Written by
Sylvia Plath |
The engine is killing the track, the track is silver,
It stretches into the distance. It will be eaten nevertheless.
Its running is useless.
At nightfall there is the beauty of drowned fields,
Dawn gilds the farmers like pigs,
Swaying slightly in their thick suits,
White towers of Smithfield ahead,
Fat haunches and blood on their minds.
There is no mercy in the glitter of cleavers,
The butcher's guillotine that whispers: 'How's this, how's this?'
In the bowl the hare is aborted,
Its baby head out of the way, embalmed in spice,
Flayed of fur and humanity.
Let us eat it like Plato's afterbirth,
Let us eat it like Christ.
These are the people that were important ----
Their round eyes, their teeth, their grimaces
On a stick that rattles and clicks, a counterfeit snake.
Shall the hood of the cobra appall me ----
The loneliness of its eye, the eye of the mountains
Through which the sky eternally threads itself?
The world is blood-hot and personal
Dawn says, with its blood-flush.
There is no terminus, only suitcases
Out of which the same self unfolds like a suit
Bald and shiny, with pockets of wishes,
Notions and tickets, short circuits and folding mirrors.
I am mad, calls the spider, waving its many arms.
And in truth it is terrible,
Multiplied in the eyes of the flies.
They buzz like blue children
In nets of the infinite,
Roped in at the end by the one
Death with its many sticks.
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Written by
Robert Hayden |
Steel doors – guillotine gates –
of the doorless house closed massively.
We were locked in with loss.
Guards frisked us, marked our wrists,
then let us into the drab Rec Hall –
splotched green walls, high windows barred –
where the dispossessed awaited us.
Hands intimate with knife and pistol,
hands that had cruelly grasped and throttled
clasped ours in welcome. I sensed the plea
of men denied: Believe us human
like yourselves, who but for Grace ...
We shared reprieving Hidden Words
revealed by the Godlike imprisoned
One, whose crime was truth.
And I read poems I hoped were true.
It's like you been there, brother, been there,
the scarred young lifer said.
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Written by
Emily Dickinson |
I watched the Moon around the House
Until upon a Pane --
She stopped -- a Traveller's privilege -- for Rest --
And there upon
I gazed -- as at a stranger --
The Lady in the Town
Doth think no incivility
To lift her Glass -- upon --
But never Stranger justified
The Curiosity
Like Mine -- for not a Foot -- nor Hand --
Nor Formula -- had she --
But like a Head -- a Guillotine
Slid carelessly away --
Did independent, Amber --
Sustain her in the sky --
Or like a Stemless Flower --
Upheld in rolling Air
By finer Gravitations --
Than bind Philosopher --
No Hunger -- had she -- nor an Inn --
Her Toilette -- to suffice --
Nor Avocation -- nor Concern
For little Mysteries
As harass us -- like Life -- and Death --
And Afterwards -- or Nay --
But seemed engrossed to Absolute --
With shining -- and the Sky --
The privilege to scrutinize
Was scarce upon my Eyes
When, with a Silver practise --
She vaulted out of Gaze --
And next -- I met her on a Cloud --
Myself too far below
To follow her superior Road --
Or its advantage -- Blue --
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Written by
Dylan Thomas |
To-day, this insect, and the world I breathe,
Now that my symbols have outelbowed space,
Time at the city spectacles, and half
The dear, daft time I take to nudge the sentence,
In trust and tale I have divided sense,
Slapped down the guillotine, the blood-red double
Of head and tail made witnesses to this
Murder of Eden and green genesis.
The insect certain is the plague of fables.
This story's monster has a serpent caul,
Blind in the coil scrams round the blazing outline,
Measures his own length on the garden wall
And breaks his shell in the last shocked beginning;
A crocodile before the chrysalis,
Before the fall from love the flying heartbone,
Winged like a sabbath ass this children's piece
Uncredited blows Jericho on Eden.
The insect fable is the certain promise.
Death: death of Hamlet and the nightmare madmen,
An air-drawn windmill on a wooden horse,
John's beast, Job's patience, and the fibs of vision,
Greek in the Irish sea the ageless voice:
'Adam I love, my madmen's love is endless,
No tell-tale lover has an end more certain,
All legends' sweethearts on a tree of stories,
My cross of tales behind the fabulous curtain.'
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Written by
Barry Tebb |
(Goya, an old man in exile, looks at his self-portrait)
A bull’s neck, still much needed,
Deserving exile or the guillotine,
‘Because you are an artist we forgave you’,
Thus his royal highness gave thanks,
My fingers itching for brush and canvas,
Floury cheeks and rouge, legs a donkey would be ashamed of,
A wife who’s been to bed with everything in Madrid.
First I was ‘untalented’, then ‘mad and deaf’
Still I painted, my pain drew me on,
My kingdom had majas nude or veiled
Always with dark eyes like her
Whom I loved and they poisoned,
Duchess of Alba, dressed in silver grey,
A white pekinese at her feet with the world:
On the sand my name with hers
And ‘always’.
Old men easily grow afraid;
Spain and her blood are distant.
Alba dead I paint my ‘Milkmaid of Bordeaux’
In lingering silver-grey.
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