Written by
Elizabeth Bishop |
Now can you see the monument? It is of wood
built somewhat like a box.
No.
Built
like several boxes in descending sizes
one above the other.
Each is turned half-way round so that
its corners point toward the sides
of the one below and the angles alternate.
Then on the topmost cube is set
a sort of fleur-de-lys of weathered wood,
long petals of board, pierced with odd holes,
four-sided, stiff, ecclesiastical.
From it four thin, warped poles spring out,
(slanted like fishing-poles or flag-poles)
and from them jig-saw work hangs down,
four lines of vaguely whittled ornament
over the edges of the boxes
to the ground.
The monument is one-third set against
a sea; two-thirds against a sky.
The view is geared
(that is, the view's perspective)
so low there is no "far away,"
and we are far away within the view.
A sea of narrow, horizontal boards
lies out behind our lonely monument,
its long grains alternating right and left
like floor-boards--spotted, swarming-still,
and motionless.
A sky runs parallel,
and it is palings, coarser than the sea's:
splintery sunlight and long-fibred clouds.
"Why does the strange sea make no sound?
Is it because we're far away?
Where are we? Are we in Asia Minor,
or in Mongolia?"
An ancient promontory,
an ancient principality whose artist-prince
might have wanted to build a monument
to mark a tomb or boundary, or make
a melancholy or romantic scene of it.
.
.
"But that ***** sea looks made of wood,
half-shining, like a driftwood, sea.
And the sky looks wooden, grained with cloud.
It's like a stage-set; it is all so flat!
Those clouds are full of glistening splinters!
What is that?"
It is the monument.
"It's piled-up boxes,
outlined with shoddy fret-work, half-fallen off,
cracked and unpainted.
It looks old.
"
--The strong sunlight, the wind from the sea,
all the conditions of its existence,
may have flaked off the paint, if ever it was painted,
and made it homelier than it was.
"Why did you bring me here to see it?
A temple of crates in cramped and crated scenery,
what can it prove?
I am tired of breathing this eroded air,
this dryness in which the monument is cracking.
"
It is an artifact
of wood.
Wood holds together better
than sea or cloud or and could by itself,
much better than real sea or sand or cloud.
It chose that way to grow and not to move.
The monument's an object, yet those decorations,
carelessly nailed, looking like nothing at all,
give it away as having life, and wishing;
wanting to be a monument, to cherish something.
The crudest scroll-work says "commemorate,"
while once each day the light goes around it
like a prowling animal,
or the rain falls on it, or the wind blows into it.
It may be solid, may be hollow.
The bones of the artist-prince may be inside
or far away on even drier soil.
But roughly but adequately it can shelter
what is within (which after all
cannot have been intended to be seen).
It is the beginning of a painting,
a piece of sculpture, or poem, or monument,
and all of wood.
Watch it closely.
|
Written by
Robinson Jeffers |
Our sardine fishermen work at night in the dark
of the moon; daylight or moonlight
They could not tell where to spread the net,
unable to see the phosphorescence of the
shoals of fish.
They work northward from Monterey, coasting
Santa Cruz; off New Year's Point or off
Pigeon Point
The look-out man will see some lakes of milk-color
light on the sea's night-purple; he points,
and the helmsman
Turns the dark prow, the motorboat circles the
gleaming shoal and drifts out her seine-net.
They close the circle
And purse the bottom of the net, then with great
labor haul it in.
I cannot tell you
How beautiful the scene is, and a little terrible,
then, when the crowded fish
Know they are caught, and wildly beat from one wall
to the other of their closing destiny the
phosphorescent
Water to a pool of flame, each beautiful slender body
sheeted with flame, like a live rocket
A comet's tail wake of clear yellow flame; while outside
the narrowing
Floats and cordage of the net great sea-lions come up
to watch, sighing in the dark; the vast walls
of night
Stand erect to the stars.
Lately I was looking from a night mountain-top
On a wide city, the colored splendor, galaxies of light:
how could I help but recall the seine-net
Gathering the luminous fish? I cannot tell you how
beautiful the city appeared, and a little terrible.
I thought, We have geared the machines and locked all together
into inter-dependence; we have built the great cities; now
There is no escape.
We have gathered vast populations incapable
of free survival, insulated
From the strong earth, each person in himself helpless, on all
dependent.
The circle is closed, and the net
Is being hauled in.
They hardly feel the cords drawing, yet
they shine already.
The inevitable mass-disasters
Will not come in our time nor in our children's, but we
and our children
Must watch the net draw narrower, government take all
powers--or revolution, and the new government
Take more than all, add to kept bodies kept souls--or anarchy,
the mass-disasters.
These things are Progress;
Do you marvel our verse is troubled or frowning, while it keeps
its reason? Or it lets go, lets the mood flow
In the manner of the recent young men into mere hysteria,
splintered gleams, crackled laughter.
But they are
quite wrong.
There is no reason for amazement: surely one always knew
that cultures decay, and life's end is death.
|
Written by
Amy Lowell |
Cross-hatchings of rain against grey walls,
Slant lines of black rain
In front of the up and down, wet stone sides of buildings.
Below,
Greasy, shiny, black, horizontal,
The street.
And over it, umbrellas,
Black polished dots
Struck to white
An instant,
Stream in two flat lines
Slipping past each other with the smoothness of oil.
Like a four-sided wedge
The Custom House Tower
Pokes at the low, flat sky,
Pushing it farther and farther up,
Lifting it away from the house-tops,
Lifting it in one piece as though it were a sheet of tin,
With the lever of its apex.
The cross-hatchings of rain cut the Tower obliquely,
Scratching lines of black wire across it,
Mutilating its perpendicular grey surface
With the sharp precision of tools.
The city is rigid with straight lines and angles,
A chequered table of blacks and greys.
Oblong blocks of flatness
Crawl by with low-geared engines,
And pass to short upright squares
Shrinking with distance.
A steamer in the basin blows its whistle,
And the sound shoots across the rain hatchings,
A narrow, level bar of steel.
Hard cubes of lemon
Superimpose themselves upon the fronts of buildings
As the windows light up.
But the lemon cubes are edged with angles
Upon which they cannot impinge.
Up, straight, down, straight -- square.
Crumpled grey-white papers
Blow along the side-walks,
Contorted, horrible,
Without curves.
A horse steps in a puddle,
And white, glaring water spurts up
In stiff, outflaring lines,
Like the rattling stems of reeds.
The city is heraldic with angles,
A sombre escutcheon of argent and sable
And countercoloured bends of rain
Hung over a four-square civilization.
When a street lamp comes out,
I gaze at it for fully thirty seconds
To rest my brain with the suffusing, round brilliance of its globe.
|
Written by
Richard Brautigan |
Beautiful, sobbing
high-geared fucking
and then to lie silently
like deer tracks in the
freshly-fallen snow beside
the one you love.
That's all.
|
Written by
Philip Levine |
Shake out my pockets! Harken to the call
Of that calm voice that makes no sound at all!
Take of me all you can; my average weight
May make amends for this, my low estate.
But do not shake, Green Thumb, as once you did
My heart and liver, or my prostate bid
Good Morning to -- leave it, the savage gland
Content within the mercy of my hand.
The world was safe in winter, I was spring,
Enslaved and rattling to the slightest thing
That she might give.
If planter were my trade
Why was I then not like a planter made:
With veins like rivers, smudge-pots for a soul,
A simple mind geared to a simple goal?
You fashioned me, great headed and obscene
On two weak legs, the weakest thing between.
My blood was bubbling like a ten-day stew;
it kept on telling me the thing to do.
I asked, she acquiesced, and then we fell
To private Edens in the midst of hell.
For forty days temptation was our meal,
The night our guide, and what we could not feel
We could not trust.
Later, beneath the bed,
We found you taking notes of all we said.
At last we parted, she to East Moline,
I to the service of the great unseen.
All the way home I watched a circling crow
And read your falling portents in the snow.
I burned my clothes, I moved, I changed my name,
But every night, unstamped her letter came:
"Ominous cramps and pains.
" I cursed the vows
That cattle make to grass when cattle browse.
Heartsick and tired, to you, Green Thumb, I prayed
For her reprieve and that our debt be paid
By my remorse.
"Give me a sign," I said,
"Give me my burning bush.
" You squeaked the bed.
I hid my face like Moses on the hill,
But unlike Moses did not feel my will
Swell with new strength; I put my choice to sleep.
That night we cowered, choice and I, like sheep.
When I awoke I found beneath the door
Only the invoice from the liquor store.
The grape-vine brought the word.
I switched to beer:
She had become a civil engineer.
When I went walking birds and children fled.
I took my love, myself, behind the shed;
The shed burned down.
I switched to milk and eggs.
At night a dream ran up and down my legs.
I have endured, as Godless Nazarite,
Life like a bone even a dog would slight;
All that the dog would have, I have refused.
May I, of all your subjects, be excused?
The world is yours, Green Thumb; I smell your heat
Licking the winter to a green defeat.
The creatures join, the coupling seasons start;
Leave me, Green Thumb, my solitary part.
|
Written by
Robert William Service |
Ma tried to wash her garden slacks but couldn't get 'em clean
And so she thought she'd soak 'em in a bucket o' benzine.
It worked all right.
She wrung 'em out then wondered what she'd do
With all that bucket load of high explosive residue.
She knew that it was dangerous to scatter it around,
For Grandpa liked to throw his lighted matches on the ground.
Somehow she didn't dare to pour it down the kitchen sink,
And what the heck to do with it, poor Ma jest couldn't think.
Then Nature seemed to give the clue, as down the garden lot
She spied the edifice that graced a solitary spot,
Their Palace of Necessity, the family joy and pride,
Enshrined in morning-glory vine, with graded seats inside;
Jest like that cabin Goldylocks found occupied by three,
But in this case B-E-A-R was spelt B-A-R-E----
A tiny seat for Baby Bare, a medium for Ma,
A full-sized section sacred to the Bare of Grandpapa.
Well, Ma was mighty glad to get that worry off her mind,
And hefting up the bucket so combustibly inclined,
She hurried down the garden to that refuge so discreet,
And dumped the liquid menace safely through the centre seat.
Next morning old Grandpa arose; he made a hearty meal,
And sniffed the air and said: 'By Gosh! how full of beans I feel.
Darned if I ain't as fresh as paint; my joy will be complete
With jest a quiet session on the usual morning seat;
To smoke me pipe an' meditate, an' maybe write a pome,
For that's the time when bits o' rhyme gits jiggin' in me dome.
'
He sat down on that special seat slicked shiny by his age,
And looking like Walt Whitman, jest a silver-whiskered sage,
He filled his corn-cob to the brim and tapped it snugly down,
And chuckled: 'Of a perfect day I reckon this the crown.
'
He lit the weed, it soothed his need, it was so soft and sweet:
And then he dropped the lighted match clean through the middle seat.
His little grand-child Rosyleen cried from the kichen door:
'Oh, Ma, come quick; there's sompin wrong; I heared a dreffel roar;
Oh, Ma, I see a sheet of flame; it's rising high and higher.
.
.
Oh, Mummy dear, I sadly fear our comfort-cot's caught fire.
'
Poor Ma was thrilled with horror at them words o' Rosyleen.
She thought of Grandpa's matches and that bucket of benzine;
So down the garden geared on high, she ran with all her power,
For regular was Grandpa, and she knew it was his hour.
Then graspin' gaspin' Rosyleen she peered into the fire,
A roarin' soarin' furnace now, perchance old Grandpa's pyre.
.
.
.
But as them twain expressed their pain they heard a hearty cheer----
Behold the old rapscallion squattinn' in the duck pond near,
His silver whiskers singed away, a gosh-almighty wreck,
Wi' half a yard o' toilet seat entwined about his neck.
.
.
.
He cried: 'Say, folks, oh, did ye hear the big blow-out I made?
It scared me stiff - I hope you-uns was not too much afraid?
But now I best be crawlin' out o' this dog-gasted wet.
.
.
.
For what I aim to figger out is----WHAT THE HECK I ET?'
|
Written by
Dylan Thomas |
I dreamed my genesis in sweat of sleep, breaking
Through the rotating shell, strong
As motor muscle on the drill, driving
Through vision and the girdered nerve.
From limbs that had the measure of the worm, shuffled
Off from the creasing flesh, filed
Through all the irons in the grass, metal
Of suns in the man-melting night.
Heir to the scalding veins that hold love's drop, costly
A creature in my bones I
Rounded my globe of heritage, journey
In bottom gear through night-geared man.
I dreamed my genesis and died again, shrapnel
Rammed in the marching heart, hole
In the stitched wound and clotted wind, muzzled
Death on the mouth that ate the gas.
Sharp in my second death I marked the hills, harvest
Of hemlock and the blades, rust
My blood upon the tempered dead, forcing
My second struggling from the grass.
And power was contagious in my birth, second
Rise of the skeleton and
Rerobing of the naked ghost.
Manhood
Spat up from the resuffered pain.
I dreamed my genesis in sweat of death, fallen
Twice in the feeding sea, grown
Stale of Adam's brine until, vision
Of new man strength, I seek the sun.
|
Written by
Dylan Thomas |
I
Our eunuch dreams, all seedless in the light,
Of light and love the tempers of the heart,
Whack their boys' limbs,
And, winding-footed in their shawl and sheet,
Groom the dark brides, the widows of the night
Fold in their arms.
The shades of girls, all flavoured from their shrouds,
When sunlight goes are sundered from the worm,
The bones of men, the broken in their beds,
By midnight pulleys that unhouse the tomb.
II
In this our age the gunman and his moll
Two one-dimensional ghosts, love on a reel,
Strange to our solid eye,
And speak their midnight nothings as they swell;
When cameras shut they hurry to their hole
down in the yard of day.
They dance between their arclamps and our skull,
Impose their shots, showing the nights away;
We watch the show of shadows kiss or kill
Flavoured of celluloid give love the lie.
III
Which is the world? Of our two sleepings, which
Shall fall awake when cures and their itch
Raise up this red-eyed earth?
Pack off the shapes of daylight and their starch,
The sunny gentlemen, the Welshing rich,
Or drive the night-geared forth.
The photograph is married to the eye,
Grafts on its bride one-sided skins of truth;
The dream has sucked the sleeper of his faith
That shrouded men might marrow as they fly.
IV
This is the world; the lying likeness of
Our strips of stuff that tatter as we move
Loving and being loth;
The dream that kicks the buried from their sack
And lets their trash be honoured as the quick.
This is the world.
Have faith.
For we shall be a shouter like the cock,
Blowing the old dead back; our shots shall smack
The image from the plates;
And we shall be fit fellows for a life,
And who remains shall flower as they love,
Praise to our faring hearts.
|
Written by
Rg Gregory |
when they look into his mind they find a hill town
somewhat surprised they go off to their learned books
outside (architecturally) he’d seems a little wind-blown
not special – a common sort of shackman by his looks
not the sure kind to want the sun to get its hooks
into his self-containment (his bunched-up notions)
thoughts crammed like the heads of ripened corn in stooks
who has a well-stocked feel – runs deep but no commotions
cool as a many-crypted church at its devotions
the learned books do say something about deception
how when you pass him in the street his back is turned
as if (of who you are) he harbours no conception
so you (of him) though wary cannot be that concerned
appearances appearances (its kudos earned)
the book crows - being too aware of inside-outs
knowing full well the volte-face nature of the scorned
the dullest horses may best play havoc with the touts
nor hillside towns dispel the speeding tourist’s doubts
you have to turn off - want to know what’s their attraction
to nose into narrow ways (climb through streaks of sun
and deep sharp shadow - such a lung’s exaction)
to catch a sense of busy life close to the bone
worn tracks between doors (waft of voices) eyes in stone
smells of food (enticing) splashes of unleashed wine
water rills carrying old bridges (a faint drone
descending like a bee-swarm) courtyards – a cool shrine
a sudden market’s noise (a local-produce mine)
and then the topmost square with church or water towers
a dance of bustling shops and sparkling language banter
and every crevice cranny bosoming out with flowers
a busy-ness of purpose and a heart’s enchanter
(the sun distributes gold – allows the blood to saunter)
the bricks of buildings glow with centuries of nous
as though the wisest grape best pours from this decanter
both tempered peace and passion welter in its throes
and fountain sprays refract what such life knows
so with the man – whose innerness the world at large
shuts out or rushes past (its own deep rifts demanding)
but to himself (in that dark realm where he’s in charge)
with all his senses geared to sapience longstanding
there’s not a day goes by without his flairs expanding
in every passageway his mind has set up stalls
and diverse thoughts and voices do their blending
so what that he (from outside rush and guff) withdraws
he and the hilltown share each other’s stilled applause
|
Written by
Rg Gregory |
with landbound legs a wish
for the easy flow of a river - not
the clambering up crags to seek
more favour from the sun
(or long-haired moon) harped for
since those sparks of who am i
first clicked through consciousness
how the river sidles round
rocks blocking the painful straight
seems to brush aside
all snags disrupting its ambition
to be sea - certain from its source
downwardness is good - legs don’t have
that gift (being boned with doubt)
rivers in their waywardness
become a rattling cage of tigers
when the storm god snarls
legs are happy then
to have hard ground to run away on
legs and rivers you could say
should show compassion for each other
as if legs themselves aren’t rivers
when (from hip to toe) the energy
runs down from impulses
the high brain sources - summer’s joys
or winter’s nobbling aches
make the same ground safe
or fearful - as when the river legs it
legs or rivers - the game’s alike
seasons distort the flow
in age the river’s more appealing
(legs have a way of silting up)
after the high ground’s turmoils
you hope for the sanctity of meadows
a kind of green relief
legs feed on past dreams (now
kick a ball the leg drops off)
rivers are geared to what comes next
even in the sea’s maw
hope is on their lips (ever) - legs
rest on their elegiac laurels
with the weight off them they flow best
|