Written by
Jorie Graham |
All this was written on the next day's list.
On which the busyness unfurled its cursive roots,
pale but effective,
and the long stem of the necessary, the sum of events,
built-up its tiniest cathedral...
(Or is it the sum of what takes place? )
If I lean down, to whisper, to them,
down into their gravitational field, there where they head busily on
into the woods, laying the gifts out one by one, onto the path,
hoping to be on the air,
hoping to please the children --
(and some gifts overwrapped and some not wrapped at all) -- if
I stir the wintered ground-leaves
up from the paths, nimbly, into a sheet of sun,
into an escape-route-width of sun, mildly gelatinous where wet, though mostly
crisp,
fluffing them up a bit, and up, as if to choke the singularity of sun
with this jubilation of manyness, all through and round these passers-by --
just leaves, nothing that can vaporize into a thought,
no, a burning bush's worth of spidery, up-ratcheting, tender-cling leaves,
oh if -- the list gripped hard by the left hand of one,
the busyness buried so deep into the puffed-up greenish mind of one,
the hurried mind hovering over its rankings,
the heart -- there at the core of the drafting leaves -- wet and warm at the
zero of
the bright mock-stairwaying-up of the posthumous leaves -- the heart,
formulating its alleyways of discovery,
fussing about the integrity of the whole,
the heart trying to make time and place seem small,
sliding its slim tears into the deep wallet of each new event
on the list
then checking it off -- oh the satisfaction -- each check a small kiss,
an echo of the previous one, off off it goes the dry high-ceilinged
obligation,
checked-off by the fingertips, by the small gust called done that swipes
the unfinishable's gold hem aside, revealing
what might have been, peeling away what should . . .
There are flowerpots at their feet.
There is fortune-telling in the air they breathe.
It filters-in with its flashlight-beam, its holy-water-tinted air,
down into the open eyes, the lampblack open mouth.
Oh listen to these words I'm spitting out for you.
My distance from you makes them louder.
Are we all waiting for the phone to ring?
Who should it be? What fountain is expected to
thrash forth mysteries of morning joy? What quail-like giant tail of
promises, pleiades, psalters, plane-trees,
what parapets petalling-forth the invisible
into the world of things,
turning the list into its spatial-form at last,
into its archival many-headed, many-legged colony . . .
Oh look at you.
What is it you hold back? What piece of time is it the list
won't cover? You down there, in the theater of
operations -- you, throat of the world -- so diacritical --
(are we all waiting for the phone to ring?) --
(what will you say? are you home? are you expected soon?) --
oh wanderer back from break, all your attention focused
-- as if the thinking were an oar, this ship the last of some
original fleet, the captains gone but some of us
who saw the plan drawn-out
still here -- who saw the thinking clot-up in the bodies of the greater men,
who saw them sit in silence while the voices in the other room
lit-up with passion, itchings, dreams of landings,
while the solitary ones,
heads in their hands, so still,
the idea barely forming
at the base of that stillness,
the idea like a homesickness starting just to fold and pleat and knot-itself
out of the manyness -- the plan -- before it's thought,
before it's a done deal or the name-you're-known-by --
the men of x, the outcomes of y -- before --
the mind still gripped hard by the hands
that would hold the skull even stiller if they could,
that nothing distract, that nothing but the possible be let to filter
through,
the possible and then the finely filamented hope, the filigree,
without the distractions of wonder --
oh tiny golden spore just filtering-in to touch the good idea,
which taking-form begins to twist,
coursing for bottom-footing, palpating for edge-hold, limit,
now finally about to
rise, about to go into the other room -- and yet
not having done so yet, not yet -- the
intake -- before the credo, before the plan --
right at the homesickness -- before this list you hold
in your exhausted hand. Oh put it down.
|
Written by
Philip Levine |
Still sober, César Vallejo comes home and finds a black ribbon
around the apartment building covering the front door.
He puts down his cane, removes his greasy fedora, and begins
to untangle the mess. His neighbors line up behind him
wondering what's going on. A middle-aged woman carrying
a loaf of fresh bread asks him to step aside so she
can enter, ascend the two steep flights to her apartment,
and begin the daily task of preparing lunch for her Monsieur.
Vallejo pretends he hears nothing or perhaps he truly
hears nothing so absorbed is he in this odd task consuming
his late morning. Did I forget to mention that no one else
can see the black ribbon or understand why his fingers
seem so intent on unraveling what is not there? Remember
when you were only six and on especially hot days you
would descend the shaky steps to the cellar hoping at first
that someone, perhaps your mother, would gradually
become aware of your absence and feel a sudden seizure
of anxiety or terror. Of course no one noticed. Mother
sat for hours beside the phone waiting, and now and then
gazed at summer sunlight blazing through the parlor curtains
while below, cool and alone, seated on the damp concrete
you watched the same sunlight filter through the rising dust
from the two high windows. Beside the furnace a spider
worked brilliantly downward from the burned-out, overhead bulb
with a purpose you at that age could still comprehend.
1937 would last only six more months. It was a Thursday.
Rain was promised but never arrived. The brown spider worked
with or without hope, though when the dusty sunlight caught
in the web you beheld a design so perfect it remained
in your memory as a model of meaning. César Vallejo
untangled the black ribbon no one else saw and climbed
to his attic apartment and gazed out at the sullen rooftops
stretching southward toward Spain where his heart died. I know this.
I've walked by the same building year after year in late evening
when the swallows were settling noiselessly in the few sparse trees
beside the unused canal. I've come when the winter snow
blinded the distant brooding sky. I've come just after dawn,
I've come in spring, in autumn, in rain, and he was never there.
|
Written by
Carl Sandburg |
BAND concert public square Nebraska city. Flowing and circling dresses, summer-white dresses. Faces, flesh tints flung like sprays of cherry blossoms. And gigglers, God knows, gigglers, rivaling the pony whinnies of the Livery Stable Blues.
Cowboy rags and ****** rags. And boys driving sorrel horses hurl a cornfield laughter at the girls in dresses, summer-white dresses. Amid the cornet staccato and the tuba oompa, gigglers, God knows, gigglers daffy with life’s razzle dazzle.
Slow good-night melodies and Home Sweet Home. And the snare drummer bookkeeper in a hardware store nods hello to the daughter of a railroad conductor—a giggler, God knows, a giggler—and the summer-white dresses filter fanwise out of the public square.
The crushed strawberries of ice cream soda places, the night wind in cottonwoods and willows, the lattice shadows of doorsteps and porches, these know more of the story.
|
Written by
Marilyn Hacker |
Cherry-ripe: dark sweet burlats, scarlet reverchons
firm-fleshed and tart in the mouth
bigarreaux, peach-and-white napoléons
as the harvest moves north
from Provence to the banks of the Yonne
(they grow napoléons in Washington
State now). Before that, garriguettes,
from Périgord, in wooden punnets
afterwards, peaches: yellow-fleshed, white,
moss-skinned ruby pêches de vigne.
The vendors cry out "Taste," my appetite
does, too.. Birdsong, from an unseen
source on this street-island, too close for the trees:
it’s a young woman with a tin basin
of plastic whistles moulded like canaries.
– which children warbled on in Claremont Park
one spring day in my third year. Gísela
my father’s mother, took
me there. I spent the days with her
now that my mother had gone back to work.
In her brocade satchel, crochet-work, a picture-book
for me. But overnight the yellow bird
whistles had appeared
and I wanted one passionately.
Watching big girls play hopscotch at curb’s edge
or telling stories to V.J
under the shiny leaves of privet hedge
were pale pastimes compared to my desire
Did I hector one of the privileged
warblers to tell us where they were acquired?
– the candy store on Tremont Avenue
Of course I don’t call her Gísela.
I call her Grandma.. "Grandma will buy it for you,"
– does she add "mammele "
not letting her annoyance filter through
as an old-world friend moves into view?
The toddler and the stout
grey-haired woman walk out
of the small park toward the shopping streets
into a present tense
where what’s ineffaceable repeats
itself. Accidents.
I dash ahead, new whistle in my hand
She runs behind. The car. The almost-silent
thud. Gísela, prone, also silent, on the ground.
Death is the scandal that was always hidden.
I never saw my grandmother again
Who took me home? Somebody did. In
the next few days (because that afternoon
and night are blank) I don’t think I cried, I didn’t
know what to ask (I wasn’t three), and then I did, and
"She’s gone to live in Florida" they said
and I knew she was dead.
A black woman, to whom I wasn’t nice,
was hired to look after me.
Her name was Josephine – and that made twice
I’d heard that name: my grandmother’s park crony
was Josephine. Where was Grandma; where was Gísela ?
she called me to her bench to ask one day.
I say, "She’s gone to live in Florida."
|