Written by
Robert William Service |
Smith, great writer of stories, drank; found it immortalized his pen;
Fused in his brain-pan, else a blank, heavens of glory now and then;
Gave him the magical genius touch; God-given power to gouge out, fling
Flat in your face a soul-thought -- Bing!
Twiddle your heart-strings in his clutch.
"Bah!" said Smith, "let my body lie
stripped to the buff in swinish shame,
If I can blaze in the radiant sky out of adoring stars my name.
Sober am I nonentitized; drunk am I more than half a god.
Well, let the flesh be sacrificed; spirit shall speak and shame the clod.
Who would not gladly, gladly give Life to do one thing that will live?"
Smith had a friend, we'll call him Brown; dearer than brothers were those two.
When in the wassail Smith would drown, Brown would rescue and pull him through.
When Brown was needful Smith would lend; so it fell as the years went by,
Each on the other would depend: then at the last Smith came to die.
There Brown sat in the sick man's room, still as a stone in his despair;
Smith bent on him his eyes of doom, shook back his lion mane of hair;
Said: "Is there one in my chosen line, writer of forthright tales my peer?
Look in that little desk of mine; there is a package, bring it here.
Story of stories, gem of all; essence and triumph, key and clue;
Tale of a loving woman's fall; soul swept hell-ward, and God! it's true.
I was the man -- Oh, yes, I've paid, paid with mighty and mordant pain.
Look! here's the masterpiece I've made out of my sin, my manhood slain.
Art supreme! yet the world would stare, know my mistress and blaze my shame.
I have a wife and daughter -- there! take it and thrust it in the flame.
"
Brown answered: "Master, you have dipped pen in your heart, your phrases sear.
Ruthless, unflinching, you have stripped naked your soul and set it here.
Have I not loved you well and true? See! between us the shadows drift;
This bit of blood and tears means You -- oh, let me have it, a parting gift.
Sacred I'll hold it, a trust divine; sacred your honour, her dark despair;
Never shall it see printed line: here, by the living God I swear.
"
Brown on a Bible laid his hand; Smith, great writer of stories, sighed:
"Comrade, I trust you, and understand.
Keep my secret!" And so he died.
Smith was buried -- up soared his sales; lured you his books in every store;
Exquisite, whimsy, heart-wrung tales; men devoured them and craved for more.
So when it slyly got about Brown had a posthumous manuscript,
Jones, the publisher, sought him out, into his pocket deep he dipped.
"A thousand dollars?" Brown shook his head.
"The story is not for sale, " he said.
Jones went away, then others came.
Tempted and taunted, Brown was true.
Guarded at friendship's shrine the fame of the unpublished story grew and grew.
It's a long, long lane that has no end, but some lanes end in the Potter's field;
Smith to Brown had been more than friend: patron, protector, spur and shield.
Poor, loving-wistful, dreamy Brown, long and lean, with a smile askew,
Friendless he wandered up and down, gaunt as a wolf, as hungry too.
Brown with his lilt of saucy rhyme, Brown with his tilt of tender mirth
Garretless in the gloom and grime, singing his glad, mad songs of earth:
So at last with a faith divine, down and down to the Hunger-line.
There as he stood in a woeful plight, tears a-freeze on his sharp cheek-bones,
Who should chance to behold his plight, but the publisher, the plethoric Jones;
Peered at him for a little while, held out a bill: "NOW, will you sell?"
Brown scanned it with his twisted smile: "A thousand dollars! you go to hell!"
Brown enrolled in the homeless host, sleeping anywhere, anywhen;
Suffered, strove, became a ghost, slave of the lamp for other men;
For What's-his-name and So-and-so in the abyss his soul he stripped,
Yet in his want, his worst of woe, held he fast to the manuscript.
Then one day as he chewed his pen, half in hunger and half despair,
Creaked the door of his garret den; Dick, his brother, was standing there.
Down on the pallet bed he sank, ashen his face, his voice a wail:
"Save me, brother! I've robbed the bank; to-morrow it's ruin, capture, gaol.
Yet there's a chance: I could to-day pay back the money, save our name;
You have a manuscript, they say, worth a thousand -- think, man! the shame.
.
.
.
"
Brown with his heart pain-pierced the while, with his stern, starved face,
and his lips stone-pale,
Shuddered and smiled his twisted smile: "Brother, I guess you go to gaol.
"
While poor Brown in the leer of dawn wrestled with God for the sacred fire,
Came there a woman weak and wan, out of the mob, the murk, the mire;
Frail as a reed, a fellow ghost, weary with woe, with sorrowing;
Two pale souls in the legion lost; lo! Love bent with a tender wing,
Taught them a joy so deep, so true, it seemed that the whole-world fabric shook,
Thrilled and dissolved in radiant dew; then Brown made him a golden book,
Full of the faith that Life is good, that the earth is a dream divinely fair,
Lauding his gem of womanhood in many a lyric rich and rare;
Took it to Jones, who shook his head: "I will consider it," he said.
While he considered, Brown's wife lay clutched in the tentacles of pain;
Then came the doctor, grave and grey; spoke of decline, of nervous strain;
Hinted Egypt, the South of France -- Brown with terror was tiger-gripped.
Where was the money? What the chance? Pitiful God! .
.
.
the manuscript!
A thousand dollars! his only hope! he gazed and gazed at the garret wall.
.
.
.
Reached at last for the envelope, turned to his wife and told her all.
Told of his friend, his promise true; told like his very heart would break:
"Oh, my dearest! what shall I do? shall I not sell it for your sake?"
Ghostlike she lay, as still as doom; turned to the wall her weary head;
Icy-cold in the pallid gloom, silent as death .
.
.
at last she said:
"Do! my husband? Keep your vow! Guard his secret and let me die.
.
.
.
Oh, my dear, I must tell you now -- the women he loved and wronged was I;
Darling! I haven't long to live: I never told you -- forgive, forgive!"
For a long, long time Brown did not speak; sat bleak-browed in the wretched room;
Slowly a tear stole down his cheek, and he kissed her hand in the dismal gloom.
To break his oath, to brand her shame; his well-loved friend, his worshipped wife;
To keep his vow, to save her name, yet at the cost of what? Her life!
A moment's space did he hesitate, a moment of pain and dread and doubt,
Then he broke the seals, and, stern as fate, unfolded the sheets and spread them out.
.
.
.
On his knees by her side he limply sank, peering amazed -- each page was blank.
(For oh, the supremest of our art are the stories we do not dare to tell,
Locked in the silence of the heart, for the awful records of Heav'n and Hell.
)
Yet those two in the silence there, seemed less weariful than before.
Hark! a step on the garret stair, a postman knocks at the flimsy door.
"Registered letter!" Brown thrills with fear; opens, and reads, then bends above:
"Glorious tidings! Egypt, dear! The book is accepted -- life and love.
"
|
Written by
Rafael Guillen |
Not fear.
Maybe, out there somewhere,
the possibility of fear; the wall
that might tumble down, because it's for sure
that behind it is the sea.
Not fear.
Fear has a countenance;
It's external, concrete,
like a rifle, a shot bolt,
a suffering child,
like the darkness that's hidden
in every human mouth.
Not fear.
Maybe only the brand
of the offspring of fear.
It's a narrow, interminable street
with all the windows darkened,
a thread spun out from a sticky hand,
friendly, yes, not a friend.
It's a nightmare
of polite ritual wearing a frightwig.
Not fear.
Fear is a door slammed in your face.
I'm speaking here of a labyrinth
of doors already closed, with assumed
reasons for being, or not being,
for categorizing bad luck
or good, bread, or an expression
— tenderness and panic and frigidity - for the children
growing up.
And the silence.
And the cities, sparkling, empty.
and the mediocrity, like a hot
lava, spewed out over
the grain, and the voice, and the idea.
It's not fear.
The real fear hasn't come yet.
But it will.
It's the doublethink
that believes peace is only another movement.
And I say it with suspicion, at the top of my lungs.
And it's not fear, no.
It's the certainty
that I'm betting, on a single card,
the whole haystack I've piled up,
straw by straw, for my fellow man.
|
Written by
Billy Collins |
I wonder how it all got started, this business
about seeing your life flash before your eyes
while you drown, as if panic, or the act of submergence,
could startle time into such compression, crushing
decades in the vice of your desperate, final seconds.
After falling off a steamship or being swept away
in a rush of floodwaters, wouldn't you hope
for a more leisurely review, an invisible hand
turning the pages of an album of photographs-
you up on a pony or blowing out candles in a conic hat.
How about a short animated film, a slide presentation?
Your life expressed in an essay, or in one model photograph?
Wouldn't any form be better than this sudden flash?
Your whole existence going off in your face
in an eyebrow-singeing explosion of biography-
nothing like the three large volumes you envisioned.
Survivors would have us believe in a brilliance
here, some bolt of truth forking across the water,
an ultimate Light before all the lights go out,
dawning on you with all its megalithic tonnage.
But if something does flash before your eyes
as you go under, it will probably be a fish,
a quick blur of curved silver darting away,
having nothing to do with your life or your death.
The tide will take you, or the lake will accept it all
as you sink toward the weedy disarray of the bottom,
leaving behind what you have already forgotten,
the surface, now overrun with the high travel of clouds.
|
Written by
Tony Hoagland |
At this height, Kansas
is just a concept,
a checkerboard design of wheat and corn
no larger than the foldout section
of my neighbor's travel magazine.
At this stage of the journey
I would estimate the distance
between myself and my own feelings
is roughly the same as the mileage
from Seattle to New York,
so I can lean back into the upholstered interval
between Muzak and lunch,
a little bored, a little old and strange.
I remember, as a dreamy
backyard kind of kid,
tilting up my head to watch
those planes engrave the sky
in lines so steady and so straight
they implied the enormous concentration
of good men,
but now my eyes flicker
from the in-flight movie
to the stewardess's pantyline,
then back into my book,
where men throw harpoons at something
much bigger and probably
better than themselves,
wanting to kill it,
wanting to see great clouds of blood erupt
to prove that they exist.
Imagine being born and growing up,
rushing through the world for sixty years
at unimaginable speeds.
Imagine a century like a room so large,
a corridor so long
you could travel for a lifetime
and never find the door,
until you had forgotten
that such a thing as doors exist.
Better to be on board the Pequod,
with a mad one-legged captain
living for revenge.
Better to feel the salt wind
spitting in your face,
to hold your sharpened weapon high,
to see the glisten
of the beast beneath the waves.
What a relief it would be
to hear someone in the crew
cry out like a gull,
Oh Captain, Captain!
Where are we going now?
|
Written by
Rudyard Kipling |
Smokin' my pipe on the mountings, sniffin' the mornin' cool,
I walks in my old brown gaiters along o' my old brown mule,
With seventy gunners be'ind me, an' never a beggar forgets
It's only the pick of the Army that handles the dear little pets -- 'Tss! 'Tss!
For you all love the screw-guns -- the screw-guns they all love you!
So when we call round with a few guns, o' course you will know what to do -- hoo! hoo!
Jest send in your Chief an' surrender -- it's worse if you fights or you runs:
You can go where you please, you can skid up the trees, but you don't get away from the guns!
They sends us along where the roads are, but mostly we goes where they ain't:
We'd climb up the side of a sign-board an' trust to the stick o' the paint:
We've chivied the Naga an' Looshai, we've give the Afreedeeman fits,
For we fancies ourselves at two thousand, we guns that are built in two bits -- 'Tss! 'Tss!
For you all love the screw-guns .
.
.
If a man doesn't work, why, we drills 'im an' teaches 'im 'ow to behave;
If a beggar can't march, why, we kills 'im an' rattles 'im into 'is grave.
You've got to stand up to our business an' spring without snatchin' or fuss.
D'you say that you sweat with the field-guns? By God, you must lather with us -- 'Tss! 'Tss!
For you all love the screw-guns .
.
.
The eagles is screamin' around us, the river's a-moanin' below,
We're clear o' the pine an' the oak-scrub, we're out on the rocks an' the snow,
An' the wind is as thin as a whip-lash what carries away to the plains
The rattle an' stamp o' the lead-mules -- the jinglety-jink o' the chains -- 'Tss! 'Tss!
For you all love the screw-guns .
.
.
There's a wheel on the Horns o' the Mornin', an' a wheel on the edge o' the Pit,
An' a drop into nothin' beneath you as straight as a beggar can spit:
With the sweat runnin' out o' your shirt-sleeves, an' the sun off the snow in your face,
An' 'arf o' the men on the drag-ropes to hold the old gun in 'er place -- 'Tss! 'Tss!
For you all love the screw-guns .
.
.
Smokin' my pipe on the mountings, sniffin' the mornin' cool,
I climbs in my old brown gaiters along o' my old brown mule.
The monkey can say what our road was -- the wild-goat 'e knows where we passed.
Stand easy, you long-eared old darlin's! Out drag-ropes! With shrapnel! Hold fast -- 'Tss! 'Tss!
For you all love the screw-guns -- the screw-guns they all love you!
So when we take tea with a few guns, o' course you will know what to do -- hoo! hoo!
Jest send in your Chief an' surrender -- it's worse if you fights or you runs:
You may hide in the caves, they'll be only your graves, but you can't get away from the guns!
|
Written by
Adrienne Rich |
Talking of poetry, hauling the books
arm-full to the table where the heads
bend or gaze upward, listening, reading aloud,
talking of consonants, elision,
caught in the how, oblivious of why:
I look in your face, Jude,
neither frowning nor nodding,
opaque in the slant of dust-motes over the table:
a presence like a stone, if a stone were thinking
What I cannot say, is me.
For that I came.
|
Written by
Bertolt Brecht |
Let others speak of her shame,
I speak of my own.
O Germany, pale mother!
How soiled you are
As you sit among the peoples.
You flaunt yourself
Among the besmirched.
The poorest of your sons
Lies struck down.
When his hunger was great.
Your other sons
Raised their hands against him.
This is notorious.
With their hands thus raised,
Raised against their brother,
They march insolently around you
And laugh in your face.
This is well known.
In your house
Lies are roared aloud.
But the truth
Must be silent.
Is it so?
Why do the oppressors praise you everywhere,
The oppressed accuse you?
The plundered
Point to you with their fingers, but
The plunderer praises the system
That was invented in your house!
Whereupon everyone sees you
Hiding the hem of your mantle which is bloody
With the blood
Of your best sons.
Hearing the harangues which echo from your house,
men laugh.
But whoever sees you reaches for a knife
As at the approach of a robber.
O Germany, pale mother!
How have your sons arrayed you
That you sit among the peoples
A thing of scorn and fear!
|
Written by
Marilyn Hacker |
August First: it was a year ago
we drove down from St.
-Guilhem-le-Désert
to open the house in St.
Guiraud
rented unseen.
I'd stay; you'd go; that's where
our paths diverged.
I'd settle down to work,
you'd start the next month of your Wanderjahr.
I turned the iron key in the rusted lock
(it came, like a detective-story clue,
in a manila envelope, postmarked
elsewhere, unmarked otherwise) while you
stood behind me in the midday heat.
Somnolent shudders marked our progress.
Two
horses grazed on a roof across the street.
You didn't believe me until you turned around.
They were both old, one mottled gray, one white.
Past the kitchen's russet dark, we found
bookshelves on both sides of the fireplace:
Verlaine, L'Étranger, Notes from the Underground.
Through an archway, a fresh-plastered staircase
led steeply upward.
In a white room stood
a white-clad brass bed.
Sunlight in your face
came from the tree-filled window.
"You did good.
"
We laid crisp sheets we would inaugurate
that night, rescued from the grenier a wood-
en table we put under the window.
Date
our homes from that one, to which you returned
the last week of August, on a late
bus, in shorts, like a crew-cut, sunburned
bidasse.
Sunburned, in shorts, a new haircut,
with Auden and a racing pulse I'd earned
by "not being sentimental about
you," I sprinted to "La Populaire.
"
You walked into my arms when you got out.
At a two minute bus stop, who would care?
"La Populaire" puffed onward to Millau
while we hiked up to the hiatus where
we'd left ourselves when you left St.
Guiraud
after an unambiguous decade
of friendship, and some months of something new.
A long week before either of us said
a compromising word acknowledging
what happened every night in the brass bed
and every bird-heralded blue morning
was something we could claim and keep and use;
was, like the house, a place where we could bring
our road-worn, weary selves.
Now, we've a pause
in a year we wouldn't have wagered on.
Dusk climbs the tiled roof opposite; the blue's
still sun-soaked; it's a week now since you've gone
to be a daughter in the capital.
(I came north with you as far as Beaune.
)
I cook things you don't like.
Sometimes I fall
asleep, book open, one A.
M.
, sometimes
I long for you all night in Provencal
or langue d'oc, or wish I could, when I'm
too much awake.
My early walk, my late
walk mark the day's measures like rhyme.
(There's nothing I hate---perhaps I hate
the adipose deposits on my thighs
---as much as having to stay put and wait!)
Although a day alone cuts tight or lies
too limp sometimes, I know what I didn't know
a year ago, that makes it the right size:
owned certainty; perpetual surprise.
|
Written by
Eugene Field |
Play that you are mother dear,
And play that papa is your beau;
Play that we sit in the corner here,
Just as we used to, long ago.
Playing so, we lovers two
Are just as happy as we can be,
And I'll say "I love you" to you,
And you say "I love you" to me!
"I love you" we both shall say,
All in earnest and all in play.
Or, play that you are that other one
That some time came, and went away;
And play that the light of years agone
Stole into my heart again to-day!
Playing that you are the one I knew
In the days that never again may be,
I'll say "I love you" to you,
And you say "I love you" to me!
I love you!" my heart shall say
To the ghost of the past come back to-day!
Or, play that you sought this nestling-place
For your own sweet self, with that dual guise
Of your pretty mother in your face
And the look of that other in your eyes!
So the dear old loves shall live anew
As I hold my darling on my knee,
And I'll say "I love you" to you,
And you say "I love you" to me!
Oh, many a strange, true thing we say
And do when we pretend to play!
|
Written by
James Thomson |
Hail, mildly pleasing solitude,
Companion of the wise and good;
But, from whose holy, piercing eye,
The herd of fools, and villains fly.
Oh! how I love with thee to walk,
And listen to thy whisper'd talk,
Which innocence, and truth imparts,
And melts the most obdurate hearts.
A thousand shapes you wear with ease,
And still in every shape you please.
Now wrapt in some mysterious dream,
A lone philosopher you seem;
Now quick from hill to vale you fly,
And now you sweep the vaulted sky;
A shepherd next, you haunt the plain,
And warble forth your oaten strain;
A lover now, with all the grace
Of that sweet passion in your face:
Then, calm'd to friendship, you assume
The gentle-looking Hertford's bloom,
As, with her Musidora, she,
(Her Musidora fond of thee)
Amid the long withdrawing vale,
Awakes the rival'd nightingale.
Thine is the balmy breath of morn,
Just as the dew-bent rose is born;
And while meridian fervours beat,
Thine is the woodland dumb retreat;
But chief, when evening scenes decay,
And the faint landskip swims away,
Thine is the doubtful soft decline,
And that best hour of musing thine.
Descending angels bless thy train,
The virtues of the sage, and swain;
Plain Innocence in white array'd,
Before thee lifts her fearless head:
Religion's beams around thee shine,
And cheer thy glooms with light divine:
About thee sports sweet Liberty;
And rapt Urania sings to thee.
Oh, let me pierce thy secret cell!
And in thy deep recesses dwell!
Perhaps from Norwood's oak-clad hill,
When meditation has her fill,
I just may cast my careless eyes
Where London's spiry turrets rise,
Think of its crimes, its cares, its pain,
Then shield me in the woods again.
|