Written by
Anne Sexton |
Consider
a girl who keeps slipping off,
arms limp as old carrots,
into the hypnotist's trance,
into a spirit world
speaking with the gift of tongues.
She is stuck in the time machine,
suddenly two years old sucking her thumb,
as inward as a snail,
learning to talk again.
She's on a voyage.
She is swimming further and further back,
up like a salmon,
struggling into her mother's pocketbook.
Little doll child,
come here to Papa.
Sit on my knee.
I have kisses for the back of your neck.
A penny for your thoughts, Princess.
I will hunt them like an emerald.
Come be my snooky
and I will give you a root.
That kind of voyage,
rank as a honeysuckle.
Once
a king had a christening
for his daughter Briar Rose
and because he had only twelve gold plates
he asked only twelve fairies
to the grand event.
The thirteenth fairy,
her fingers as long and thing as straws,
her eyes burnt by cigarettes,
her uterus an empty teacup,
arrived with an evil gift.
She made this prophecy:
The princess shall prick herself
on a spinning wheel in her fifteenth year
and then fall down dead.
Kaputt!
The court fell silent.
The king looked like Munch's Scream
Fairies' prophecies,
in times like those,
held water.
However the twelfth fairy
had a certain kind of eraser
and thus she mitigated the curse
changing that death
into a hundred-year sleep.
The king ordered every spinning wheel
exterminated and exorcised.
Briar Rose grew to be a goddess
and each night the king
bit the hem of her gown
to keep her safe.
He fastened the moon up
with a safety pin
to give her perpetual light
He forced every male in the court
to scour his tongue with Bab-o
lest they poison the air she dwelt in.
Thus she dwelt in his odor.
Rank as honeysuckle.
On her fifteenth birthday
she pricked her finger
on a charred spinning wheel
and the clocks stopped.
Yes indeed. She went to sleep.
The king and queen went to sleep,
the courtiers, the flies on the wall.
The fire in the hearth grew still
and the roast meat stopped crackling.
The trees turned into metal
and the dog became china.
They all lay in a trance,
each a catatonic
stuck in a time machine.
Even the frogs were zombies.
Only a bunch of briar roses grew
forming a great wall of tacks
around the castle.
Many princes
tried to get through the brambles
for they had heard much of Briar Rose
but they had not scoured their tongues
so they were held by the thorns
and thus were crucified.
In due time
a hundred years passed
and a prince got through.
The briars parted as if for Moses
and the prince found the tableau intact.
He kissed Briar Rose
and she woke up crying:
Daddy! Daddy!
Presto! She's out of prison!
She married the prince
and all went well
except for the fear --
the fear of sleep.
Briar Rose
was an insomniac...
She could not nap
or lie in sleep
without the court chemist
mixing her some knock-out drops
and never in the prince's presence.
If if is to come, she said,
sleep must take me unawares
while I am laughing or dancing
so that I do not know that brutal place
where I lie down with cattle prods,
the hole in my cheek open.
Further, I must not dream
for when I do I see the table set
and a faltering crone at my place,
her eyes burnt by cigarettes
as she eats betrayal like a slice of meat.
I must not sleep
for while I'm asleep I'm ninety
and think I'm dying.
Death rattles in my throat
like a marble.
I wear tubes like earrings.
I lie as still as a bar of iron.
You can stick a needle
through my kneecap and I won't flinch.
I'm all shot up with Novocain.
This trance girl
is yours to do with.
You could lay her in a grave,
an awful package,
and shovel dirt on her face
and she'd never call back: Hello there!
But if you kissed her on the mouth
her eyes would spring open
and she'd call out: Daddy! Daddy!
Presto!
She's out of prison.
There was a theft.
That much I am told.
I was abandoned.
That much I know.
I was forced backward.
I was forced forward.
I was passed hand to hand
like a bowl of fruit.
Each night I am nailed into place
and forget who I am.
Daddy?
That's another kind of prison.
It's not the prince at all,
but my father
drunkeningly bends over my bed,
circling the abyss like a shark,
my father thick upon me
like some sleeping jellyfish.
What voyage is this, little girl?
This coming out of prison?
God help --
this life after death?
|
Written by
Charles Simic |
A New Version: 1980
What is that little black thing I see there
in the white?
Walt Whitman
One
Out of poverty
To begin again:
With the color of the bride
And that of blindness,
Touch what I can
Of the quick,
Speak and then wait,
As if this light
Will continue to linger
On the threshold.
All that is near,
I no longer give it a name.
Once a stone hard of hearing,
Once sharpened into a knife...
Now only a chill
Slipping through.
Enough glow to kneel by and ask
To be tied to its tail
When it goes marrying
Its cousins, the stars.
Is it a cloud?
If it's a cloud it will move on.
The true shape of this thought,
Migrant, waning.
Something seeks someone,
It bears him a gift
Of himself, a bit
Of snow to taste,
Glimpse of his own nakedness
By which to imagine the face.
On a late afternoon of snow
In a dim badly-aired grocery,
Where a door has just rung
With a short, shrill echo,
A little boy hands the old,
Hard-faced woman
Bending low over the counter,
A shiny nickel for a cupcake.
Now only that shine, now
Only that lull abides.
That your gaze
Be merciful,
Sister, bride
Of my first hopeless insomnia.
Kind nurse, show me
The place of salves.
Teach me the song
That makes a man rise
His glass at dusk
Until a star dances in it.
Who are you? Are you anybody
A moonrock would recognize?
There are words I need.
They are not near men.
I went searching.
Is this a deathmarch?
You bend me, bend me,
Oh toward what flower!
Little-known vowel,
Noose big for us all.
As strange as a shepherd
In the Arctic Circle.
Someone like Bo-peep.
All his sheep are white
And he can't get any sleep
Over lost sheep.
And he's got a flute
Which says Bo-peep,
Which says Poor boy,
Take care of your snow-sheep.
to A.S. Hamilton
Then all's well and white,
And no more than white.
Illinois snowbound.
Indiana with one bare tree.
Michigan a storm-cloud.
Wisconsin empty of men.
There's a trap on the ice
Laid there centuries ago.
The bait is still fresh.
The metal glitters as the night descends.
Woe, woe, it sings from the bough.
Our Lady, etc...
You had me hoodwinked.
I see your brand new claws.
Praying, what do I betray
By desiring your purity?
There are old men and women,
All bandaged up, waiting
At the spiked, wrought-iron gate
Of the Great Eye and Ear Infirmery.
We haven't gone far...
Fear lives there too.
Five ears of my fingertips
Against the white page.
What do you hear?
We hear holy nothing
Blindfolding itself.
It touched you once, twice,
And tore like a stitch
Out of a new wound.
Two
What are you up to son of a gun?
I roast on my heart's dark side.
What do you use as a skewer sweetheart?
I use my own crooked backbone.
What do you salt yourself with loverboy?
I grind the words out of my spittle.
And how will you know when you're done chump?
When the half-moons on my fingernails set.
With what knife will you carve yourself smartass?
The one I hide in my tongue's black boot.
Well, you can't call me a wrestler
If my own dead weight has me pinned down.
Well, you can't call me a cook
If the pot's got me under its cover.
Well, you can't call me a king
if the flies hang their hats in my mouth.
Well, you can't call me smart,
When the rain's falling my cup's in the cupboard.
Nor can you call me a saint,
If I didn't err, there wouldn't be these smudges.
One has to manage as best as one can.
The poppies ate the sunset for supper.
One has to manage as best as one can.
Who stole my blue thread, the one
I tied around my pinky to remember?
One has to manage as best as one can.
The flea I was standing on, jumped.
One has to manage as best as one can.
I think my head went out for a walk.
One has to manage as best as one can.
This is breath, only breath,
Think it over midnight!
A fly weighs twice as much.
The struck match nods as it passes,
But when I shout,
Its true name sticks in my throat.
It has to be cold
So the breath turns white,
And then mother, who's fast enough
To write his life on it?
A song in prison
And for prisoners,
Made of what the condemned
Have hidden from the jailers.
White--let me step aside
So that the future may see you,
For when this sheet is blown away,
What else is left
But to set the food on the table,
To cut oneself a slice of bread?
In an unknown year
Of an algebraic century,
An obscure widow
Wrapped in the colors of widowhood,
Met a true-blue orphan
On an indeterminate street-corner.
She offered him
A tiny sugar cube
In the hand so wizened
All the lines said: fate.
Do you take this line
Stretching to infinity?
I take this chipped tooth
On which to cut it in half.
Do you take this circle
Bounded by a single curved line?
I take this breath
That it cannot capture.
Then you may kiss the spot
Where her bridal train last rustled.
Winter can come now,
The earth narrow to a ditch--
And the sky with its castles and stone lions
Above the empty plains.
The snow can fall...
What other perennials would you plant,
My prodigals, my explorers
Tossing and turning in the dark
For those remote, finely honed bees,
The December stars?
Had to get through me elsewhere.
Woe to bone
That stood in their way.
Woe to each morsel of flesh.
White ants
In a white anthill.
The rustle of their many feet
Scurrying--tiptoing too.
Gravedigger ants.
Village-idiot ants.
This is the last summoning.
Solitude--as in the beginning.
A zero burped by a bigger zero--
It's an awful licking I got.
And fear--that dead letter office.
And doubt--that Chinese shadow play.
Does anyone still say a prayer
Before going to bed?
White sleeplessness.
No one knows its weight.
What The White Had To Say
For how could anything white be distinct
from or divided from whiteness?
Meister Eckhart
Because I am the bullet
That has gone through everyone already,
I thought of you long before you thought of me.
Each one of you still keeps a blood-stained handkerchief
In which to swaddle me, but it stays empty
And even the wind won't remain in it long.
Cleverly you've invented name after name for me,
Mixed the riddles, garbled the proverbs,
Shook you loaded dice in a tin cup,
But I do not answer back even to your curses,
For I am nearer to you than your breath.
One sun shines on us both through a crack in the roof.
A spoon brings me through the window at dawn.
A plate shows me off to the four walls
While with my tail I swing at the flies.
But there's no tail and the flies are your thoughts.
Steadily, patiently I life your arms.
I arrange them in the posture of someone drowning,
And yet the sea in which you are sinking,
And even this night above it, is myself.
Because I am the bullet
That has baptized each one of your senses,
Poems are made of our lusty wedding nights...
The joy of words as they are written.
The ear that got up at four in the morning
To hear the grass grow inside a word.
Still, the most beautiful riddle has no answer.
I am the emptiness that tucks you in like a
mockingbird's nest,
The fingernail that scratched on your sleep's
blackboard.
Take a letter: From cloud to onion.
Say: There was never any real choice.
One gaunt shadowy mother wiped our asses,
The same old orphanage taught us loneliness.
Street-organ full of blue notes,
I am the monkey dancing to your grinding--
And still you are afraid-and so,
It's as if we had not budged from the beginning.
Time slopes. We are falling head over heels
At the speed of night. That milk tooth
You left under the pillow, it's grinning.
1970-1980
This currently out-of-print edition:
Copyright ©1980 Logbridge-Rhodes, Inc.
An earlier version of White was first published
by New Rivers Press in 1972.
|
Written by
Barry Tebb |
I was never a film buff, give me Widmark and Wayne any day
Saturday matin?es with Margaret Gardener still hold sway
As my memory veers backwards this temperate Boxing Day-
Westerns and war films and a blurred Maigret,
Coupled with a worn-out sixties Penguin Mallarm?-
How about that mix for a character trait?
Try as I may I can’t get my head round the manifold virtues
Of Geraldine Monk or either Riley
Poetry has to have a meaning, not just patterns on a page,
Vertical words and snips of scores just make me rage.
Is Thom Gunn really the age-old sleaze-weasel Andrew Duncan says?
Is Tim Allen right to give Geraldine Monk an eleven page review?
At least they care for poetry to give their lives to it
As we do, too.
My syntax far from perfect, my writing illegible
But somehow I’ll get through, Bloodaxe and Carcourt
May jeer but an Indian printer’s busy with my ‘Collected’
And, Calcutta typesetters permitting, it will be out this year
With the red gold script of sari cloth on the spine
And **** those dusty grey contemporary voices
Those verses will be mine.
Haslam’s a whole lot better but touchy as a prima donna
And couldn’t take it when I said he’d be a whole lot better
If he’d unloose his affects and let them scatter
I’m envious of his habitat, The Haworth Moors
Living there should be the inspiration of my old age
But being monophobic I can’t face the isolation
Or persuade my passionate friend to join me.
What urban experiences can improve
Upon a cottage life with my own muse!
|
Written by
Charles Bukowski |
we have everything and we have nothing
and some men do it in churches
and some men do it by tearing butterflies
in half
and some men do it in Palm Springs
laying it into butterblondes
with Cadillac souls
Cadillacs and butterflies
nothing and everything,
the face melting down to the last puff
in a cellar in Corpus Christi.
there's something for the touts, the nuns,
the grocery clerks and you . . .
something at 8 a.m., something in the library
something in the river,
everything and nothing.
in the slaughterhouse it comes running along
the ceiling on a hook, and you swing it --
one
two
three
and then you've got it, $200 worth of dead
meat, its bones against your bones
something and nothing.
it's always early enough to die and
it's always too late,
and the drill of blood in the basin white
it tells you nothing at all
and the gravediggers playing poker over
5 a.m. coffee, waiting for the grass
to dismiss the frost . . .
they tell you nothing at all.
we have everything and we have nothing --
days with glass edges and the impossible stink
of river moss -- worse than ****;
checkerboard days of moves and countermoves,
fagged interest, with as much sense in defeat as
in victory; slow days like mules
humping it slagged and sullen and sun-glazed
up a road where a madman sits waiting among
bluejays and wrens netted in and sucked a flakey
grey.
good days too of wine and shouting, fights
in alleys, fat legs of women striving around
your bowels buried in moans,
the signs in bullrings like diamonds hollering
Mother Capri, violets coming out of the ground
telling you to forget the dead armies and the loves
that robbed you.
days when children say funny and brilliant things
like savages trying to send you a message through
their bodies while their bodies are still
alive enough to transmit and feel and run up
and down without locks and paychecks and
ideals and possessions and beetle-like
opinions.
days when you can cry all day long in
a green room with the door locked, days
when you can laugh at the breadman
because his legs are too long, days
of looking at hedges . . .
and nothing, and nothing, the days of
the bosses, yellow men
with bad breath and big feet, men
who look like frogs, hyenas, men who walk
as if melody had never been invented, men
who think it is intelligent to hire and fire and
profit, men with expensive wives they possess
like 60 acres of ground to be drilled
or shown-off or to be walled away from
the incompetent, men who'd kill you
because they're crazy and justify it because
it's the law, men who stand in front of
windows 30 feet wide and see nothing,
men with luxury yachts who can sail around
the world and yet never get out of their vest
pockets, men like snails, men like eels, men
like slugs, and not as good . . .
and nothing, getting your last paycheck
at a harbor, at a factory, at a hospital, at an
aircraft plant, at a penny arcade, at a
barbershop, at a job you didn't want
anyway.
income tax, sickness, servility, broken
arms, broken heads -- all the stuffing
come out like an old pillow.
we have everything and we have nothing.
some do it well enough for a while and
then give way. fame gets them or disgust
or age or lack of proper diet or ink
across the eyes or children in college
or new cars or broken backs while skiing
in Switzerland or new politics or new wives
or just natural change and decay --
the man you knew yesterday hooking
for ten rounds or drinking for three days and
three nights by the Sawtooth mountains now
just something under a sheet or a cross
or a stone or under an easy delusion,
or packing a bible or a golf bag or a
briefcase: how they go, how they go! -- all
the ones you thought would never go.
days like this. like your day today.
maybe the rain on the window trying to
get through to you. what do you see today?
what is it? where are you? the best
days are sometimes the first, sometimes
the middle and even sometimes the last.
the vacant lots are not bad, churches in
Europe on postcards are not bad. people in
wax museums frozen into their best sterility
are not bad, horrible but not bad. the
cannon, think of the cannon, and toast for
breakfast the coffee hot enough you
know your tongue is still there, three
geraniums outside a window, trying to be
red and trying to be pink and trying to be
geraniums, no wonder sometimes the women
cry, no wonder the mules don't want
to go up the hill. are you in a hotel room
in Detroit looking for a cigarette? one more
good day. a little bit of it. and as
the nurses come out of the building after
their shift, having had enough, eight nurses
with different names and different places
to go -- walking across the lawn, some of them
want cocoa and a paper, some of them want a
hot bath, some of them want a man, some
of them are hardly thinking at all. enough
and not enough. arcs and pilgrims, oranges
gutters, ferns, antibodies, boxes of
tissue paper.
in the most decent sometimes sun
there is the softsmoke feeling from urns
and the canned sound of old battleplanes
and if you go inside and run your finger
along the window ledge you'll find
dirt, maybe even earth.
and if you look out the window
there will be the day, and as you
get older you'll keep looking
keep looking
sucking your tongue in a little
ah ah no no maybe
some do it naturally
some obscenely
everywhere.
|
Written by
Rg Gregory |
it began as a secret desire (an itch
in the marrow too vague to get through
to the bone) an idea that never could
make it as flesh - there wasn't a part of me
sane i could tell that would have spared
it a breath to get started
so i slept
one midday i woke up with a bang - light
was bashing in through the windows
and suddenly out of my pores
sprang this fully-fledged practical paeon
this triumphant brass-note of praise
for a why-hadn't-i-yelled-it-before
sort of answer to my life's rubbing-out
of my dreams
i’ll jump from the window
(i sang to myself)
and i'll fly
and be damned to daft icarus
i crowed
and i flew - or i fled (which is
very much the same grain of word
and it graciously covers the gap
between the experience i had in my head
and the one i met rushing up
from the ground where the glasshouse
splashed around to reflect me
as i passed on my way down to earth
and the squirt of my dad's best tomatoes
and my mum's angry mask of a face
that just wasn't brought up to be fruitful)
so i fled - or i flew - out the gate
up the street till i melted
just like that daft icarus before me
and i thought
well why the sod not
so i jumped in a pond till i cooled
and the blood from a scratch on my hand
turned the green water red but not a
thick peasant came to be in on the wonder
and i had to go home soaking wet
to a tongue that had blisters and a belt
round the head from my dad - but i lived
which is more than daft icarus did
|
Written by
Charles Bukowski |
sometimes you climb out of bed in the morning and you think,
I'm not going to make it, but you laugh inside
remembering all the times you've felt that way, and
you walk to the bathroom, do your toilet, see that face
in the mirror, oh my oh my oh my, but you comb your hair anyway,
get into your street clothes, feed the cats, fetch the
newspaper of horror, place it on the coffee table, kiss your
wife goodbye, and then you are backing the car out into life itself,
like millions of others you enter the arena once more.
you are on the freeway threading through traffic now,
moving both towards something and towards nothing at all as you punch
the radio on and get Mozart, which is something, and you will somehow
get through the slow days and the busy days and the dull
days and the hateful days and the rare days, all both so delightful
and so disappointing because
we are all so alike and so different.
you find the turn-off, drive through the most dangerous
part of town, feel momentarily wonderful as Mozart works
his way into your brain and slides down along your bones and
out through your shoes.
it's been a tough fight worth fighting
as we all drive along
betting on another day.
|
Written by
Ogden Nash |
Now when I have a cold
I am careful with my cold,
I consult a physician
And I do as I am told.
I muffle up my torso
In woolly woolly garb,
And I quaff great flagons
Of sodium bicarb.
I munch on aspirin,
I lunch on water,
And I wouldn’t dream of osculating
Anybody’s daughter,
And to anybody’s son
I wouldn’t say howdy,
For I am a sufferer
Magna cum laude.
I don’t like germs,
But I’ll keep the germs I’ve got.
Will I take a chance of spreading them?
Definitely not.
I sneeze out the window
And I cough up the flue,
And I live like a hermit
Till the germs get through.
And because I’m considerate,
Because I’m wary,
I am treated by my friends
Like Typhoid Mary.
Now when you have a cold
You are careless with your cold,
You are cocky as a gangster
Who has just been paroled.
You ignore your physician,
You eat steaks and oxtails,
You stuff yourself with starches,
You drink lots of cocktails,
And you claim that gargling
Is a time of waste,
And you won’t take soda
For you don’t like the taste,
And you prowl around parties
Full of selfish bliss,
And greet your hostess
With a genial kiss.
You convert yourself
Into a deadly missle,
You exhale Hello’s
Like a steamboat wistle.
You sneeze in the subway
And you cough at dances,
And let everybody else
Take their own good chances.
You’re a bronchial boor,
A bacterial blighter,
And you get more invitations
Than a gossip writer.
Yes, your throat is froggy,
And your eyes are swimmy,
And you hand is clammy,
And you nose is brimmy,
But you woo my girls
And their hearts you jimmy
While I sit here
With the cold you gimmy.
|
Written by
Henry Wadsworth Longfellow |
Two good friends had Hiawatha,
Singled out from all the others,
Bound to him in closest union,
And to whom he gave the right hand
Of his heart, in joy and sorrow;
Chibiabos, the musician,
And the very strong man, Kwasind.
Straight between them ran the pathway,
Never grew the grass upon it;
Singing birds, that utter falsehoods,
Story-tellers, mischief-makers,
Found no eager ear to listen,
Could not breed ill-will between them,
For they kept each other's counsel,
Spake with naked hearts together,
Pondering much and much contriving
How the tribes of men might prosper.
Most beloved by Hiawatha
Was the gentle Chibiabos,
He the best of all musicians,
He the sweetest of all singers.
Beautiful and childlike was he,
Brave as man is, soft as woman,
Pliant as a wand of willow,
Stately as a deer with antlers.
When he sang, the village listened;
All the warriors gathered round him,
All the women came to hear him;
Now he stirred their souls to passion,
Now he melted them to pity.
From the hollow reeds he fashioned
Flutes so musical and mellow,
That the brook, the Sebowisha,
Ceased to murmur in the woodland,
That the wood-birds ceased from singing,
And the squirrel, Adjidaumo,
Ceased his chatter in the oak-tree,
And the rabbit, the Wabasso,
Sat upright to look and listen.
Yes, the brook, the Sebowisha,
Pausing, said, "O Chibiabos,
Teach my waves to flow in music,
Softly as your words in singing!"
Yes, the bluebird, the Owaissa,
Envious, said, "O Chibiabos,
Teach me tones as wild and wayward,
Teach me songs as full of frenzy!"
Yes, the robin, the Opechee,
Joyous, said, "O Chibiabos,
Teach me tones as sweet and tender,
Teach me songs as full of gladness!"
And the whippoorwill, Wawonaissa,
Sobbing, said, "O Chibiabos,
Teach me tones as melancholy,
Teach me songs as full of sadness!"
All the many sounds of nature
Borrowed sweetness from his singing;
All the hearts of men were softened
By the pathos of his music;
For he sang of peace and freedom,
Sang of beauty, love, and longing;
Sang of death, and life undying
In the Islands of the Blessed,
In the kingdom of Ponemah,
In the land of the Hereafter.
Very dear to Hiawatha
Was the gentle Chibiabos,
He the best of all musicians,
He the sweetest of all singers;
For his gentleness he loved him,
And the magic of his singing.
Dear, too, unto Hiawatha
Was the very strong man, Kwasind,
He the strongest of all mortals,
He the mightiest among many;
For his very strength he loved him,
For his strength allied to goodness.
Idle in his youth was Kwasind,
Very listless, dull, and dreamy,
Never played with other children,
Never fished and never hunted,
Not like other children was he;
But they saw that much he fasted,
Much his Manito entreated,
Much besought his Guardian Spirit.
"Lazy Kwasind!" said his mother,
"In my work you never help me!
In the Summer you are roaming
Idly in the fields and forests;
In the Winter you are cowering
O'er the firebrands in the wigwam!
In the coldest days of Winter
I must break the ice for fishing;
With my nets you never help me!
At the door my nets are hanging,
Dripping, freezing with the water;
Go and wring them, Yenadizze!
Go and dry them in the sunshine!"
Slowly, from the ashes, Kwasind
Rose, but made no angry answer;
From the lodge went forth in silence,
Took the nets, that hung together,
Dripping, freezing at the doorway;
Like a wisp of straw he wrung them,
Like a wisp of straw he broke them,
Could not wring them without breaking,
Such the strength was in his fingers.
"Lazy Kwasind!" said his father,
"In the hunt you never help me;
Every bow you touch is broken,
Snapped asunder every arrow;
Yet come with me to the forest,
You shall bring the hunting homeward."
Down a narrow pass they wandered,
Where a brooklet led them onward,
Where the trail of deer and bison
Marked the soft mud on the margin,
Till they found all further passage
Shut against them, barred securely
By the trunks of trees uprooted,
Lying lengthwise, lying crosswise,
And forbidding further passage.
"We must go back," said the old man,
"O'er these logs we cannot clamber;
Not a woodchuck could get through them,
Not a squirrel clamber o'er them!"
And straightway his pipe he lighted,
And sat down to smoke and ponder.
But before his pipe was finished,
Lo! the path was cleared before him;
All the trunks had Kwasind lifted,
To the right hand, to the left hand,
Shot the pine-trees swift as arrows,
Hurled the cedars light as lances.
"Lazy Kwasind!" said the young men,
As they sported in the meadow:
"Why stand idly looking at us,
Leaning on the rock behind you?
Come and wrestle with the others,
Let us pitch the quoit together!"
Lazy Kwasind made no answer,
To their challenge made no answer,
Only rose, and slowly turning,
Seized the huge rock in his fingers,
Tore it from its deep foundation,
Poised it in the air a moment,
Pitched it sheer into the river,
Sheer into the swift Pauwating,
Where it still is seen in Summer.
Once as down that foaming river,
Down the rapids of Pauwating,
Kwasind sailed with his companions,
In the stream he saw a beaver,
Saw Ahmeek, the King of Beavers,
Struggling with the rushing currents,
Rising, sinking in the water.
Without speaking, without pausing,
Kwasind leaped into the river,
Plunged beneath the bubbling surface,
Through the whirlpools chased the beaver,
Followed him among the islands,
Stayed so long beneath the water,
That his terrified companions
Cried, "Alas! good-by to Kwasind!
We shall never more see Kwasind!"
But he reappeared triumphant,
And upon his shining shoulders
Brought the beaver, dead and dripping,
Brought the King of all the Beavers.
And these two, as I have told you,
Were the friends of Hiawatha,
Chibiabos, the musician,
And the very strong man, Kwasind.
Long they lived in peace together,
Spake with naked hearts together,
Pondering much and much contriving
How the tribes of men might prosper.
|
Written by
Andrew Barton Paterson |
We see it each day in the paper,
And know that there's mischief in store;
That some unprofessional caper
Has landed a shark on the shore.
We know there'll be plenty of trouble
Before they get through with the fun,
Because he's been coming the double
On clients, has "Gentleman, One".
Alas for the gallant attorney,
Intent upon cutting a dash!
He starts on life's perilous journey
With rather more cunning than cash.
And fortune at first is inviting --
He struts his brief hour in the sun --
But, lo! on the wall is the writing
Of Nemesis, "Gentleman, One".
For soon he runs short of the dollars,
He fears he must go to the wall;
So Peters' trust-money he collars
To pay off his creditor, Paul;
Then robs right and left -- for he goes it
In earnest when once he's begun.
Descensus Averni -- he knows it;
It's easy for "Gentleman, One".
The crash comes as soon as the seasons,
He loses his coin in a mine,
Or booming in land, or for reasons
Connected with women and wine.
Or maybe the cards or the horses
A share of the damage have done --
No matter, the end of the course is
The same: "Re a Gentleman, One."
He struggles awhile to keep going,
To stave off detection and shame;
But creditors, clamorous growing,
Ere long put an end to the game.
At length the poor soldier of Satan
His course to a finish has run --
And just think of Windeyer waiting
To deal with "A Gentleman, One"!
And some face it boldly, and brazen
The shame and the utter disgrace;
While others, more sensitive, hasten
Their names and their deeds to efface.
They snap the frail thread which the Furies
And Fates have so cruelly spun.
May the great Final Judge and His juries
Have mercy on "Gentleman, One"!
|
Written by
Hugo Williams |
Whether it was putting in an extra beat,
or leaving one out, I couldn't tell.
My heart seemed to have forgotten
everything it ever knew
about timing and co-ordination
in its efforts to get through to someone
on the other side of a wall.
As I lay in bed, I could hear it
hammering away inside my pillow,
being answered now and then
by a distant guitar-note of bedsprings,
pausing for a moment, as if listening,
Then hurrying on as before.
|