Written by
T S (Thomas Stearns) Eliot |
I
In my beginning is my end. In succession
Houses rise and fall, crumble, are extended,
Are removed, destroyed, restored, or in their place
Is an open field, or a factory, or a by-pass.
Old stone to new building, old timber to new fires,
Old fires to ashes, and ashes to the earth
Which is already flesh, fur and faeces,
Bone of man and beast, cornstalk and leaf.
Houses live and die: there is a time for building
And a time for living and for generation
And a time for the wind to break the loosened pane
And to shake the wainscot where the field-mouse trots
And to shake the tattered arras woven with a silent motto.
In my beginning is my end. Now the light falls
Across the open field, leaving the deep lane
Shuttered with branches, dark in the afternoon,
Where you lean against a bank while a van passes,
And the deep lane insists on the direction
Into the village, in the electric heat
Hypnotised. In a warm haze the sultry light
Is absorbed, not refracted, by grey stone.
The dahlias sleep in the empty silence.
Wait for the early owl.
In that open field
If you do not come too close, if you do not come too close,
On a summer midnight, you can hear the music
Of the weak pipe and the little drum
And see them dancing around the bonfire
The association of man and woman
In daunsinge, signifying matrimonie—
A dignified and commodiois sacrament.
Two and two, necessarye coniunction,
Holding eche other by the hand or the arm
Whiche betokeneth concorde. Round and round the fire
Leaping through the flames, or joined in circles,
Rustically solemn or in rustic laughter
Lifting heavy feet in clumsy shoes,
Earth feet, loam feet, lifted in country mirth
Mirth of those long since under earth
Nourishing the corn. Keeping time,
Keeping the rhythm in their dancing
As in their living in the living seasons
The time of the seasons and the constellations
The time of milking and the time of harvest
The time of the coupling of man and woman
And that of beasts. Feet rising and falling.
Eating and drinking. Dung and death.
Dawn points, and another day
Prepares for heat and silence. Out at sea the dawn wind
Wrinkles and slides. I am here
Or there, or elsewhere. In my beginning.
II
What is the late November doing
With the disturbance of the spring
And creatures of the summer heat,
And snowdrops writhing under feet
And hollyhocks that aim too high
Red into grey and tumble down
Late roses filled with early snow?
Thunder rolled by the rolling stars
Simulates triumphal cars
Deployed in constellated wars
Scorpion fights against the Sun
Until the Sun and Moon go down
Comets weep and Leonids fly
Hunt the heavens and the plains
Whirled in a vortex that shall bring
The world to that destructive fire
Which burns before the ice-cap reigns.
That was a way of putting it—not very satisfactory:
A periphrastic study in a worn-out poetical fashion,
Leaving one still with the intolerable wrestle
With words and meanings. The poetry does not matter.
It was not (to start again) what one had expected.
What was to be the value of the long looked forward to,
Long hoped for calm, the autumnal serenity
And the wisdom of age? Had they deceived us
Or deceived themselves, the quiet-voiced elders,
Bequeathing us merely a receipt for deceit?
The serenity only a deliberate hebetude,
The wisdom only the knowledge of dead secrets
Useless in the darkness into which they peered
Or from which they turned their eyes. There is, it seems to us,
At best, only a limited value
In the knowledge derived from experience.
The knowledge imposes a pattern, and falsifies,
For the pattern is new in every moment
And every moment is a new and shocking
Valuation of all we have been. We are only undeceived
Of that which, deceiving, could no longer harm.
In the middle, not only in the middle of the way
But all the way, in a dark wood, in a bramble,
On the edge of a grimpen, where is no secure foothold,
And menaced by monsters, fancy lights,
Risking enchantment. Do not let me hear
Of the wisdom of old men, but rather of their folly,
Their fear of fear and frenzy, their fear of possession,
Of belonging to another, or to others, or to God.
The only wisdom we can hope to acquire
Is the wisdom of humility: humility is endless.
The houses are all gone under the sea.
The dancers are all gone under the hill.
III
O dark dark dark. They all go into the dark,
The vacant interstellar spaces, the vacant into the vacant,
The captains, merchant bankers, eminent men of letters,
The generous patrons of art, the statesmen and the rulers,
Distinguished civil servants, chairmen of many committees,
Industrial lords and petty contractors, all go into the dark,
And dark the Sun and Moon, and the Almanach de Gotha
And the Stock Exchange Gazette, the Directory of Directors,
And cold the sense and lost the motive of action.
And we all go with them, into the silent funeral,
Nobody's funeral, for there is no one to bury.
I said to my soul, be still, and let the dark come upon you
Which shall be the darkness of God. As, in a theatre,
The lights are extinguished, for the scene to be changed
With a hollow rumble of wings, with a movement of darkness on darkness,
And we know that the hills and the trees, the distant panorama
And the bold imposing façade are all being rolled away—
Or as, when an underground train, in the tube, stops too long between stations
And the conversation rises and slowly fades into silence
And you see behind every face the mental emptiness deepen
Leaving only the growing terror of nothing to think about;
Or when, under ether, the mind is conscious but conscious of nothing—
I said to my soul, be still, and wait without hope
For hope would be hope for the wrong thing; wait without love,
For love would be love of the wrong thing; there is yet faith
But the faith and the love and the hope are all in the waiting.
Wait without thought, for you are not ready for thought:
So the darkness shall be the light, and the stillness the dancing.
Whisper of running streams, and winter lightning.
The wild thyme unseen and the wild strawberry,
The laughter in the garden, echoed ecstasy
Not lost, but requiring, pointing to the agony
Of death and birth.
You say I am repeating
Something I have said before. I shall say it again.
Shall I say it again? In order to arrive there,
To arrive where you are, to get from where you are not,
You must go by a way wherein there is no ecstasy.
In order to arrive at what you do not know
You must go by a way which is the way of ignorance.
In order to possess what you do not possess
You must go by the way of dispossession.
In order to arrive at what you are not
You must go through the way in which you are not.
And what you do not know is the only thing you know
And what you own is what you do not own
And where you are is where you are not.
IV
The wounded surgeon plies the steel
That questions the distempered part;
Beneath the bleeding hands we feel
The sharp compassion of the healer's art
Resolving the enigma of the fever chart.
Our only health is the disease
If we obey the dying nurse
Whose constant care is not to please
But to remind of our, and Adam's curse,
And that, to be restored, our sickness must grow worse.
The whole earth is our hospital
Endowed by the ruined millionaire,
Wherein, if we do well, we shall
Die of the absolute paternal care
That will not leave us, but prevents us everywhere.
The chill ascends from feet to knees,
The fever sings in mental wires.
If to be warmed, then I must freeze
And quake in frigid purgatorial fires
Of which the flame is roses, and the smoke is briars.
The dripping blood our only drink,
The bloody flesh our only food:
In spite of which we like to think
That we are sound, substantial flesh and blood—
Again, in spite of that, we call this Friday good.
V
So here I am, in the middle way, having had twenty years—
Twenty years largely wasted, the years of l'entre deux guerres
Trying to use words, and every attempt
Is a wholly new start, and a different kind of failure
Because one has only learnt to get the better of words
For the thing one no longer has to say, or the way in which
One is no longer disposed to say it. And so each venture
Is a new beginning, a raid on the inarticulate
With shabby equipment always deteriorating
In the general mess of imprecision of feeling,
Undisciplined squads of emotion. And what there is to conquer
By strength and submission, has already been discovered
Once or twice, or several times, by men whom one cannot hope
To emulate—but there is no competition—
There is only the fight to recover what has been lost
And found and lost again and again: and now, under conditions
That seem unpropitious. But perhaps neither gain nor loss.
For us, there is only the trying. The rest is not our business.
Home is where one starts from. As we grow older
The world becomes stranger, the pattern more complicated
Of dead and living. Not the intense moment
Isolated, with no before and after,
But a lifetime burning in every moment
And not the lifetime of one man only
But of old stones that cannot be deciphered.
There is a time for the evening under starlight,
A time for the evening under lamplight
(The evening with the photograph album).
Love is most nearly itself
When here and now cease to matter.
Old men ought to be explorers
Here or there does not matter
We must be still and still moving
Into another intensity
For a further union, a deeper communion
Through the dark cold and the empty desolation,
The wave cry, the wind cry, the vast waters
Of the petrel and the porpoise. In my end is my beginning.
|
Written by
Allen Ginsberg |
I walked on the banks of the tincan banana dock and sat down under the huge shade of a Southern Pacific locomotive to look for the sunset over the box house hills and cry.
Jack Kerouac sat beside me on a busted rusty iron pole, companion, we thought the same thoughts of the soul, bleak and blue and sad-eyed, surrounded by the gnarled steel roots of trees of machinery.
The only water on the river mirrored the red sky, sun sank on top of final Frisco peaks, no fish in that stream, no hermit in those mounts, just ourselves rheumy-eyed and hung-over like old bums on the riverbank, tired and wily.
Look at the Sunflower, he said, there was a dead gray shadow against the sky, big as a man, sitting dry on top of a pile of ancient sawdust--
--I rushed up enchanted--it was my first sunflower, memories of Blake--my visions--Harlem
and Hells of the Eastern rivers, bridges clanking Joes greasy Sandwiches, dead baby carriages, black treadless tires forgotten and unretreaded, the poem of the riverbank, condoms & pots, steel knives, nothing stainless, only the dank muck and the razor-sharp artifacts passing into the past--
and the gray Sunflower poised against the sunset, crackly bleak and dusty with the smut and smog and smoke of olden locomotives in its eye--
corolla of bleary spikes pushed down and broken like a battered crown, seeds fallen out of its face, soon-to-be-toothless mouth of sunny air, sunrays obliterated on its hairy head like a dried wire spiderweb,
leaves stuck out like arms out of the stem, gestures from the sawdust root, broke pieces of plaster fallen out of the black twigs, a dead fly in its ear,
Unholy battered old thing you were, my sunflower O my soul, I loved you then!
The grime was no man's grime but death and human locomotives,
all that dress of dust, that veil of darkened railroad skin, that smog of cheek, that eyelid of black mis'ry, that sooty hand or phallus or protuberance of artificial worse-than-dirt--industrial-- modern--all that civilization spotting your crazy golden crown--
and those blear thoughts of death and dusty loveless eyes and ends and withered roots below, in the home-pile of sand and sawdust, rubber dollar bills, skin of machinery, the guts and innards of the weeping coughing car, the empty lonely tincans with their rusty tongues alack, what more could I name, the smoked ashes of some cock cigar, the cunts of wheelbarrows and the milky breasts of cars, wornout asses out of chairs & sphincters of dynamos--all these
entangled in your mummied roots--and you standing before me in the sunset, all your glory in your form!
A perfect beauty of a sunflower! a perfect excellent lovely sunflower existence! a sweet natural eye to the new hip moon, woke up alive and excited grasping in the sunset shadow sunrise golden monthly breeze!
How many flies buzzed round you innocent of your grime, while you cursed the heavens of your railroad and your flower soul?
Poor dead flower? when did you forget you were a flower? when did you look at your skin and decide you were an impotent dirty old locomotive? the ghost of a locomotive? the specter and shade of a once powerful mad American locomotive?
You were never no locomotive, Sunflower, you were a sunflower!
And you Locomotive, you are a locomotive, forget me not!
So I grabbed up the skeleton thick sunflower and stuck it at my side like a scepter,
and deliver my sermon to my soul, and Jack's soul too, and anyone who'll listen,
--We're not our skin of grime, we're not our dread bleak dusty imageless locomotive, we're all golden sunflowers inside, blessed by our own seed & hairy naked accomplishment-bodies growing into mad black formal sunflowers in the sunset, spied on by our eyes under the shadow of the mad locomotive riverbank sunset Frisco hilly tincan evening sitdown vision.
|
Written by
Alec Derwent (A D) Hope |
When, darkly brooding on this Modern Age,
The journalist with his marketable woes
Fills up once more the inevitable page
Of fatuous, flatulent, Sunday-paper prose;
Whenever the green aesthete starts to whoop
With horror at the house not made with hands
And when from vacuum cleaners and tinned soup
Another pure theosophist demands
Rebirth in other, less industrial stars
Where huge towns thrust up in synthetic stone
And films and sleek miraculous motor cars
And celluloid and rubber are unknown;
When from his vegetable Sunday School
Emerges with the neatly maudlin phrase
Still one more Nature poet, to rant or drool
About the "Standardization of the Race";
I see, stooping among her orchard trees,
The old, sound Earth, gathering her windfalls in,
Broad in the hams and stiffening at the knees,
Pause and I see her grave malicious grin.
For there is no manufacturer competes
With her in the mass production of shapes and things.
Over and over she gathers and repeats
The cast of a face, a million butterfly wings.
She does not tire of the pattern of a rose.
Her oldest tricks still catch us with surprise.
She cannot recall how long ago she chose
The streamlined hulls of fish, the snail's long eyes,
Love, which still pours into its ancient mould
The lashing seed that grows to a man again,
From whom by the same processes unfold
Unending generations of living men.
She has standardized his ultimate needs and pains.
Lost tribes in a lost language mutter in
His dreams: his science is tethered to their brains,
His guilt merely repeats Original Sin.
And beauty standing motionless before
Her mirror sees behind her, mile on mile,
A long queue in an unknown corridor,
Anonymous faces plastered with her smile.
|
Written by
Philip Levine |
I walk among the rows of bowed heads--
the children are sleeping through fourth grade
so as to be ready for what is ahead,
the monumental boredom of junior high
and the rush forward tearing their wings
loose and turning their eyes forever inward.
These are the children of Flint, their fathers
work at the spark plug factory or truck
bottled water in 5 gallon sea-blue jugs
to the widows of the suburbs. You can see
already how their backs have thickened,
how their small hands, soiled by pig iron,
leap and stutter even in dreams. I would like
to sit down among them and read slowly
from The Book of Job until the windows
pale and the teacher rises out of a milky sea
of industrial scum, her gowns streaming
with light, her foolish words transformed
into song, I would like to arm each one
with a quiver of arrows so that they might
rush like wind there where no battle rages
shouting among the trumpets, Hal Ha!
How dear the gift of laughter in the face
of the 8 hour day, the cold winter mornings
without coffee and oranges, the long lines
of mothers in old coats waiting silently
where the gates have closed. Ten years ago
I went among these same children, just born,
in the bright ward of the Sacred Heart and leaned
down to hear their breaths delivered that day,
burning with joy. There was such wonder
in their sleep, such purpose in their eyes
dosed against autumn, in their damp heads
blurred with the hair of ponds, and not one
turned against me or the light, not one
said, I am sick, I am tired, I will go home,
not one complained or drifted alone,
unloved, on the hardest day of their lives.
Eleven years from now they will become
the men and women of Flint or Paradise,
the majors of a minor town, and I
will be gone into smoke or memory,
so I bow to them here and whisper
all I know, all I will never know.
|
Written by
Mark Doty |
Over the terminal,
the arms and chest
of the god
brightened by snow.
Formerly mercury,
formerly silver,
surface yellowed
by atmospheric sulphurs
acid exhalations,
and now the shining
thing's descendant.
Obscure passages,
dim apertures:
these clouded windows
show a few faces
or some empty car's
filmstrip of lit flames
--remember them
from school,
how they were supposed
to teach us something?--
waxy light hurrying
inches away from the phantom
smudge of us, vague
in spattered glass. Then
daylight's soft charcoal
lusters stone walls
and we ascend to what
passes for brightness,
this February,
scumbled sky
above graduated zones
of decline:
dead rowhouses,
charred windows'
wet frames
around empty space,
a few chipboard polemics
nailed over the gaps,
speeches too long
and obsessive for anyone
on this train to read,
sealing the hollowed interiors
--some of them grand once,
you can tell by
the fillips of decoration,
stone leaves, the frieze
of sunflowers.
Desolate fields--open spaces,
in a city where you
can hardly turn around!--
seem to center
on little flames,
something always burning
in a barrel or can
As if to represent
inextinguishable,
dogged persistence?
Though whether what burns
is will or rage or
harsh amalgam
I couldn't say.
But I can tell you this,
what I've seen that
won my allegiance most,
though it was also
the hallmark of our ruin,
and quick as anything
seen in transit:
where Manhattan ends
in the narrowing
geographical equivalent
of a sigh (asphalt,
arc of trestle, dull-witted
industrial tanks
and scaffoldings, ancient now,
visited by no one)
on the concrete
embankment just
above the river,
a sudden density
and concentration
of trash, so much
I couldn't pick out
any one thing
from our rising track
as it arced onto the bridge
over the fantastic
accumulation of jetsam
and contraband
strewn under
the uncompromising
vault of heaven.
An unbelievable mess,
so heaped and scattered
it seemed the core
of chaos itself--
but no, the junk was arranged
in rough aisles,
someone's intimate
clutter and collection,
no walls but still
a kind of apartment
and a fire ribboned out
of a ruined stove,
and white plates
were laid out
on the table beside it.
White china! Something
was moving, and
--you understand
it takes longer to tell this
than to see it, only
a train window's worth
of actuality--
I knew what moved
was an arm,
the arm of the (man
or woman?) in the center
of that hapless welter
in layer upon layer
of coats blankets scarves
until the form
constituted one more
gray unreadable;
whoever
was lifting a hammer,
and bringing it down
again, tapping at
what work
I couldn't say;
whoever, under
the great exhausted dome
of winter light,
which the steep
and steel surfaces of the city
made both more soft
and more severe,
was making something,
or repairing,
was in the act
(sheer stubborn nerve of it)
of putting together.
Who knows what.
(And there was more,
more I'd take all spring
to see. I'd pick my seat
and set my paper down
to study him again
--he, yes, some days not
at home though usually
in, huddled
by the smoldering,
and when my eye wandered
--five-second increments
of apprehension--I saw
he had a dog!
Who lay half in
half out his doghouse
in the rain, golden head
resting on splayed paws.
He had a ruined car,
and heaps of clothes,
and things to read--
was no emblem,
in other words,
but a citizen,
who'd built a citizen's
household, even
on the literal edge,
while I watched
from my quick,
high place, hurtling
over his encampment
by the waters of Babylon.)
Then we were gone,
in the heat and draft
of our silver, rattling
over the river
into the South Bronx,
against whose greasy
skyline rose that neoned
billboard for cigarettes
which hostages
my attention, always,
as it is meant to do,
its motto ruby
in the dark morning:
ALIVE WITH PLEASURE.
|
Written by
Philip Larkin |
That Whitsun, I was late getting away:
Not till about
One-twenty on the sunlit Saturday
Did my three-quarters-empty train pull out,
All windows down, all cushions hot, all sense
Of being in a hurry gone. We ran
Behind the backs of houses, crossed a street
Of blinding windscreens, smelt the fish-dock; thence
The river's level drifting breadth began,
Where sky and Lincolnshire and water meet.
All afternoon, through the tall heat that slept
For miles inland,
A slow and stopping curve southwards we kept.
Wide farms went by, short-shadowed cattle, and
Canals with floatings of industrial froth;
A hothouse flashed uniquely: hedges dipped
And rose: and now and then a smell of grass
Displaced the reek of buttoned carriage-cloth
Until the next town, new and nondescript,
Approached with acres of dismantled cars.
At first, I didn't notice what a noise
The weddings made
Each station that we stopped at: sun destroys
The interest of what's happening in the shade,
And down the long cool platforms whoops and skirls
I took for porters larking with the mails,
And went on reading. Once we started, though,
We passed them, grinning and pomaded, girls
In parodies of fashion, heels and veils,
All posed irresolutely, watching us go,
As if out on the end of an event
Waving goodbye
To something that survived it. Struck, I leant
More promptly out next time, more curiously,
And saw it all again in different terms:
The fathers with broad belts under their suits
And seamy foreheads; mothers loud and fat;
An uncle shouting smut; and then the perms,
The nylon gloves and jewellery-substitutes,
The lemons, mauves, and olive-ochres that
Marked off the girls unreally from the rest.
Yes, from cafés
And banquet-halls up yards, and bunting-dressed
Coach-party annexes, the wedding-days
Were coming to an end. All down the line
Fresh couples climbed aboard: the rest stood round;
The last confetti and advice were thrown,
And, as we moved, each face seemed to define
Just what it saw departing: children frowned
At something dull; fathers had never known
Success so huge and wholly farcical;
The women shared
The secret like a happy funeral;
While girls, gripping their handbags tighter, stared
At a religious wounding. Free at last,
And loaded with the sum of all they saw,
We hurried towards London, shuffling gouts of steam.
Now fields were building-plots, and poplars cast
Long shadows over major roads, and for
Some fifty minutes, that in time would seem
Just long enough to settle hats and say
I nearly died,
A dozen marriages got under way.
They watched the landscape, sitting side by side
- An Odeon went past, a cooling tower, And
someone running up to bowl - and none
Thought of the others they would never meet
Or how their lives would all contain this hour.
I thought of London spread out in the sun,
Its postal districts packed like squares of wheat:
There we were aimed. And as we raced across
Bright knots of rail
Past standing Pullmans, walls of blackened moss
Came close, and it was nearly done, this frail
Travelling coincidence; and what it held
stood ready to be loosed with all the power
That being changed can give. We slowed again,
And as the tightened brakes took hold, there swelled
A sense of falling, like an arrow-shower
Sent out of sight, somewhere becoming rain.
|
Written by
Laure-Anne Bosselaar |
Look at this storm, the idiot,
pouring its heart out here, of all places,
an industrial suburb on a Sunday,
soaking nothing but cinder-block
and parking lots,
wasting its breath on smokeless
smoke-stacks, not even a trash can
to send rumbling through the streets.
And that lightning bolt, forking itself
to death, to hit
nothing — what a waste.
What if I hadn’t been here, lost too,
four in the morning, driving around
in a jean-shirt over my night-gown,
reciting Baudelaire aloud —
like an idiot ¬— unable to sleep,
scared to death by my longing for it,
death, so early in the morning, driving
until the longing runs on empty?
The windshield wipers can’t
keep up with this deluge,
and I almost run over it, a flapping
white thing in the middle of the street.
I step out, it’s a gull, one leg
caught in a red plastic net
snared around its neck.
I throw my shirt over the shrieking thing,
take it back to the car, search my bag
for something, anything, find a nail file,
start sawing at the net.
The gull is huge, filthy, it shits
on my shirt, pecks at me — idiot, I’m trying
to save you. I slip a sleeve over its head,
hold it down with one hand, saw, cut,
pull with the other,
free the leg, the neck,
wrap the gull again, hold it against me,
fighting for its life, its crazed heart
beats against mine. I put my package
on the hood, open the shirt, and
there it goes, letting the wind
push it, suck it into a cloud; then it’s
gone — like some vague, inhuman
longing — as the rain lifts, and the suburbs
emerge in dirty white light.
|
Written by
Philip Levine |
Out of burlap sacks, out of bearing butter,
Out of black bean and wet slate bread,
Out of the acids of rage, the candor of tar,
Out of creosote, gasoline, drive shafts, wooden dollies,
They Lion grow.
Out of the gray hills
Of industrial barns, out of rain, out of bus ride,
West Virginia to Kiss My Ass, out of buried aunties,
Mothers hardening like pounded stumps, out of stumps,
Out of the bones' need to sharpen and the muscles' to stretch,
They Lion grow.
Earth is eating trees, fence posts,
Gutted cars, earth is calling in her little ones,
"Come home, Come home!" From pig balls,
From the ferocity of pig driven to holiness,
From the furred ear and the full jowl come
The repose of the hung belly, from the purpose
They Lion grow.
From the sweet glues of the trotters
Come the sweet kinks of the fist, from the full flower
Of the hams the thorax of caves,
From "Bow Down" come "Rise Up,"
Come they Lion from the reeds of shovels,
The grained arm that pulls the hands,
They Lion grow.
From my five arms and all my hands,
From all my white sins forgiven, they feed,
From my car passing under the stars,
They Lion, from my children inherit,
From the oak turned to a wall, they Lion,
From they sack and they belly opened
And all that was hidden burning on the oil-stained earth
They feed they Lion and he comes.
|
Written by
Guillaume Apollinaire |
ZONE
In the end you are tired of this ancient world
Shepherd oh Eiffel Tower the herd of bridges is bleating this morning
You've had enough of living in Greek and Roman antiquity
Here even the cars look antique
Only religion has stayed new religion
Has stayed simple like the hangars at Port-Aviation
You alone in Europe are not ancient oh Christianity
The most modern European is you Pope Pius X
And shame keeps you whom the windows are watching
From entering a church and going to confession this morning
You read the flyers catalogues posters that shout out
There's the morning's poetry and as for prose there are the newspapers
There are 25 cent tabloids full of crimes
Celebrity items and a thousand different headlines
This morning I saw a pretty street whose name I forget
New and clean it was the sun's herald
Executives workers and beautiful stenos
Cross it four times a day from Monday morning to Saturday evening
In the morning the siren moans three times
An angry bell barks at noon
The inscriptions on the signs and walls
The billboards the notices squawk like parrots
I love the charm of this industrial street
In Paris between the Rue Aumont-Thiéville and the Avenue des Ternes
There's the young street and you're still just a little boy
Your mother dresses you only in blue and white
You're very pious and along with your oldest friend René Dalize
You like nothing better than the rituals of the Church
It is nine o'clock the gas is low and blue you sneak out of the dormitory
You pray all night in the school's chapel
While in eternal adorable amethyst depths
The flaming glory of Christ revolves forever
It's the beautiful lily we all cultivate
It's the torch with red hair the wind can't blow out
It's the pale rosy son of the grieving mother
It's the tree always leafy with prayers
It's the paired gallows of honor and eternity
It's the star with six branches
It's God who dies on Friday and comes back to life on Sunday
It's Christ who climbs to the sky better than any pilot
He holds the world record for altitude
Apple Christ of the eye
Twentieth pupil of the centuries he knows how to do it
And changed into a bird this century like Jesus climbs into the air
Devils in their depths raise their heads to look at him
They say he's copying Simon Magus in Judea
They shout if he's so good at flying let's call him a fugitive
Angels gyre around the handsome gymnast
Icarus Enoch Elijah Apollonius of Tyana
Hover around the first airplane
They scatter sometimes to let the ones carrying the Eucharist pass
Those priests that are forever ascending carrying the host
Finally the plane lands without folding its wings
And the sky is full of millions of swallows
Crows falcons owls come in full flight
Ibises flamingos storks come from Africa
The Roc Bird made famous by storytellers and poets
Soars holding in its claws Adam's skull the first head
The eagle swoops screaming from the horizon
And from America the little hummingbird comes
From China the long agile peehees have come
They have only one wing and fly in pairs
Now here's the dove immaculate spirit
Escorted by the lyre-bird and the spotted peacock
The phoenix that self-engendering pyre
For an instant hides all with its burning ash
Sirens leaving the dangerous straits
Arrive singing beautifully all three
And all eagle phoenix peehees from China
Hang out with the flying Machine
Now you're walking in Paris all alone in the crowd
Herds of buses amble by you mooing
The anguish of love tightens your throat
As if you were never going to be loved again
If you lived in the old days you would enter a monastery
You are ashamed when you catch yourself saying a prayer
You make fun of yourself and your laughter crackles like the fire of Hell
The sparks of your laughter gild the abyss of your life
It is a painting hung in a dark museum
And sometimes you go look at it close up
Today you're walking in Paris the women have turned blood-red
It was and I wish I didn't remember it was at the waning of beauty
Surrounded by fervent flames Our Lady looked at me in Chartres
The blood of your Sacred Heart drenched me in Montmartre
I am sick from hearing blissful phrases
The love I suffer from is a shameful sickness
And the image that possesses you makes you survive in insomnia and anguish
It is always near you this image that passes
Now you're on the shores of the Mediterranean
Under the lemon trees that are in flower all year long
You go boating with some friends
One is from Nice there's one from Menton and two from La Turbie
We look with dread at the octopus of the deep
And among the seaweed fish are swimming symbols of the Savior
You are in the garden of an inn just outside of Prague
You feel so happy a rose is on the table
And you observe instead of writing your story in prose
The Japanese beetle sleeping in the heart of the rose
Terrified you see yourself drawn in the agates of Saint Vitus
You were sad enough to die the day you saw yourself
You look like Lazarus thrown into a panic by the daylight
The hands on the clock in the Jewish district go counter-clockwise
And you too are going slowly backwards in your life
Climbing up to Hradcany and listening at night
To Czech songs being sung in taverns
Here you are in Marseilles in the middle of watermelons
Here you are in Coblenz at the Giant Hotel
Here you are in Rome sitting under a Japanese medlar tree
Here you are in Amsterdam with a young woman you think is beautiful she is ugly
She is engaged to a student from Leyden
There they rent rooms in Latin Cubicula Locanda
I remember I spent three days there and just as many in Gouda
You are in Paris getting interrogated
They're arresting you like a criminal
You made some miserable and happy journeys
Before you became aware of lies and of age
You suffered from love at twenty and at thirty
I've lived like a madman and I've wasted my time
You don't dare look at your hands anymore and all the time I want to cry
Over you over the women I love over everything that's terrified you
Your tear-filled eyes watch the poor emigrants
They believe in God they pray the women breast-feed the children
They fill the waiting-room at the St. Lazaire station with their smell
They have faith in their star like the Magi
They hope to earn money in Argentina
And go back to their country after making their fortune
One family is carrying a red eiderdown the way you carry your heart
The eiderdown and our dreams are equally unreal
Some of these emigrants stay here and put up at the
Rue des Rosiers or the Rue des Ecouffes in hovels
I've seen them often at night they're out for a breath of air in the street
And like chess pieces they rarely move
They are mostly Jews the wives wearing wigs
Sit still bloodless at the back of store-fronts
You're standing in front of the counter at a sleazy bar
You're having coffee for two sous with the down-and-out
At night you're in a big restaurant
These women aren't mean but they do have their troubles
All of them even the ugliest has made her lover suffer
She is a Jersey policeman's daughter
Her hands that I hadn't seen are hard and chapped
I feel immense pity for the scars on her belly
I humble my mouth now to a poor hooker with a horrible laugh
You are alone morning is approaching
Milkmen clink their cans in the streets
Night withdraws like a half-caste beauty
Ferdine the false or thoughtful Leah
And you drink this alcohol burning like your life
Your life that you drink like an eau-de-vie
You walk towards Auteuil you want to go home on foot
To sleep surrounded by your fetishes from the South Seas and from Guinea
They are Christs in another form and from a different creed
They are lower Christs of dim expectations
Goodbye Goodbye
Sun neck cut
from Alcools, 1913
Translation copyright Charlotte Mandell
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