Written by
Richard Brautigan |
I am standing in the cemetery at Byrds, Texas.
What did Judy say? "God-forsaken is beautiful, too."
A very old man who has cancer on his face and takes
care of the cemetery, is raking a grave in such a
manner as to almost (polish it like a piece of silver.
An old dog stands beside him. It's a hot day: 105.
What am I doing out here in west Texas, standing in
a cemetery? The old man wonders about that, too.
My presence has become a part of his raking. I know
that he is also polishing me.
|
Written by
Marilyn Hacker |
This is for Elsa, also known as Liz,
an ample-bosomed gospel singer: five
discrete malignancies in one full breast.
This is for auburn Jacqueline, who is
celebrating fifty years alive,
one since she finished chemotherapy.
with fireworks on the fifteenth of July.
This is for June, whose words are lean and mean
as she is, elucidating our protest.
This is for Lucille, who shines a wide
beam for us with her dark cadences.
This is for long-limbed Maxine, astride
a horse like conscience. This is for Aline
who taught her lover how to caress the scar.
This is for Eve, who thought of AZT
while hopeful poisons pumped into a vein.
This is for Nanette in the Midwest.
This is for Alicia, shaking back dark hair,
dancing one-breasted with the Sabbath bride.
This is for Judy on a mountainside,
plunging her gloved hands in a glistening hive.
Hilda, Patricia, Gaylord, Emilienne,
Tania, Eunice: this is for everyone
who marks the distance on a calendar
from what's less likely each year to "recur."
Our saved-for-now lives are life sentences
-- which we prefer to the alternative.
|
Written by
Rudyard Kipling |
I've taken my fun where I've found it;
I've rouged an' I've ranged in my time;
I've 'ad my pickin' o' seethearts,
An' four o' the lot was prime.
One was an 'arf-caste widow,
One was awoman at Prome,
One was the wife of a jemadar-sais
An' one is a girl at 'ome.
Now I aren't no 'and with the ladies,
For, takin' 'em all along,
You never can say till you've tried 'em,
An' then you are like to be wrong.
There's times when you'll think that you mightn't,
There's times when you'll know that you might;
But the things you will learn from the Yellow an' Brown,
They'll 'elp you a lot with the White!
I was a young un at 'Oogli,
Shy as a girl to begin;
Aggie de Castrer she made me,
An' Aggie was clever as sin;
Older than me, but my first un --
More like a mother she were --
Showed me the way to promotion an' pay,
An' I learned about women from 'er!
Then I was ordered to Burma,
Actin' in charge o' Bazar,
An' I got me a tiddy live 'eathen
Through buyin' supplies off 'er pa.
Funny an' yellow an' faithful --
Doll in a teacup she were --
But we lived on the square, like a true-married pair,
An' I learned about women from 'er!
Then we was shifted to Neemuch
(Or I might ha' been keepin' 'er now),
An' I took with a shiny she-devil,
The wife of a ****** at Mhow;
'Taught me the gipsy-folks' bolee;
Kind o' volcano she were,
For she knifed me one night 'cause I wished she was white,
And I learned about women from 'er!
Then I come 'ome in a trooper,
'Long of a kid o' sixteen --
'Girl from a convent at Meerut,
The straightest I ever 'ave seen.
Love at first sight was 'er trouble,
She didn't know what it were;
An' I wouldn't do such, 'cause I liked 'er too much,
But -- I learned about women from 'er!
I've taken my fun where I've found it,
An' now I must pay for my fun,
For the more you 'ave known o' the others
The less will you settle to one;
An' the end of it's sittin' and thinking',
An' dreamin' Hell-fires to see;
So be warned by my lot (which I know you will not),
An' learn about women from me!
What did the Colonel's Lady think?
Nobody never knew.
Somebody asked the Sergeant's Wife,
An' she told 'em true!
When you get to a man in the case,
They're like as a row of pins --
For the Colonel's Lady an' Judy O'Grady
Are sisters under their skins!
|
Written by
Judy Grahn |
When she goes to Hollywood
she is an angel.
She writes in red red lipstick
on the window of her body,
long for me, oh need me!
Parts her lips like a lotus.
Opening night she stands, poised
on her carpet, luminescent,
young men humming
all around her. She is flying.
Her high heels are wands, her
furs electric. Her bracelets
flashing. How completely
dazzling her complexion,
how vibrant her hair and eyes,
how brilliant the glow that spreads
four full feet around her.
She is totally self conscious
self contained
self centered,
caught in the blazing central eye
of our attention.
We infuse her.
Fans, we wave at her
like handmaids, unabashedly,
we crowd on tiptoe pressed together
just to feel the fission of the star
that lives on earth,
the bright, the angel sun
the luminescent glow of someone
other than we.
Look! Look! She is different.
Medium for all our energy
as we pour it through her.
Vessel of light,
Her flesh is like flax,
a living fiber.
She is the symbol of our dreams and fears
and bloody visions, all
our metaphors for living in America.
Harlowe, Holiday, Monroe
Helen
When she goes to Hollywood
she is the fire for all purposes.
Her flesh is like dark wax, a candle.
She is from any place or class.
"That's the one," we say in instant recognition,
because our breath is taken by her beauty,
or what we call her beauty.
She is glowing from every pore.
we adore her. we imitate and rob her
adulate envy
admire neglect
scorn. leave alone
invade, fill
ourselves with her.
we love her, we say
and if she isn't careful
we may even kill her.
Opening night
she lands on her carpet,
long fingered hands
like divining rods
bobbing and drawing the strands
of our attention,
as limousine drivers in blue jackets
stand on the hoods of their cars
to see the angel, talking
Davis, Dietrich, Wood
Tyson, Taylor, Gabor
Helen, when she goes to Hollywood
to be a walking star,
to be an actor
She is far more that a product
of Max Factor,
Max Factor didn't make her
though the make-up helps us
see what we would like
to take her for
her flesh is like glass,
a chandelier
a mirror
Harlowe, Holiday, Monroe
Helen
when she went to Hollywood
to be an angel
And it is she and not we
who is different
She who marries the crown prince
who leads the processional dance,
she who sweeps eternally
down the steps
in her long round gown.
A leaping, laughing leading lady,
she is our flower.
It is she who lies strangled
in the bell tower;
she who is monumentally drunk and suicidal
or locked waiting in the hightower,
she who lies sweating with the vicious jungle fever,
who leaps from her blue window
when he will, if he will, leave her
it is she and not we
who is the lotus
It is she with the lilies in her hair
and a keyboard beside her,
the dark flesh glowing
She whose wet lips nearly swallow
the microphone, whose whiskey voice
is precise and sultry and overwhelming,
she who is princess and harlequin,
athlete and moll and whore and lady,
goddess of the silver screen
the only original American queen
and Helen
when she was an angel
when she went to Hollywood
|
Written by
Conrad Aiken |
THE HOUSE OF DUST
A Symphony
BY
CONRAD AIKEN
To Jessie
NOTE
. . . Parts of this poem have been printed in "The North American
Review, Others, Poetry, Youth, Coterie, The Yale Review". . . . I am
indebted to Lafcadio Hearn for the episode called "The Screen Maiden"
in Part II.
This text comes from the source available at
Project Gutenberg, originally prepared by Judy Boss
of Omaha, NE.
|
Written by
Thomas Hardy |
When the hamlet hailed a birth
Judy used to cry:
When she heard our christening mirth
She would kneel and sigh.
She was crazed, we knew, and we
Humoured her infirmity.
When the daughters and the sons
Gathered them to wed,
And we like-intending ones
Danced till dawn was red,
She would rock and mutter, "More
Comers to this stony shore!"
When old Headsman Death laid hands
On a babe or twain,
She would feast, and by her brands
Sing her songs again.
What she liked we let her do,
Judy was insane, we knew.
|
Written by
Robert William Service |
Addict of Punch and Judy shows
I was when I was small;
My kiddy laughter, I suppose,
Rang louder than them all.
The Judge with banter I would bait,
The Copper was a wretch;
But oh how I would hiss my hate
For grim Jack Ketch.
Although a grandsire grey I still
Love Punch and Judy shows,
And with my toddlers help to fill
Enthusiastic rows.
How jolly is their mirth to see,
And what a sigh they fetch,
When Punch begs to be shown and he
Jerks up Jack Ketch.
Heigh ho! No more I watch the play;
It is the audience
That gives me my delight today,--
Such charm of innocence!
Immortal mimes! It seems to me,
Could I re-live my span,
With gusto I would like to be
A Punch and Judy Man.
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