Written by
Robert Frost |
To drive Paul out of any lumber camp
All that was needed was to say to him,
"How is the wife, Paul?"--and he'd disappear.
Some said it was because be bad no wife,
And hated to be twitted on the subject;
Others because he'd come within a day
Or so of having one, and then been Jilted;
Others because he'd had one once, a good one,
Who'd run away with someone else and left him;
And others still because he had one now
He only had to be reminded of--
He was all duty to her in a minute:
He had to run right off to look her up,
As if to say, "That's so, how is my wife?
I hope she isn't getting into mischief."
No one was anxious to get rid of Paul.
He'd been the hero of the mountain camps
Ever since, just to show them, he bad slipped
The bark of a whole tamarack off whole
As clean as boys do off a willow twig
To make a willow whistle on a Sunday
April by subsiding meadow brooks.
They seemed to ask him just to see him go,
"How is the wife, Paul?" and he always went.
He never stopped to murder anyone
Who asked the question. He just disappeared--
Nobody knew in what direction,
Although it wasn't usually long
Before they beard of him in some new camp,
The same Paul at the same old feats of logging.
The question everywhere was why should Paul
Object to being asked a civil question--
A man you could say almost anything to
Short of a fighting word. You have the answers.
And there was one more not so fair to Paul:
That Paul had married a wife not his equal.
Paul was ashamed of her. To match a hero
She would have had to be a heroine;
Instead of which she was some half-breed squaw.
But if the story Murphy told was true,
She wasn't anything to be ashamed of.
You know Paul could do wonders. Everyone's
Heard how he thrashed the horses on a load
That wouldn't budge, until they simply stretched
Their rawhide harness from the load to camp.
Paul told the boss the load would be all right,
"The sun will bring your load in"--and it did--
By shrinking the rawhide to natural length.
That's what is called a stretcher. But I guess
The one about his jumping so's to land
With both his feet at once against the ceiling,
And then land safely right side up again,
Back on the floor, is fact or pretty near fact.
Well, this is such a yarn. Paul sawed his wife
Out of a white-pine log. Murphy was there
And, as you might say, saw the lady born.
Paul worked at anything in lumbering.
He'd been bard at it taking boards away
For--I forget--the last ambitious sawyer
To want to find out if he couldn't pile
The lumber on Paul till Paul begged for mercy.
They'd sliced the first slab off a big butt log,
And the sawyer had slammed the carriage back
To slam end-on again against the saw teeth.
To judge them by the way they caught themselves
When they saw what had happened to the log,
They must have had a guilty expectation
Something was going to go with their slambanging.
Something bad left a broad black streak of grease
On the new wood the whole length of the log
Except, perhaps, a foot at either end.
But when Paul put his finger in the grease,
It wasn't grease at all, but a long slot.
The log was hollow. They were sawing pine.
"First time I ever saw a hollow pine.
That comes of having Paul around the place.
Take it to bell for me," the sawyer said.
Everyone had to have a look at it
And tell Paul what he ought to do about it.
(They treated it as his.) "You take a jackknife,
And spread the opening, and you've got a dugout
All dug to go a-fishing in." To Paul
The hollow looked too sound and clean and empty
Ever to have housed birds or beasts or bees.
There was no entrance for them to get in by.
It looked to him like some new kind of hollow
He thought he'd better take his jackknife to.
So after work that evening be came back
And let enough light into it by cutting
To see if it was empty. He made out in there
A slender length of pith, or was it pith?
It might have been the skin a snake had cast
And left stood up on end inside the tree
The hundred years the tree must have been growing.
More cutting and he bad this in both hands,
And looking from it to the pond nearby,
Paul wondered how it would respond to water.
Not a breeze stirred, but just the breath of air
He made in walking slowly to the beach
Blew it once off his hands and almost broke it.
He laid it at the edge, where it could drink.
At the first drink it rustled and grew limp.
At the next drink it grew invisible.
Paul dragged the shallows for it with his fingers,
And thought it must have melted. It was gone.
And then beyond the open water, dim with midges,
Where the log drive lay pressed against the boom,
It slowly rose a person, rose a girl,
Her wet hair heavy on her like a helmet,
Who, leaning on a log, looked back at Paul.
And that made Paul in turn look back
To see if it was anyone behind him
That she was looking at instead of him.
(Murphy had been there watching all the time,
But from a shed where neither of them could see him.)
There was a moment of suspense in birth
When the girl seemed too waterlogged to live,
Before she caught her first breath with a gasp
And laughed. Then she climbed slowly to her feet,
And walked off, talking to herself or Paul,
Across the logs like backs of alligators,
Paul taking after her around the pond.
Next evening Murphy and some other fellows
Got drunk, and tracked the pair up Catamount,
From the bare top of which there is a view
TO other hills across a kettle valley.
And there, well after dark, let Murphy tell it,
They saw Paul and his creature keeping house.
It was the only glimpse that anyone
Has had of Paul and her since Murphy saw them
Falling in love across the twilight millpond.
More than a mile across the wilderness
They sat together halfway up a cliff
In a small niche let into it, the girl
Brightly, as if a star played on the place,
Paul darkly, like her shadow. All the light
Was from the girl herself, though, not from a star,
As was apparent from what happened next.
All those great ruffians put their throats together,
And let out a loud yell, and threw a bottle,
As a brute tribute of respect to beauty.
Of course the bottle fell short by a mile,
But the shout reached the girl and put her light out.
She went out like a firefly, and that was all.
So there were witnesses that Paul was married
And not to anyone to be ashamed of
Everyone had been wrong in judging Paul.
Murphy told me Paul put on all those airs
About his wife to keep her to himself.
Paul was what's called a terrible possessor.
Owning a wife with him meant owning her.
She wasn't anybody else's business,
Either to praise her or much as name her,
And he'd thank people not to think of her.
Murphy's idea was that a man like Paul
Wouldn't be spoken to about a wife
In any way the world knew how to speak.
|
Written by
Robert William Service |
Sitting in the dentist's chair,
Wishing that I wasn't there,
To forget and pass the time
I have made this bit of rhyme.
I had a rendez-vous at ten;
I rushed to get in line,
But found a lot of dames and men
Had waited there since nine;
I stared at them, then in an hour
Was blandly ushered in;
But though my face was grim and sour
He met me with a grin.
He told me of his horse of blood,
And how it "also ran",
He plans to own a racing stud -
(He seems a wealthy man.)
And then he left me there until
I growled: "At any rate,
I hope he'll not charge in his bill
For all the time I wait."
His wife has sables on her back,
With jewels she's ablaze;
She drives a stately Cadillac,
And I'm the mug who pays:
At least I'm one of those who peer
With pessimistic gloom
At magazines of yester-year
In his damn waiting room.
I am a Christian Scientist;
I don't believe in pain;
My dentist had a powerful wrist,
He tries and tries in vain
To make me grunt or groan or squeal
With probe or rasp or drill. . . .
But oh, what agony I feel
When HE PRESENTS HIS BILL!
Sitting in the dental chair,
Don't you wish you weren't there:
Well, your cup of woe to fill,
Just think of his infernal bill.
|
Written by
Cornelius Eady |
Some folks will tell you the blues is a woman,
Some type of supernatural creature.
My mother would tell you, if she could,
About her life with my father,
A strange and sometimes cruel gentleman.
She would tell you about the choices
A young black woman faces.
Is falling in love with some man
A deal with the devil
In blue terms, the tongue we use
When we don't want nuance
To get in the way,
When we need to talk straight.
My mother chooses my father
After choosing a man
Who was, as we sing it,
Of no account.
This man made my father look good,
That's how bad it was.
He made my father seem like an island
In the middle of a stormy sea,
He made my father look like a rock.
And is the blues the moment you realize
You exist in a stacked deck,
You look in a mirror at your young face,
The face my sister carries,
And you know it's the only leverage
You've got.
Does this create a hurt that whispers
How you going to do?
Is the blues the moment
You shrug your shoulders
And agree, a girl without money
Is nothing, dust
To be pushed around by any old breeze.
Compared to this,
My father seems, briefly,
To be a fire escape.
This is the way the blues works
Its sorry wonders,
Makes trouble look like
A feather bed,
Makes the wrong man's kisses
A healing.
|
Written by
Bertolt Brecht |
The industrialist is having his aeroplane serviced.
The priest is wondering what he said in his sermon eight weeks ago
about tithes.
The generals are putting on civvies and looking like bank clerks.
Public officials are getting friendly.
The policeman points out the way to the man in the cloth cap.
The landlord comes to see whether the water supply is working.
The journalists write the word People with capital letters.
The singers sing at the opera for nothing.
Ships' captains check the food in the crew's galley,
Car owners get in beside their chauffeurs.
Doctors sue the insurance companies.
Scholars show their discoveries and hide their decorations.
Farmers deliver potatoes to the barracks.
The revolution has won its first battle:
That's what has happened.
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Written by
Maggie Estep |
Liner Notes - (From Love Is A Dog From Hell)
Emotional Idiocy is obviously
a theme close to my heart since I seem to use the phrase in novels and
CDs alike. My friend and mentor of sorts, Andrew Vachss, upon hearing me
read a rendition of this poem, stated that it ought to be the theme song
for borderline personality disorder. He's right.
I'm an Emotional Idiot
so get away from me.
I mean,
COME HERE.
Wait, no,
that's too close,
give me some space
it's a big country,
there's plenty of room,
don't sit so close to me.
Hey, where are you?
I haven't seen you in days.
Whadya, having an affair?
Who is she?
Come on,
aren't I enough for you?
God,
You're so cold.
I never know what you're thinking.
You're not very affectionate.
I mean,
you're clinging to me,
DON'T TOUCH ME,
what am I, your fucking cat?
Don't rub me like that.
Don't you have anything better to do
than sit there fawning over me?
Don't you have any interests?
Hobbies?
Sailing Fly fishing
Archeology?
There's an archeology expedition leaving tomorrow
why don't you go?
I'll loan you the money,
my money is your money.
my life is your life
my soul is yours
without you I'm nothing.
Move in with me
we'll get a studio apartment together, save on rent,
well, wait, I mean, a one bedroom,
so we don't get in each other's hair or anything
or, well,
maybe a two bedroom
I'll have my own bedroom,
it's nothing personal
I just need to be alone sometimes,
you do understand,
don't you?
Hey, why are you acting distant?
Where you goin',
was it something I said?
What
What did I do?
I'm an emotional idiot
so get away from me
I mean,
MARRY ME.
|
Written by
Marriott Edgar |
Would you hear a Wild tale of adventure
Of a hero who tackled the sea,
A super-man swimming the ocean,
Then hark to the tale of Joe Lee.
Our Channel, our own Straits of Dover
Had heen swum by an alien lot:
Our British-born swimmers had tried it,
But that was as far as they'd got.
So great was the outcry in England,
Darts Players neglected their beer,
And the Chanc'Ior proclaimed from the Woolsack
As Joe Lee were the chap for this 'ere.
For in swimming baths all round the country
Joe were noted for daring and strength;
Quite often he'd dived in the deep end,
And thought nothing of swimming a length.
So they wrote him, C/o Workhouse Master,
Joe were spending the summer with him,
And promised him two Christmas puddings
If over the Channel he'd swim.
Joe jumped into t' breach like an 'ero,
He said, "All their fears I'll relieve,
And it isn't their puddings I'm after,
As I told them last Christmas Eve.
"Though many have tackled the Channel
From Grisnez to Dover that is,
For the honour and glory of England
I'll swim from Dover to Gris-niz."
As soon as his words were made public
The newspapers gathered around
And offered to give him a pension
If he lost both his legs and got drowned.
He borrowed a tug from the Navy
To swim in the shelter alee,
The Wireless folk lent him a wavelength,
And the Water Board lent him the sea.
His wife strapped a mascot around him,
The tears to his eyes gently stole;
'Twere some guiness corks she had collected
And stitched to an old camisole.
He entered the water at daybreak,
A man with a camera stood near,
He said "Hurry up and get in, lad,
You're spoiling my view of the pier."
At last he were in, he were swimming
With a beautiful overarm stroke,
When the men on the tug saw with horror
That the rope he were tied to had broke.
Then down came a fog, thick as treacle,
The tug looked so distant and dim
A voice shouted "Help, I am drowning,"
Joe listened and found it were him.
The tug circled round till they found him,
They hauled him aboard like a sack,
Tied a new tow-rope around him,
Smacked him and then threw him back.
'Twere at sunset, or just a bit later,
That he realized all wasn't right,
For the tow-rope were trailing behind him
And the noose round his waist getting tight.
One hasty glance over his shoulder,
He saw in a flash what were wrong.
The Captain had shut off his engine,
Joe were towing the Tugboat along.
On and on through the darkness he paddled
Till he knew he were very near in
By the way he kept bumping the bottom
And hitting the stones with his chin.
Was it Grisniz he'd reached?... No, it wasn't,
The treacherous tide in its track
Had carried him half-way to Blackpool
And he had to walk all the way back.
|
Written by
Anne Sexton |
They come on to my clean
sheet of paper and leave a Rorschach blot.
They do not do this to be mean,
they do it to give me a sign
they want me, as Aubrey Beardsley once said,
to shove it around till something comes.
Clumsy as I am,
I do it.
For I am like them -
both saved and lost,
tumbling downward like Humpty Dumpty
off the alphabet.
Each morning I push them off my bed
and when they get in the salad
rolling in it like a dog,
I pick each one out
just the way my daughter
picks out the anchoives.
In May they dance on the jonquils,
wearing out their toes,
laughing like fish.
In November, the dread month,
they suck the childhood out of the berries
and turn them sour and inedible.
Yet they keep me company.
They wiggle up life.
They pass out their magic
like Assorted Lifesavers.
They go with me to the dentist
and protect me form the drill.
At the same time,
they go to class with me
and lie to my students.
O fallen angel,
the companion within me,
whisper something holy
before you pinch me
into the grave.
|
Written by
Barry Tebb |
The women are all wearing imitation silk scarves,
Blackpool or Biarritz, sipping Woman, masticating
The morning’s post, new babies and bathrooms, going
To file, snip, fiddle and smile through fish-eyes,
Crinkly green gloss, store it in stocking-tops
For next year abroad, that Pill, so perfect!
Flashing smiles from shiny domes and polished eye-lenses,
The men are glossy all over, snapping mortgages and scores
They slap fellow-souls at a distance, gun down the abusive
Clacking conductress, apologise over-loudly for their too
Quiet cars. Plump fingers stroke smooth cheeks - bounce
Bounce, bouncing baby- faces, so manly to wet-shave!
Head heavy from dreams of bronze-fleshed centaurs
Tense with ‘The New Poets’ - no rhythm, failure of connection,
Who slept with who to get in. Aargh!
Forty rose-bearing ten-year old faces are waiting
And behind them in the staff-room corpses are coffined
In eternal celluloid faces.
|
Written by
William Topaz McGonagall |
Near the village of Udorf, on the banks of the Rhine,
There lived a miller and his family, once on a time;
And there yet stands the mill in a state of decay,
And concerning the miller and his family, attend to my lay.
The miller and his family went to Church one Sunday morn,
Leaving behind their darling child, the youngest born,
In charge of brave Hanchen, the servant maid,
A kind-hearted girl and not the least afraid.
As Hanchen was engaged preparing dinner for the family
She chanced to turn round, and there she did see
Heinrich Bottler, her lover, and she sincerely loved him,
Then she instantly got him something to eat and bade him begin.
And in the midst of her business she sat down beside him,
While he did justice to the meat and thought it no sin,
But while he was eating he let fall his knife,
Then he commanded Hanchen to pick it up or else he'd take her life.
Then as she stooped down to pick up the knife,
The villain caught her by the throat, and swore he'd take her life,
Then he drew a dagger from under his coat,
Crying, tell me where your master's money is, or I'll cut your throat.
And still he threatened to kill her with the dagger in his hand,
If the poor girl didn't comply with his demand,
While in his choking grasp her breath was fleeting faster and faster,
Therefore she had no other choice but to die or betray her master.
Then she cried, mercy, for Heaven's sake let go thy hold.
And I'll tell thee where my master keeps his gold;
Then he let go his hold without delay,
And she unto him thus boldly did say.
Here, take this axe and use it, while I run upstairs,
To gather all my money, besides all my wares,
Because I'm resolved to fly along with you,
When you've robbed my master of his gold and bid France adieu.
Then deceived by her plan he allowed her to leave the room,
Telling her to make haste and come back very soon,
Then to her master's bedroom she led the way,
And showed him the coffer where her master's money lay
Then Heinrich with the axe broke the coffer very soon,
While Hanchen instead of going upstairs to her room,
Bolted all the doors upon him without dismay,
While Heinrich was busy preparing to carry her master's money away.
Then she rushed to the mill to give the alarm,
Resolved to protect her master's money, while she could wield an arm;
And the only being in sight was her master's boy of five years old,
Then she cried, run! run! and tell father there's a robber taking his gold.
Then the boy did as she bid him without any doubt,
And set off, running on the road she pointed out;
But at this moment, a shrill whistle made her stand aghast,
When she heard Heinrich, crying, catch that child that's running so fast.
But still the boy ran on with might and main,
Until a ruffian sprang up from the bed of a natural drain;
And snatching the boy in his arms, and hastening towards the mill,
While brave Hanchen was afraid the boy would he kill.
Then the villain came rushing with the boy towards the mill,
Crying, open the door, or the child I'll kill;
But she cried, never will I open the door to thee,
No! I will put my trust in God, and He'll save the child and me.
Then the ruffian set down the child, for a moment to look about,
Crying, open the door, or I'll fire the mill without doubt;
And while searching for combustibles, he discovered an inlet to the mill,
Saying, my pretty maid, once I get in, it's you I will kill.
Then he tied the hands and feet of the poor child,
Which caused it to scream with fear, very wild;
Then he stole back to the aperture to effect an entrance,
And when Hanchen saw him, she said now is my chance.
So the ruffian got safely in the great drum wheel,
Then Hanchen set on the engine, which made the ruffian reel;
And as he was whirled about, he screamed aloud,
And when Hanchen saw him like a rat in a trap, she felt very proud.
At length the master arrived and his family,
And when she heard his kindly voice her heart was full of glee,
Then she opened the mill door and let him in,
While her eyes with tears of joy were full to the brim.
Then the master set off the engine without delay,
And the ruffian was dragged forth while he shook with dismay,
And Heinrich and he were bound together under a strong escort,
And conveyed to Bonn Prison where villains resort.
So thus ends the story of Hanchen, a heroine brave,
That tried hard her master's gold to save,
And for her bravery she got married to the miller's eldest son,
And Hanchen on her marriage night cried Heaven's will be done.
|
Written by
Sylvia Plath |
(Rock Lake, Canada)
In this country there is neither measure nor balance
To redress the dominance of rocks and woods,
The passage, say, of these man-shaming clouds.
No gesture of yours or mine could catch their attention,
No word make them carry water or fire the kindling
Like local trolls in the spell of a superior being.
Well, one wearies of the Public Gardens: one wants a vacation
Where trees and clouds and animals pay no notice;
Away from the labeled elms, the tame tea-roses.
It took three days driving north to find a cloud
The polite skies over Boston couldn't possibly accommodate.
Here on the last frontier of the big, brash spirit
The horizons are too far off to be chummy as uncles;
The colors assert themselves with a sort of vengeance.
Each day concludes in a huge splurge of vermilions
And night arrives in one gigantic step.
It is comfortable, for a change, to mean so little.
These rocks offer no purchase to herbage or people:
They are conceiving a dynasty of perfect cold.
In a month we'll wonder what plates and forks are for.
I lean to you, numb as a fossil. Tell me I'm here.
The Pilgrims and Indians might never have happened.
Planets pulse in the lake like bright amoebas;
The pines blot our voices up in their lightest sighs.
Around our tent the old simplicities sough
Sleepily as Lethe, trying to get in.
We'll wake blank-brained as water in the dawn.
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