Written by
Marilyn Hacker |
Spring wafts up the smell of bus exhaust, of bread
and fried potatoes, tips green on the branches,
repeats old news: arrogance, ignorance, war.
A cinder-block wall shared by two houses
is new rubble. On one side was a kitchen
sink and a cupboard, on the other was
a bed, a bookshelf, three framed photographs.
Glass is shattered across the photographs;
two half-circles of hardened pocket bread
sit on the cupboard. There provisionally was
shelter, a plastic truck under the branches
of a fig tree. A knife flashed in the kitchen,
merely dicing garlic. Engines of war
move inexorably toward certain houses
while citizens sit safe in other houses
reading the newspaper, whose photographs
make sanitized excuses for the war.
There are innumerable kinds of bread
brought up from bakeries, baked in the kitchen:
the date, the latitude, tell which one was
dropped by a child beneath the bloodied branches.
The uncontrolled and multifurcate branches
of possibility infiltrate houses'
walls, windowframes, ceilings. Where there was
a tower, a town: ash and burnt wires, a graph
on a distant computer screen. Elsewhere, a kitchen
table's setting gapes, where children bred
to branch into new lives were culled for war.
Who wore this starched smocked cotton dress? Who wore
this jersey blazoned for the local branch
of the district soccer team? Who left this black bread
and this flat gold bread in their abandoned houses?
Whose father begged for mercy in the kitchen?
Whose memory will frame the photograph
and use the memory for what it was
never meant for by this girl, that old man, who was
caught on a ball field, near a window: war,
exhorted through the grief a photograph
revives. (Or was the team a covert branch
of a banned group; were maps drawn in the kitchen,
a bomb thrust in a hollowed loaf of bread?)
What did the old men pray for in their houses
of prayer, the teachers teach in schoolhouses
between blackouts and blasts, when each word was
flensed by new censure, books exchanged for bread,
both hostage to the happenstance of war?
Sometimes the only schoolroom is a kitchen.
Outside the window, black strokes on a graph
of broken glass, birds line up on bare branches.
"This letter curves, this one spreads its branches
like friends holding hands outside their houses."
Was the lesson stopped by gunfire? Was
there panic, silence? Does a torn photograph
still gather children in the teacher's kitchen?
Are they there meticulously learning war-
time lessons with the signs for house, book, bread?
|
Written by
T Wignesan |
When at five-thirty
In the rubbed-eye haziness
Of ferreting lonesome night walks
The camera-eye refugee
Asleep in the half awakefulness
Of the hour
Peers out of his high turbanned sockets:
Hyde Park's through road links
London's diurnally estranged couple -
The Arch and Gate.
When at five-thirty
The foot falls gently
Of the vision cut in dark recesses
And the man, finger gingerly on the fly
Gapes dolefully about
For a while
Exchanges a casual passing word
Standing in the Rembrandtesque clefts
And the multipled ma'm'selle trips out:
Neat and slick.
They say you meet the girls at parties
And get deeper than swine in orgies.
When at five-thirty
The fisherman's chilled chips
Lie soggy and heeled under the Arch
Where patchy transparent wrappers cling
To slippery hands jingling the inexact change
That mounted the trustful fisherman's credit:
The stub legged fisher of diplomat
And cool cat
And the prostitutes' confidant;
Each shivering pimp's warming pan.
Then at five-thirty
The bowels of Hyde Park
Improperly growled and shunted
And shook the half-night-long
Lazily swaggering double deckers,
Suddenly as in a rude recollection,
To break and pull, grind and swing away
And around, drawing the knotting air after
Curling and unfurling on the pavements.
And at five-thirty
The prostrate mindful old refugee
Dares not stir
Nor cares to wake and swallow
The precisely half-downed bottle
Of Coke clinging to the pearly dew
Nor lick the clasp knife clean
Lying bare by a tin of' skewed top
Corned beef, incisively culled
Look! that garden all spruced up
An incongruous lot of hair on that bald pate
No soul stirs in there but the foul air
No parking alongside but from eight to eight.
Learning so hard and late
No time to scratch the bald pate.
At five-thirty-one
A minute just gone
The thud is on, the sledge-hammer yawns
And in the back of ears, strange noises
As from afar and a million feet tramp.
One infinitesimal particle knocks another
And the whirl begins in a silent rage
And the human heart beats harder
While in and around, this London
This atomic mammoth roams
In the wastes of wars and tumbling empires.
|
Written by
T S (Thomas Stearns) Eliot |
APENECK SWEENEY spreads his knees
Letting his arms hang down to laugh,
The zebra stripes along his jaw
Swelling to maculate giraffe.
The circles of the stormy moon
Slide westward toward the River Plate,
Death and the Raven drift above
And Sweeney guards the hornèd gate.
Gloomy Orion and the Dog
Are veiled; and hushed the shrunken seas;
The person in the Spanish cape
Tries to sit on Sweeney’s knees
Slips and pulls the table cloth
Overturns a coffee-cup,
Reorganised upon the floor
She yawns and draws a stocking up;
The silent man in mocha brown
Sprawls at the window-sill and gapes;
The waiter brings in oranges
Bananas figs and hothouse grapes;
The silent vertebrate in brown
Contracts and concentrates, withdraws;
Rachel née Rabinovitch
Tears at the grapes with murderous paws;
She and the lady in the cape
Are suspect, thought to be in league;
Therefore the man with heavy eyes
Declines the gambit, shows fatigue,
Leaves the room and reappears
Outside the window, leaning in,
Branches of wistaria
Circumscribe a golden grin;
The host with someone indistinct
Converses at the door apart,
The nightingales are singing near
The Convent of the Sacred Heart,
And sang within the bloody wood
When Agamemnon cried aloud,
And let their liquid siftings fall
To stain the stiff dishonoured shroud.
|
Written by
Donald Hall |
The clock of my days winds down.
The cat eats sparrows outside my window.
Once, she brought me a small rabbit
which we devoured together, under
the Empire Table
while the men shrieked
repossessing the gold umbrella.
Now the beard on my clock turns white.
My cat stares into dark corners
missing her gold umbrella.
She is in love
with the Alligator Bride.
Ah, the tiny fine white
teeth! The Bride, propped on her tail
in white lace
stares from the holes
of her eyes. Her stuck-open mouth
laughs at minister and people.
On bare new wood
fourteen tomatoes,
a dozen ears of corn,
six bottles of white wine,
a melon,
a cat,
broccoli
and the Alligator Bride.
The color of bubble gum,
the consistency of petroleum jelly,
wickedness oozes
from the palm of my left hand.
My cat licks it.
I watch the Alligator Bride.
Big houses like shabby boulders
hold themselves tight
in gelatin.
I am unable to daydream.
The sky is a gun aimed at me.
I pull the trigger.
The skull of my promises
leans in a black closet, gapes
with its good mouth
for a teat to suck.
A bird flies back and forth
in my house that is covered by gelatin
and the cat leaps at it
missing. Under the Empire Table
the Alligator Bride
lies in her bridal shroud.
My left hand
leaks on the Chinese carpet.
|
Written by
Algernon Charles Swinburne |
Here, down between the dusty trees,
At this lank edge of haggard wood,
Women with labour-loosened knees,
With gaunt backs bowed by servitude,
Stop, shift their loads, and pray, and fare
Forth with souls easier for the prayer.
The suns have branded black, the rains
Striped grey this piteous God of theirs;
The face is full of prayers and pains,
To which they bring their pains and prayers;
Lean limbs that shew the labouring bones,
And ghastly mouth that gapes and groans.
God of this grievous people, wrought
After the likeness of their race,
By faces like thine own besought,
Thine own blind helpless eyeless face,
I too, that have nor tongue nor knee
For prayer, I have a word to thee.
It was for this then, that thy speech
Was blown about the world in flame
And men's souls shot up out of reach
Of fear or lust or thwarting shame -
That thy faith over souls should pass
As sea-winds burning the grey grass?
It was for this, that prayers like these
Should spend themselves about thy feet,
And with hard overlaboured knees
Kneeling, these slaves of men should beat
Bosoms too lean to suckle sons
And fruitless as their orisons?
It was for this, that men should make
Thy name a fetter on men's necks,
Poor men's made poorer for thy sake,
And women's withered out of sex?
It was for this, that slaves should be,
Thy word was passed to set men free?
The nineteenth wave of the ages rolls
Now deathward since thy death and birth.
Hast thou fed full men's starved-out souls?
Hast thou brought freedom upon earth?
Or are there less oppressions done
In this wild world under the sun?
Nay, if indeed thou be not dead,
Before thy terrene shrine be shaken,
Look down, turn usward, bow thine head;
O thou that wast of God forsaken,
Look on thine household here, and see
These that have not forsaken thee.
Thy faith is fire upon their lips,
Thy kingdom golden in their hands;
They scourge us with thy words for whips,
They brand us with thy words for brands;
The thirst that made thy dry throat shrink
To their moist mouths commends the drink.
The toothed thorns that bit thy brows
Lighten the weight of gold on theirs;
Thy nakedness enrobes thy spouse
With the soft sanguine stuff she wears
Whose old limbs use for ointment yet
Thine agony and bloody sweat.
The blinding buffets on thine head
On their crowned heads confirm the crown;
Thy scourging dyes their raiment red,
And with thy bands they fasten down
For burial in the blood-bought field
The nations by thy stripes unhealed.
With iron for thy linen bands
And unclean cloths for winding-sheet
They bind the people's nail-pierced hands,
They hide the people's nail-pierced feet;
And what man or what angel known
Shall roll back the sepulchral stone?
But these have not the rich man's grave
To sleep in when their pain is done.
These were not fit for God to save.
As naked hell-fire is the sun
In their eyes living, and when dead
These have not where to lay their head.
They have no tomb to dig, and hide;
Earth is not theirs, that they should sleep.
On all these tombless crucified
No lovers' eyes have time to weep.
So still, for all man's tears and creeds,
The sacred body hangs and bleeds.
Through the left hand a nail is driven,
Faith, and another through the right,
Forged in the fires of hell and heaven,
Fear that puts out the eye of light:
And the feet soiled and scarred and pale
Are pierced with falsehood for a nail.
And priests against the mouth divine
Push their sponge full of poison yet
And bitter blood for myrrh and wine,
And on the same reed is it set
Wherewith before they buffeted
The people's disanointed head.
O sacred head, O desecrate,
O labour-wounded feet and hands,
O blood poured forth in pledge to fate
Of nameless lives in divers lands,
O slain and spent and sacrificed
People, the grey-grown speechless Christ!
Is there a gospel in the red
Old witness of thy wide-mouthed wounds?
From thy blind stricken tongueless head
What desolate evangel sounds
A hopeless note of hope deferred?
What word, if there be any word?
O son of man, beneath man's feet
Cast down, O common face of man
Whereon all blows and buffets meet,
O royal, O republican
Face of the people bruised and dumb
And longing till thy kingdom come!
The soldiers and the high priests part
Thy vesture: all thy days are priced,
And all the nights that eat thine heart.
And that one seamless coat of Christ,
The freedom of the natural soul,
They cast their lots for to keep whole.
No fragment of it save the name
They leave thee for a crown of scorns
Wherewith to mock thy naked shame
And forehead bitten through with thorns
And, marked with sanguine sweat and tears,
The stripes of eighteen hundred years
And we seek yet if God or man
Can loosen thee as Lazarus,
Bid thee rise up republican
And save thyself and all of us;
But no disciple's tongue can say
When thou shalt take our sins away.
And mouldering now and hoar with moss
Between us and the sunlight swings
The phantom of a Christless cross
Shadowing the sheltered heads of kings
And making with its moving shade
The souls of harmless men afraid.
It creaks and rocks to left and right
Consumed of rottenness and rust,
Worm-eaten of the worms of night,
Dead as their spirits who put trust,
Round its base muttering as they sit,
In the time-cankered name of it.
Thou, in the day that breaks thy prison,
People, though these men take thy name,
And hail and hymn thee rearisen,
Who made songs erewhile of thy shame,
Give thou not ear; for these are they
Whose good day was thine evil day.
Set not thine hand unto their cross.
Give not thy soul up sacrificed.
Change not the gold of faith for dross
Of Christian creeds that spit on Christ.
Let not thy tree of freedom be
Regrafted from that rotting tree.
This dead God here against my face
Hath help for no man; who hath seen
The good works of it, or such grace
As thy grace in it, Nazarene,
As that from thy live lips which ran
For man's sake, O thou son of man?
The tree of faith ingraffed by priests
Puts its foul foliage out above thee,
And round it feed man-eating beasts
Because of whom we dare not love thee;
Though hearts reach back and memories ache,
We cannot praise thee for their sake.
O hidden face of man, whereover
The years have woven a viewless veil,
If thou wast verily man's lover,
What did thy love or blood avail?
Thy blood the priests make poison of,
And in gold shekels coin thy love.
So when our souls look back to thee
They sicken, seeing against thy side,
Too foul to speak of or to see,
The leprous likeness of a bride,
Whose kissing lips through his lips grown
Leave their God rotten to the bone.
When we would see thee man, and know
What heart thou hadst toward men indeed,
Lo, thy blood-blackened altars; lo,
The lips of priests that pray and feed
While their own hell's worm curls and licks
The poison of the crucifix.
Thou bad'st let children come to thee;
What children now but curses come?
What manhood in that God can be
Who sees their worship, and is dumb?
No soul that lived, loved, wrought, and died,
Is this their carrion crucified.
Nay, if their God and thou be one,
If thou and this thing be the same,
Thou shouldst not look upon the sun;
The sun grows haggard at thy name.
Come down, be done with, cease, give o'er;
Hide thyself, strive not, be no more.
|
Written by
Gerard Manley Hopkins |
And he said, If the Lord do not help thee, whence shall I help thee? out of the barnfloor, or out of the winepress?
2 Kings VI: 27
Thou that on sin's wages starvest,
Behold we have the joy in harvest:
For us was gather'd the first fruits,
For us was lifted from the roots,
Sheaved in cruel bands, bruised sore,
Scourged upon the threshing-floor;
Where the upper mill-stone roof'd His head,
At morn we found the heavenly Bread,
And, on a thousand altars laid,
Christ our Sacrifice is made!
Thou whose dry plot for moisture gapes,
We shout with them that tread the grapes:
For us the Vine was fenced with thorn,
Five ways the precious branches torn;
Terrible fruit was on the tree
In the acre of Gethsemane;
For us by Calvary's distress
The wine was racked from the press;
Now in our altar-vessels stored
Is the sweet Vintage of our Lord.
In Joseph's garden they threw by
The riv'n Vine, leafless, lifeless, dry:
On Easter morn the Tree was forth,
In forty days reach'd heaven from earth;
Soon the whole world is overspread;
Ye weary, come into the shade.
The field where He has planted us
Shall shake her fruit as Libanus,
When He has sheaved us in His sheaf,
When He has made us bear his leaf. -
We scarcely call that banquet food,
But even our Saviour's and our blood,
We are so grafted on His wood.
|
Written by
Andrew Barton Paterson |
Long ago the Gladiators,
When the call to combat came,
Marching past the massed spectators,
Hailed the Emp'ror with acclaim!
Voices ringing with the fury
Of the strife so soon to be,
Cried, "O Caesar, morituri
salutamus te!"
Nowadays the massed spectators
See the unaccustomed sight --
Legislative gladiators
Marching to their last great fight;
Young and old, obscure and famous,
Hand to hand and knee to knee --
Hear the war-cry, "Salutamus
morituri te!"
Fight! Nor be the fight suspended
Till the corpses strew the plain.
Ere the grisly strife be ended
Five and thirty must be slain.
Slay and spare not, lest another
Haply may discomfit thee:
Brother now must war with brother --
"Salutamus te!"
War-torn vet'ran, skilled debater,
Trickster famed of bridge and road,
Now for each grim gladiator
Gapes Oblivion's drear abode.
Should the last great final jury
Turn their thumbs down -- it must be!
"Ave, Caesar, morituri
salutamus te!"
|
Written by
Robert Pinsky |
In the willows along the river at Pleasure Bay
A catbird singing, never the same phrase twice.
Here under the pines a little off the road
In 1927 the Chief of Police
And Mrs. W. killed themselves together,
Sitting in a roadster. Ancient unshaken pilings
And underwater chunks of still-mortared brick
In shapes like bits of puzzle strew the bottom
Where the landing was for Price's Hotel and Theater.
And here's where boats blew two blasts for the keeper
To shunt the iron swing-bridge. He leaned on the gears
Like a skipper in the hut that housed the works
And the bridge moaned and turned on its middle pier
To let them through. In the middle of the summer
Two or three cars might wait for the iron trusswork
Winching aside, with maybe a child to notice
A name on the stern in black-and-gold on white,
Sandpiper, Patsy Ann, Do Not Disturb,
The Idler. If a boat was running whiskey,
The bridge clanged shut behind it as it passed
And opened up again for the Coast Guard cutter
Slowly as a sundial, and always jammed halfway.
The roadbed whole, but opened like a switch,
The river pulling and coursing between the piers.
Never the same phrase twice, the catbird filling
The humid August evening near the inlet
With borrowed music that he melds and changes.
Dragonflies and sandflies, frogs in the rushes, two bodies
Not moving in the open car among the pines,
A sliver of story. The tenor at Price's Hotel,
In clown costume, unfurls the sorrow gathered
In ruffles at his throat and cuffs, high quavers
That hold like splashes of light on the dark water,
The aria's closing phrases, changed and fading.
And after a gap of quiet, cheers and applause
Audible in the houses across the river,
Some in the audience weeping as if they had melted
Inside the music. Never the same. In Berlin
The daughter of an English lord, in love
With Adolf Hitler, whom she has met. She is taking
Possession of the apartment of a couple,
Elderly well-off Jews. They survive the war
To settle here in the Bay, the old lady
Teaches piano, but the whole world swivels
And gapes at their feet as the girl and a high-up Nazi
Examine the furniture, the glass, the pictures,
The elegant story that was theirs and now
Is part of hers. A few months later the English
Enter the war and she shoots herself in a park,
An addled, upper-class girl, her life that passes
Into the lives of others or into a place.
The taking of lives--the Chief and Mrs. W.
Took theirs to stay together, as local ghosts.
Last flurries of kisses, the revolver's barrel,
Shivers of a story that a child might hear
And half remember, voices in the rushes,
A singing in the willows. From across the river,
Faint quavers of music, the same phrase twice and again,
Ranging and building. Over the high new bridge
The flashing of traffic homeward from the racetrack,
With one boat chugging under the arches, outward
Unnoticed through Pleasure Bay to the open sea.
Here's where the people stood to watch the theater
Burn on the water. All that night the fireboats
Kept playing their spouts of water into the blaze.
In the morning, smoking pilasters and beams.
Black smell of char for weeks, the ruin already
Soaking back into the river. After you die
You hover near the ceiling above your body
And watch the mourners awhile. A few days more
You float above the heads of the ones you knew
And watch them through a twilight. As it grows darker
You wander off and find your way to the river
And wade across. On the other side, night air,
Willows, the smell of the river, and a mass
Of sleeping bodies all along the bank,
A kind of singing from among the rushes
Calling you further forward in the dark.
You lie down and embrace one body, the limbs
Heavy with sleep reach eagerly up around you
And you make love until your soul brims up
And burns free out of you and shifts and spills
Down over into that other body, and you
Forget the life you had and begin again
On the same crossing--maybe as a child who passes
Through the same place. But never the same way twice.
Here in the daylight, the catbird in the willows,
The new café, with a terrace and a landing,
Frogs in the cattails where the swing-bridge was--
Here's where you might have slipped across the water
When you were only a presence, at Pleasure Bay.
|
Written by
Johann Wolfgang von Goethe |
[To the memory of an excellent and beautiful
girl of 17, belonging to the village of Brienen, who perished on
the 13th of January, 1809, whilst giving help on the occasion of
the breaking up of the ice on the Rhine, and the bursting of the
dam of Cleverham.]
THE DAM BREAKS DOWN, THE ICE-PLAIN GROWLS,
THE FLOODS ARISE, THE WATER HOWLS.
"I'll bear thee, mother, across the swell,
'Tis not yet high, I can wade right well."
"Remember us too! in what danger are we!
Thy fellow-lodger, and children three!
The trembling woman!--Thou'rt going away!"
She bears the mother across the spray.
"Quick! haste to the mound, and awhile there wait,
I'll soon return, and all will be straight.
The mound's close by, and safe from the wet;
But take my goat too, my darling pet!"
THE DAM DISSOLVES, THE ICE-PLAIN GROWLS,
THE FLOODS DASH ON, THE WATER HOWLS.
She places the mother safe on the shore;
Fair Susan then turns tow'rd the flood once more.
"Oh whither? Oh whither? The breadth fast grows,
Both here and there the water o'erflows.
Wilt venture, thou rash one, the billows to brave?"
"THEY SHALL, AND THEY MUST BE PRESERVED FROM THE WAVE!"
THE DAM DISAPPEARS, THE WATER GROWLS,
LIKE OCEAN BILLOWS IT HEAVES AND HOWLS.
Fair Susan returns by the way she had tried,
The waves roar around, but she turns not aside;
She reaches the mound, and the neighbour straight,
But for her and the children, alas, too late!
THE DAM DISAPPEAR'D,--LIKE A SEA IT GROWLS,
ROUND THE HILLOCK IN CIRCLING EDDIES IT HOWLS.
The foaming abyss gapes wide, and whirls round,
The women and children are borne to the ground;
The horn of the goat by one is seized fast,
But, ah, they all must perish at last!
Fair Susan still stands-there, untouch'd by the wave;
The youngest, the noblest, oh, who now will save?
Fair Susan still stands there, as bright as a star,
But, alas! all hope, all assistance is far.
The foaming waters around her roar,
To save her, no bark pushes off from the shore.
Her gaze once again she lifts up to Heaven,
Then gently away by the flood she is driven.
NO DAM, NO PLAIN! TO MARK THE PLACE
SOME STRAGGLING TREES ARE THE ONLY TRACE.
The rushing water the wilderness covers,
Yet Susan's image still o'er it hovers.--
The water sinks, the plains re-appear.
Fair Susan's lamented with many a tear,--
May he who refuses her story to tell,
Be neglected in life and in death as well!
1809.
|
Written by
James Henry Leigh Hunt |
You strange, astonished-looking, angle-faced,
Dreary-mouthed, gaping wretches of the sea,
Gulping salt-water everlastingly,
Cold-blooded, though with red your blood be graced,
And mute, though dwellers in the roaring waste;
And you, all shapes beside, that fishy be,--
Some round, some flat, some long, all devilry,
Legless, unloving, infamously chaste:--
O scaly, slippery, wet, swift, staring wights,
What is't ye do? What life lead? eh, dull goggles?
How do ye vary your vile days and nights?
How pass your Sundays? Are ye still but joggles
In ceaseless wash? Still nought but gapes, and bites,
And drinks, and stares, diversified with boggles?
|