its life in every limb, What should it know of death? I met a little cottage girl, She was eight years old, she said; Her hair was thick with many a curl That cluster'd round her head. She had a rustic, woodland air, And she was wildly clad; Her eyes were fair, and very fair, —Her beauty made me glad. "Sisters and brothers, little maid, How many may you be?" "How many? seven in all," she said, And wondering looked at me. "And where are they, I pray you tell?" She answered, "Seven are we, And two of us at Conway dwell, And two are gone to sea." "Two of us in the church-yard lie, My sister and my brother, And in the church-yard cottage, I Dwell near them with my mother." "You say that two at Conway dwell, And two are gone to sea, Yet you are seven; I pray you tell Sweet Maid, how this may be?" Then did the little Maid reply, "Seven boys and girls are we; Two of us in the church-yard lie, Beneath the church-yard tree." "You run about, my little maid, Your limbs they are alive; If two are in the church-yard laid, Then ye are only five." "Their graves are green, they may be seen," The little Maid replied, "Twelve steps or more from my mother's door, And they are side by side." "My stockings there I often knit, My 'kerchief there I hem; And there upon the ground I sit— I sit and sing to them." "And often after sunset, Sir, When it is light and fair, I take my little porringer, And eat my supper there." "The first that died was little Jane; In bed she moaning lay, Till God released her of her pain, And then she went away." "So in the church-yard she was laid, And all the summer dry, Together round her grave we played, My brother John and I." "And when the ground was white with snow, And I could run and slide, My brother John was forced to go, And he lies by her side." "How many are you then," said I, "If they two are in Heaven?" The little Maiden did reply, "O Master! we are seven." "But they are dead; those two are dead! Their spirits are in heaven!" 'Twas throwing words away; for still The little Maid would have her will, And said, "Nay, we are seven!" ANECDOTE for FATHERS, Shewing how the practice of Lying may be taught. I have a boy of five years old, His face is fair and fresh to see; His limbs are cast in beauty's mould, And dearly he loves me. One morn we stroll'd on our dry walk, Our quiet house all full in view, And held such intermitted talk As we are wont to do. My thoughts on former pleasures ran; I thought of Kilve's delightful shore, My pleasant home, when Spring began, A long, long year before. A day it was when I could bear To think, and think, and think again; With so much happiness to spare, I could not feel a pain. My boy was by my side, so slim And graceful in his rustic dress! And oftentimes I talked to him In very idleness. The young lambs ran a pretty race; The morning sun shone bright and warm; "Kilve," said I, "was a pleasant place, And so is Liswyn farm." "My little boy, which like you more," I said and took him by the arm— "Our home by Kilve's delightful shore, Or here at Liswyn farm?" "And tell me, had you rather be," I said and held-him by the arm, "At Kilve's smooth shore by the green sea, Or here at Liswyn farm?" In careless mood he looked at me, While still I held him by the arm, And said, "At Kilve I'd rather be Than here at Liswyn farm." "Now, little Edward, say why so; My little Edward, tell me why;" "I cannot tell, I do not know." "Why this is strange," said I. "For, here are woods and green hills warm: There surely must some reason be Why you would change sweet Liswyn farm, For Kilve by the green sea." At this, my boy hung down his head, He blush'd with shame, nor made reply; And five times to the child I said, "Why, Edward, tell me, why?" His head he raised—there was in sight, It caught his eye, he saw it plain— Upon the house-top, glittering bright, A broad and gilded vane. Then did the boy his tongue unlock, And thus to me he made reply; "At Kilve there was no weather-cock, And that's the reason why." Oh dearest, dearest boy! my heart For better lore would seldom yearn Could I but teach the hundredth part Of what from thee I learn. LINES Written at a small distance from my House, and sent by my little boy to the person to whom they are addressed. It is the first mild day of March: Each minute sweeter than before, The red-breast sings from the tall larch That stands beside our door. There is a blessing in the air, Which seems a sense of joy to yield To the bare trees, and mountains bare, And grass in the green field. My Sister! ('tis a wish of mine) Now that our morning meal is done, Make haste, your morning task resign; Come forth and feel the sun. Edward will come with you, and pray, Put on with speed your woodland dress, And bring no book, for this one day We'll give to idleness. No joyless forms shall regulate Our living Calendar: We from to-day, my friend, will date The opening of the year. Love, now an universal birth, From heart to heart is stealing, From earth to man, from man to earth, —It is the hour of feeling. One moment now may give us more Than fifty years of reason; Our minds shall drink at every pore The spirit of the season. Some silent laws our hearts may make, Which they shall long obey; We for the year to come may take Our temper from to-day. And from the blessed power that rolls About, below, above; We'll frame the measure of our souls, They shall be tuned to love. Then come, my sister I come, I pray, With speed put on your woodland dress, And bring no book; for this one day We'll give to idleness.
|
Written by
Charles Bukowski |
George was lying in his trailer, flat on his back, watching a small portable T.V. His
dinner dishes were undone, his breakfast dishes were undone, he needed a shave, and ash
from his rolled cigarettes dropped onto his undershirt. Some of the ash was still burning.
Sometimes the burning ash missed the undershirt and hit his skin, then he cursed, brushing
it away. There was a knock on the trailer door. He got slowly to his feet and answered the
door. It was Constance. She had a fifth of unopened whiskey in a bag.
"George, I left that son of a *****, I couldn't stand that son of a *****
anymore."
"Sit down."
George opened the fifth, got two glasses, filled each a third with whiskey, two thirds
with water. He sat down on the bed with Constance. She took a cigarette out of her purse
and lit it. She was drunk and her hands trembled.
"I took his damn money too. I took his damn money and split while he was at work.
You don't know how I've suffered with that son of a *****." "
Lemme have a smoke," said George. She handed it to him and as she leaned near,
George put his arm around her, pulled her over and kissed her.
"You son of a *****," she said, "I missed you."
"I miss those good legs of yours , Connie. I've really missed those good
legs."
"You still like 'em?"
"I get hot just looking."
"I could never make it with a college guy," said Connie. "They're too
soft, they're milktoast. And he kept his house clean. George , it was like having a maid.
He did it all. The place was spotless. You could eat beef stew right off the crapper. He
was antisceptic, that's what he was."
"Drink up, you'll feel better."
"And he couldn't make love."
"You mean he couldn't get it up?"
"Oh he got it up, he got it up all the time. But he didn't know how to make a
woman happy, you know. He didn't know what to do. All that money, all that education, he
was useless."
"I wish I had a college education."
"You don't need one. You have everything you need, George."
"I'm just a flunkey. All the **** jobs."
"I said you have everything you need, George. You know how to make a woman
happy."
"Yeh?"
"Yes. And you know what else? His mother came around! His mother! Two or three
times a week. And she'd sit there looking at me, pretending to like me but all the time
she was treating me like I was a whore. Like I was a big bad whore stealing her son away
from her! Her precious Wallace! Christ! What a mess!" "He claimed he loved me.
And I'd say, 'Look at my pussy, Walter!' And he wouldn't look at my pussy. He said, 'I
don't want to look at that thing.' That thing! That's what he called it! You're not afraid
of my pussy, are you, George?"
"It's never bit me yet." "But you've bit it, you've nibbled it, haven't
you George?"
"I suppose I have."
"And you've licked it , sucked it?"
"I suppose so."
"You know damn well, George, what you've done."
"How much money did you get?"
"Six hundred dollars."
"I don't like people who rob other people, Connie."
"That's why you're a fucking dishwasher. You're honest. But he's such an ass,
George. And he can afford the money, and I've earned it... him and his mother and his
love, his mother-love, his clean l;ittle wash bowls and toilets and disposal bags and
breath chasers and after shave lotions and his little hard-ons and his precious
love-making. All for himself, you understand, all for himself! You know what a woman
wants, George."
"Thanks for the whiskey, Connie. Lemme have another cigarette."
George filled them up again. "I missed your legs, Connie. I've really missed those
legs. I like the way you wear those high heels. They drive me crazy. These modern women
don't know what they're missing. The high heel shapes the calf, the thigh, the ass; it
puts rythm into the walk. It really turns me on!"
"You talk like a poet, George. Sometimes you talk like that. You are one hell of a
dishwasher."
"You know what I'd really like to do?"
"What?"
"I'd like to whip you with my belt on the legs, the ass, the thighs. I'd like to
make you quiver and cry and then when you're quivering and crying I'd slam it into you
pure love."
"I don't want that, George. You've never talked like that to me before. You've
always done right with me."
"Pull your dress up higher."
"What?"
"Pull your dress up higher, I want to see more of your legs."
"You like my legs, don't you, George?"
"Let the light shine on them!"
Constance hiked her dress.
"God christ ****," said George.
"You like my legs?"
"I love your legs!" Then george reached across the bed and slapped Constance
hard across the face. Her cigarette flipped out of her mouth.
"what'd you do that for?"
"You fucked Walter! You fucked Walter!"
"So what the hell?"
"So pull your dress up higher!"
"No!"
"Do what I say!" George slapped again, harder. Constance hiked her skirt.
"Just up to the panties!" shouted George. "I don't quite want to see the
panties!"
"Christ, george, what's gone wrong with you?"
"You fucked Walter!"
"George, I swear, you've gone crazy. I want to leave. Let me out of here,
George!"
"Don't move or I'll kill you!"
"You'd kill me?"
"I swear it!" George got up and poured himself a shot of straight whiskey,
drank it, and sat down next to Constance. He took the cigarette and held it against her
wrist. She screamed. HE held it there, firmly, then pulled it away.
"I'm a man , baby, understand that?"
"I know you're a man , George."
"Here, look at my muscles!" george sat up and flexed both of his arms.
"Beautiful, eh ,baby? Look at that muscle! Feel it! Feel it!"
Constance felt one of the arms, then the other.
"Yes, you have a beautiful body, George."
"I'm a man. I'm a dishwasher but I'm a man, a real man."
"I know it, George." "I'm not the milkshit you left."
"I know it."
"And I can sing, too. You ought to hear my voice."
Constance sat there. George began to sing. He sang "Old man River." Then he
sang "Nobody knows the trouble I've seen." He sang "The St. Louis
Blues." He sasng "God Bless America," stopping several times and laughing.
Then he sat down next to Constance. He said, "Connie, you have beautiful legs."
He asked for another cigarette. He smoked it, drank two more drinks, then put his head
down on Connie's legs, against the stockings, in her lap, and he said, "Connie, I
guess I'm no good, I guess I'm crazy, I'm sorry I hit you, I'm sorry I burned you with
that cigarette."
Constance sat there. She ran her fingers through George's hair, stroking him, soothing
him. Soon he was asleep. She waited a while longer. Then she lifted his head and placed it
on the pillow, lifted his legs and straightened them out on the bed. She stood up, walked
to the fifth, poured a jolt of good whiskey in to her glass, added a touch of water and
drank it sown. She walked to the trailer door, pulled it open, stepped out, closed it. She
walked through the backyard, opened the fence gate, walked up the alley under the one
o'clock moon. The sky was clear of clouds. The same skyful of clouds was up there. She got
out on the boulevard and walked east and reached the entrance of The Blue Mirror. She
walked in, and there was Walter sitting alone and drunk at the end of the bar. She walked
up and sat down next to him. "Missed me, baby?" she asked. Walter looked up. He
recognized her. He didn't answer. He looked at the bartender and the bartender walked
toward them They all knew eachother.
|
Written by
Robert Frost |
SHE stood against the kitchen sink, and looked
Over the sink out through a dusty window
At weeds the water from the sink made tall.
She wore her cape; her hat was in her hand.
Behind her was confusion in the room,
Of chairs turned upside down to sit like people
In other chairs, and something, come to look,
For every room a house has—parlor, bed-room,
And dining-room—thrown pell-mell in the kitchen.
And now and then a smudged, infernal face
Looked in a door behind her and addressed
Her back. She always answered without turning.
“Where will I put this walnut bureau, lady?”
“Put it on top of something that’s on top
Of something else,” she laughed. “Oh, put it where
You can to-night, and go. It’s almost dark;
You must be getting started back to town.”
Another blackened face thrust in and looked
And smiled, and when she did not turn, spoke gently,
“What are you seeing out the window, lady?”
“Never was I beladied so before.
Would evidence of having been called lady
More than so many times make me a lady
In common law, I wonder.”
“But I ask,
What are you seeing out the window, lady?”
“What I’ll be seeing more of in the years
To come as here I stand and go the round
Of many plates with towels many times.”
“And what is that? You only put me off.”
“Rank weeds that love the water from the dish-pan
More than some women like the dish-pan, Joe;
A little stretch of mowing-field for you;
Not much of that until I come to woods
That end all. And it’s scarce enough to call
A view.”
“And yet you think you like it, dear?”
“That’s what you’re so concerned to know! You hope
I like it. Bang goes something big away
Off there upstairs. The very tread of men
As great as those is shattering to the frame
Of such a little house. Once left alone,
You and I, dear, will go with softer steps
Up and down stairs and through the rooms, and none
But sudden winds that snatch them from our hands
Will ever slam the doors.”
“I think you see
More than you like to own to out that window.”
“No; for besides the things I tell you of,
I only see the years. They come and go
In alternation with the weeds, the field,
The wood.”
“What kind of years?”
“Why, latter years—
Different from early years.”
“I see them, too.
You didn’t count them?”
“No, the further off
So ran together that I didn’t try to.
It can scarce be that they would be in number
We’d care to know, for we are not young now.
And bang goes something else away off there.
It sounds as if it were the men went down,
And every crash meant one less to return
To lighted city streets we, too, have known,
But now are giving up for country darkness.”
“Come from that window where you see too much for me,
And take a livelier view of things from here.
They’re going. Watch this husky swarming up
Over the wheel into the sky-high seat,
Lighting his pipe now, squinting down his nose
At the flame burning downward as he sucks it.”
“See how it makes his nose-side bright, a proof
How dark it’s getting. Can you tell what time
It is by that? Or by the moon? The new moon!
What shoulder did I see her over? Neither.
A wire she is of silver, as new as we
To everything. Her light won’t last us long.
It’s something, though, to know we’re going to have her
Night after night and stronger every night
To see us through our first two weeks. But, Joe,
The stove! Before they go! Knock on the window;
Ask them to help you get it on its feet.
We stand here dreaming. Hurry! Call them back!”
“They’re not gone yet.”
“We’ve got to have the stove,
Whatever else we want for. And a light.
Have we a piece of candle if the lamp
And oil are buried out of reach?”
Again
The house was full of tramping, and the dark,
Door-filling men burst in and seized the stove.
A cannon-mouth-like hole was in the wall,
To which they set it true by eye; and then
Came up the jointed stovepipe in their hands,
So much too light and airy for their strength
It almost seemed to come ballooning up,
Slipping from clumsy clutches toward the ceiling.
“A fit!” said one, and banged a stovepipe shoulder.
“It’s good luck when you move in to begin
With good luck with your stovepipe. Never mind,
It’s not so bad in the country, settled down,
When people ’re getting on in life, You’ll like it.”
Joe said: “You big boys ought to find a farm,
And make good farmers, and leave other fellows
The city work to do. There’s not enough
For everybody as it is in there.”
“God!” one said wildly, and, when no one spoke:
“Say that to Jimmy here. He needs a farm.”
But Jimmy only made his jaw recede
Fool-like, and rolled his eyes as if to say
He saw himself a farmer. Then there was a French boy
Who said with seriousness that made them laugh,
“Ma friend, you ain’t know what it is you’re ask.”
He doffed his cap and held it with both hands
Across his chest to make as ’twere a bow:
“We’re giving you our chances on de farm.”
And then they all turned to with deafening boots
And put each other bodily out of the house.
“Goodby to them! We puzzle them. They think—
I don’t know what they think we see in what
They leave us to: that pasture slope that seems
The back some farm presents us; and your woods
To northward from your window at the sink,
Waiting to steal a step on us whenever
We drop our eyes or turn to other things,
As in the game ‘Ten-step’ the children play.”
“Good boys they seemed, and let them love the city.
All they could say was ‘God!’ when you proposed
Their coming out and making useful farmers.”
“Did they make something lonesome go through you?
It would take more than them to sicken you—
Us of our bargain. But they left us so
As to our fate, like fools past reasoning with.
They almost shook me.”
“It’s all so much
What we have always wanted, I confess
It’s seeming bad for a moment makes it seem
Even worse still, and so on down, down, down.
It’s nothing; it’s their leaving us at dusk.
I never bore it well when people went.
The first night after guests have gone, the house
Seems haunted or exposed. I always take
A personal interest in the locking up
At bedtime; but the strangeness soon wears off.”
He fetched a dingy lantern from behind
A door. “There’s that we didn’t lose! And these!”—
Some matches he unpocketed. “For food—
The meals we’ve had no one can take from us.
I wish that everything on earth were just
As certain as the meals we’ve had. I wish
The meals we haven’t had were, anyway.
What have you you know where to lay your hands on?”
“The bread we bought in passing at the store.
There’s butter somewhere, too.”
“Let’s rend the bread.
I’ll light the fire for company for you;
You’ll not have any other company
Till Ed begins to get out on a Sunday
To look us over and give us his idea
Of what wants pruning, shingling, breaking up.
He’ll know what he would do if he were we,
And all at once. He’ll plan for us and plan
To help us, but he’ll take it out in planning.
Well, you can set the table with the loaf.
Let’s see you find your loaf. I’ll light the fire.
I like chairs occupying other chairs
Not offering a lady—”
“There again, Joe!
You’re tired.”
“I’m drunk-nonsensical tired out;
Don’t mind a word I say. It’s a day’s work
To empty one house of all household goods
And fill another with ’em fifteen miles away,
Although you do no more than dump them down.”
“Dumped down in paradise we are and happy.”
“It’s all so much what I have always wanted,
I can’t believe it’s what you wanted, too.”
“Shouldn’t you like to know?”
“I’d like to know
If it is what you wanted, then how much
You wanted it for me.”
“A troubled conscience!
You don’t want me to tell if I don’t know.”
“I don’t want to find out what can’t be known.
But who first said the word to come?”
“My dear,
It’s who first thought the thought. You’re searching, Joe,
For things that don’t exist; I mean beginnings.
Ends and beginnings—there are no such things.
There are only middles.”
“What is this?”
“This life?
Our sitting here by lantern-light together
Amid the wreckage of a former home?
You won’t deny the lantern isn’t new.
The stove is not, and you are not to me,
Nor I to you.”
“Perhaps you never were?”
“It would take me forever to recite
All that’s not new in where we find ourselves.
New is a word for fools in towns who think
Style upon style in dress and thought at last
Must get somewhere. I’ve heard you say as much.
No, this is no beginning.”
“Then an end?”
“End is a gloomy word.”
“Is it too late
To drag you out for just a good-night call
On the old peach trees on the knoll to grope
By starlight in the grass for a last peach
The neighbors may not have taken as their right
When the house wasn’t lived in? I’ve been looking:
I doubt if they have left us many grapes.
Before we set ourselves to right the house,
The first thing in the morning, out we go
To go the round of apple, cherry, peach,
Pine, alder, pasture, mowing, well, and brook.
All of a farm it is.”
“I know this much:
I’m going to put you in your bed, if first
I have to make you build it. Come, the light.”
When there was no more lantern in the kitchen,
The fire got out through crannies in the stove
And danced in yellow wrigglers on the ceiling,
As much at home as if they’d always danced there.
|
Written by
John Davidson |
'A letter from my love to-day!
Oh, unexpected, dear appeal!'
She struck a happy tear away,
And broke the crimson seal.
'My love, there is no help on earth,
No help in heaven; the dead-man's bell
Must toll our wedding; our first hearth
Must be the well-paved floor of hell.'
The colour died from out her face,
Her eyes like ghostly candles shone;
She cast dread looks about the place,
Then clenched her teeth and read right on.
'I may not pass the prison door;
Here must I rot from day to day,
Unless I wed whom I abhor,
My cousin, Blanche of Valencay.
'At midnight with my dagger keen,
I'll take my life; it must be so.
Meet me in hell to-night, my queen,
For weal and woe.'
She laughed although her face was wan,
She girded on her golden belt,
She took her jewelled ivory fan,
And at her glowing missal knelt.
Then rose, 'And am I mad?' she said:
She broke her fan, her belt untied;
With leather girt herself instead,
And stuck a dagger at her side.
She waited, shuddering in her room,
Till sleep had fallen on all the house.
She never flinched; she faced her doom:
They two must sin to keep their vows.
Then out into the night she went,
And, stooping, crept by hedge and tree;
Her rose-bush flung a snare of scent,
And caught a happy memory.
She fell, and lay a minute's space;
She tore the sward in her distress;
The dewy grass refreshed her face;
She rose and ran with lifted dress.
She started like a morn-caught ghost
Once when the moon came out and stood
To watch; the naked road she crossed,
And dived into the murmuring wood.
The branches snatched her streaming cloak;
A live thing shrieked; she made no stay!
She hurried to the trysting-oak—
Right well she knew the way.
Without a pause she bared her breast,
And drove her dagger home and fell,
And lay like one that takes her rest,
And died and wakened up in hell.
She bathed her spirit in the flame,
And near the centre took her post;
From all sides to her ears there came
The dreary anguish of the lost.
The devil started at her side,
Comely, and tall, and black as jet.
'I am young Malespina's bride;
Has he come hither yet?'
'My poppet, welcome to your bed.'
'Is Malespina here?'
'Not he! To-morrow he must wed
His cousin Blanche, my dear!'
'You lie, he died with me to-night.'
'Not he! it was a plot' ... 'You lie.'
'My dear, I never lie outright.'
'We died at midnight, he and I.'
The devil went. Without a groan
She, gathered up in one fierce prayer,
Took root in hell's midst all alone,
And waited for him there.
She dared to make herself at home
Amidst the wail, the uneasy stir.
The blood-stained flame that filled the dome,
Scentless and silent, shrouded her.
How long she stayed I cannot tell;
But when she felt his perfidy,
She marched across the floor of hell;
And all the damned stood up to see.
The devil stopped her at the brink:
She shook him off; she cried, 'Away!'
'My dear, you have gone mad, I think.'
'I was betrayed: I will not stay.'
Across the weltering deep she ran;
A stranger thing was never seen:
The damned stood silent to a man;
They saw the great gulf set between.
To her it seemed a meadow fair;
And flowers sprang up about her feet
She entered heaven; she climbed the stair
And knelt down at the mercy-seat.
Seraphs and saints with one great voice
Welcomed that soul that knew not fear.
Amazed to find it could rejoice,
Hell raised a hoarse, half-human cheer.
|
Written by
Christina Rossetti |
One face looks out from all his canvases,
One selfsame figure sits or walks or leans:
We found her hidden just behind those screens,
That mirror gave back all her loveliness.
A queen in opal or in ruby dress,
A nameless girl in freshest summer-greens,
A saint, an angel—every canvas means
The same one meaning, neither more nor less.
He feeds upon her face by day and night,
And she with true kind eyes looks back on him,
Fair as the moon and joyful as the light:
Not wan with waiting, not with sorrow dim;
No as she is, but was when hope shone bright;
Not as she is, but as she fills his dream.
|