by
Walt Whitman
1
OF these years I sing,
How they pass and have pass’d, through convuls’d pains as through parturitions;
How America illustrates birth, muscular youth, the promise, the sure fulfillment, the
Absolute
Success, despite of people—Illustrates evil as well as good;
How many hold despairingly yet to the models departed, caste, myths, obedience,
compulsion, and
to infidelity;
How few see the arrived models, the Athletes, the Western States—or see freedom or
spirituality—or hold any faith in results,
(But I see the Athletes—and I see the results of the war glorious and
inevitable—and
they again leading to other results;)
How the great cities appear—How the Democratic masses, turbulent, wilful, as I love
them;
How the whirl, the contest, the wrestle of evil with good, the sounding and resounding,
keep on
and on;
How society waits unform’d, and is for awhile between things ended and things begun;
How America is the continent of glories, and of the triumph of freedom, and of the
Democracies,
and of the fruits of society, and of all that is begun;
And how The States are complete in themselves—And how all triumphs and glories are
complete in themselves, to lead onward,
And how these of mine, and of The States, will in their turn be convuls’d, and serve
other
parturitions and transitions,
And how all people, sights, combinations, the Democratic masses, too, serve—and how
every
fact, and war itself, with all its horrors, serves,
And how now, or at any time, each serves the exquisite transition of death.
2
OF seeds dropping into the ground—of birth,
Of the steady concentration of America, inland, upward, to impregnable and swarming
places,
Of what Indiana, Kentucky, Ohio and the rest, are to be,
Of what a few years will show there in Nebraska, Colorado, Nevada, and the rest;
(Or afar, mounting the Northern Pacific to Sitka or Aliaska;)
Of what the feuillage of America is the preparation for—and of what all sights,
North,
South, East and West, are;
Of This Union, soak’d, welded in blood—of the solemn price paid—of the
unnamed
lost, ever present in my mind;
—Of the temporary use of materials, for identity’s sake,
Of the present, passing, departing—of the growth of completer men than any yet,
Of myself, soon, perhaps, closing up my songs by these shores,
Of California, of Oregon—and of me journeying to live and sing there;
Of the Western Sea—of the spread inland between it and the spinal river,
Of the great pastoral area, athletic and feminine,
of all sloping down there where the fresh free giver, the mother, the Mississippi flows,
Of future women there—of happiness in those high plateaus, ranging three thousand
miles,
warm and cold;
Of mighty inland cities yet unsurvey’d and unsuspected, (as I am also, and as it must
be;)
Of the new and good names—of the modern developments—of inalienable homesteads;
Of a free and original life there—of simple diet and clean and sweet blood;
Of litheness, majestic faces, clear eyes, and perfect physique there;
Of immense spiritual results, future years, far west, each side of the Anahuacs;
Of these leaves, well understood there, (being made for that area;)
Of the native scorn of grossness and gain there;
(O it lurks in me night and day—What is gain, after all, to savageness and freedom?)
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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.
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by
Vachel Lindsay
[In memory of E. S. Frazee, Rush County, Indiana]
Into the acres of the newborn state
He poured his strength, and plowed his ancient name,
And, when the traders followed him, he stood
Towering above their furtive souls and tame.
That brow without a stain, that fearless eye
Oft left the passing stranger wondering
To find such knighthood in the sprawling land,
To see a democrat well-nigh a king.
He lived with liberal hand, with guests from far,
With talk and joke and fellowship to spare, —
Watching the wide world's life from sun to sun,
Lining his walls with books from everywhere.
He read by night, he built his world by day.
The farm and house of God to him were one.
For forty years he preached and plowed and wrought —
A statesman in the fields, who bent to none.
His plowmen-neighbors were as lords to him.
His was an ironside, democratic pride.
He served a rigid Christ, but served him well —
And, for a lifetime, saved the countryside.
Here lie the dead, who gave the church their best
Under his fiery preaching of the word.
They sleep with him beneath the ragged grass...
The village withers, by his voice unstirred.
And tho' his tribe be scattered to the wind
From the Atlantic to the China sea,
Yet do they think of that bright lamp he burned
Of family worth and proud integrity.
And many a sturdy grandchild hears his name
In reverence spoken, till he feels akin
To all the lion-eyed who built the world —
And lion-dreams begin to burn within.
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by
Walt Whitman
AARM’D year! year of the struggle!
No dainty rhymes or sentimental love verses for you, terrible year!
Not you as some pale poetling, seated at a desk, lisping cadenzas piano;
But as a strong man, erect, clothed in blue clothes, advancing, carrying a rifle on your
shoulder,
With well-gristled body and sunburnt face and hands—with a knife in the belt at your
side,
As I heard you shouting loud—your sonorous voice ringing across the continent;
Your masculine voice, O year, as rising amid the great cities,
Amid the men of Manhattan I saw you, as one of the workmen, the dwellers in Manhattan;
Or with large steps crossing the prairies out of Illinois and Indiana,
Rapidly crossing the West with springy gait, and descending the Alleghanies;
Or down from the great lakes, or in Pennsylvania, or on deck along the Ohio river;
Or southward along the Tennessee or Cumberland rivers, or at Chattanooga on the mountain
top,
Saw I your gait and saw I your sinewy limbs, clothed in blue, bearing weapons, robust
year;
Heard your determin’d voice, launch’d forth again and again;
Year that suddenly sang by the mouths of the round-lipp’d cannon,
I repeat you, hurrying, crashing, sad, distracted year.
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by
Carl Sandburg
MAMIE beat her head against the bars of a little Indiana
town and dreamed of romance and big things off
somewhere the way the railroad trains all ran.
She could see the smoke of the engines get lost down
where the streaks of steel flashed in the sun and
when the newspapers came in on the morning mail
she knew there was a big Chicago far off, where all
the trains ran.
She got tired of the barber shop boys and the post office
chatter and the church gossip and the old pieces the
band played on the Fourth of July and Decoration Day
And sobbed at her fate and beat her head against the
bars and was going to kill herself
When the thought came to her that if she was going to
die she might as well die struggling for a clutch of
romance among the streets of Chicago.
She has a job now at six dollars a week in the basement
of the Boston Store
And even now she beats her head against the bars in the
same old way and wonders if there is a bigger place
the railroads run to from Chicago where maybe
there is
romance
and big things
and real dreams
that never go smash.
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by
Carl Sandburg
IT’S going to come out all right—do you know?
The sun, the birds, the grass—they know.
They get along—and we’ll get along.
Some days will be rainy and you will sit waiting
And the letter you wait for won’t come,
And I will sit watching the sky tear off gray and gray
And the letter I wait for won’t come.
There will be ac-ci-dents.
I know ac-ci-dents are coming.
Smash-ups, signals wrong, washouts, trestles rotten,
Red and yellow ac-ci-dents.
But somehow and somewhere the end of the run
The train gets put together again
And the caboose and the green tail lights
Fade down the right of way like a new white hope.
I never heard a mockingbird in Kentucky
Spilling its heart in the morning.
I never saw the snow on Chimborazo.
It’s a high white Mexican hat, I hear.
I never had supper with Abe Lincoln.
Nor a dish of soup with Jim Hill.
But I’ve been around.
I know some of the boys here who can go a little.
I know girls good for a burst of speed any time.
I heard Williams and Walker
Before Walker died in the bughouse.
I knew a mandolin player
Working in a barber shop in an Indiana town,
And he thought he had a million dollars.
I knew a hotel girl in Des Moines.
She had eyes; I saw her and said to myself
The sun rises and the sun sets in her eyes.
I was her steady and her heart went pit-a-pat.
We took away the money for a prize waltz at a Brotherhood dance.
She had eyes; she was safe as the bridge over the Mississippi at Burlington; I married her.
Last summer we took the cushions going west.
Pike’s Peak is a big old stone, believe me.
It’s fastened down; something you can count on.
It’s going to come out all right—do you know?
The sun, the birds, the grass—they know.
They get along—and we’ll get along.
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by
Carl Sandburg
KEEP a red heart of memories
Under the great gray rain sheds of the sky,
Under the open sun and the yellow gloaming embers.
Remember all paydays of lilacs and songbirds;
All starlights of cool memories on storm paths.
Out of this prairie rise the faces of dead men.
They speak to me. I can not tell you what they say.
Other faces rise on the prairie.
They are the unborn. The future.
Yesterday and to-morrow cross and mix on the skyline
The two are lost in a purple haze. One forgets. One waits.
In the yellow dust of sunsets, in the meadows of vermilion eight o’clock June nights … the dead men and the unborn children speak to me … I can not tell you what they say … you listen and you know.
I don’t care who you are, man:
I know a woman is looking for you
and her soul is a corn-tassel kissing a south-west wind.
(The farm-boy whose face is the color of brick-dust, is calling the cows; he will form the letter X with crossed streams of milk from the teats; he will beat a tattoo on the bottom of a tin pail with X’s of milk.)
I don’t care who you are, man:
I know sons and daughters looking for you
And they are gray dust working toward star paths
And you see them from a garret window when you laugh
At your luck and murmur, “I don’t care.”
I don’t care who you are, woman:
I know a man is looking for you
And his soul is a south-west wind kissing a corn-tassel.
(The kitchen girl on the farm is throwing oats to the chickens and the buff of their feathers says hello to the sunset’s late maroon.)
I don’t care who you are, woman:
I know sons and daughters looking for you
And they are next year’s wheat or the year after hidden in the dark and loam.
My love is a yellow hammer spinning circles in Ohio, Indiana. My love is a redbird shooting flights in straight lines in Kentucky and Tennessee. My love is an early robin flaming an ember of copper on her shoulders in March and April. My love is a graybird living in the eaves of a Michigan house all winter. Why is my love always a crying thing of wings?
On the Indiana dunes, in the Mississippi marshes, I have asked: Is it only a fishbone on the beach?
Is it only a dog’s jaw or a horse’s skull whitening in the sun? Is the red heart of man only ashes? Is the flame of it all a white light switched off and the power house wires cut?
Why do the prairie roses answer every summer? Why do the changing repeating rains come back out of the salt sea wind-blown? Why do the stars keep their tracks? Why do the cradles of the sky rock new babies?
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by
Walt Whitman
FROM Paumanock starting, I fly like a bird,
Around and around to soar, to sing the idea of all;
To the north betaking myself, to sing there arctic songs,
To Kanada, till I absorb Kanada in myself—to Michigan then,
To Wisconsin, Iowa, Minnesota, to sing their songs, (they are inimitable;)
Then to Ohio and Indiana to sing theirs—to Missouri and Kansas and Arkansas, to sing
theirs,
To Tennessee and Kentucky—to the Carolinas and Georgia, to sing theirs,
To Texas, and so along up toward California, to roam accepted everywhere;
To sing first, (to the tap of the war-drum, if need be,)
The idea of all—of the western world, one and inseparable.
And then the song of each member of These States.
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by
Carl Sandburg
I ASKED the Mayor of Gary about the 12-hour day and the 7-day week.
And the Mayor of Gary answered more workmen steal time on the job in Gary than any other place in the United States.
“Go into the plants and you will see men sitting around doing nothing—machinery does everything,” said the Mayor of Gary when I asked him about the 12-hour day and the 7-day week.
And he wore cool cream pants, the Mayor of Gary, and white shoes, and a barber had fixed him up with a shampoo and a shave and he was easy and imperturbable though the government weather bureau thermometer said 96 and children were soaking their heads at bubbling fountains on the street corners.
And I said good-by to the Mayor of Gary and I went out from the city hall and turned the corner into Broadway.
And I saw workmen wearing leather shoes scruffed with fire and cinders, and pitted with little holes from running molten steel,
And some had bunches of specialized muscles around their shoulder blades hard as pig iron, muscles of their fore-arms were sheet steel and they looked to me like men who had been somewhere.Gary, Indiana, 1915.
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by
Rg Gregory
thoth (who became hermes who became mercury)
who was both moon and wisdom to the egyptians
manifested himself mainly as an ibis - a watery bird
a restless creature that could not stop searching
through marshy ground with its sickle-shaped beak
so to the christians the bird became a scavenger
the worst sinner from whom sins sprout forth and grow
sacred ibises have had to learn (like any living body)
you can't do a thing in this damned contrary world
without someone somewhere tearing out its guts
and if you see two ibises (say) standing together
by a river waiting for their friend the moon to appear
they do have the stance of a couple of old professors
who have said all there is to say about the fraught
histories of every species that has got itself a life
not that they disguise their own frailties - any joker
could knock their legs from under them - they have
such a tenuous touch on earth you'd have to guess
their brains were in their beaks which maybe sums up
the base nature of wisdom - a glimpse of the innate
shrouded in moon darting through water gasping for
its last touch of air in a slithery marsh -somewhere
there is a store (a golden sump) of truths all life
has gleaned about itself (indiana jones can't find it)
the querulous beak of the ibis is our frail best bet
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