Written by
Billy Collins |
Sometimes the notes are ferocious,
skirmishes against the author
raging along the borders of every page
in tiny black script.
If I could just get my hands on you,
Kierkegaard, or Conor Cruise O'Brien,
they seem to say,
I would bolt the door and beat some logic into your head.
Other comments are more offhand, dismissive -
"Nonsense." "Please!" "HA!!" -
that kind of thing.
I remember once looking up from my reading,
my thumb as a bookmark,
trying to imagine what the person must look like
why wrote "Don't be a ninny"
alongside a paragraph in The Life of Emily Dickinson.
Students are more modest
needing to leave only their splayed footprints
along the shore of the page.
One scrawls "Metaphor" next to a stanza of Eliot's.
Another notes the presence of "Irony"
fifty times outside the paragraphs of A Modest Proposal.
Or they are fans who cheer from the empty bleachers,
Hands cupped around their mouths.
"Absolutely," they shout
to Duns Scotus and James Baldwin.
"Yes." "Bull's-eye." "My man!"
Check marks, asterisks, and exclamation points
rain down along the sidelines.
And if you have managed to graduate from college
without ever having written "Man vs. Nature"
in a margin, perhaps now
is the time to take one step forward.
We have all seized the white perimeter as our own
and reached for a pen if only to show
we did not just laze in an armchair turning pages;
we pressed a thought into the wayside,
planted an impression along the verge.
Even Irish monks in their cold scriptoria
jotted along the borders of the Gospels
brief asides about the pains of copying,
a bird signing near their window,
or the sunlight that illuminated their page-
anonymous men catching a ride into the future
on a vessel more lasting than themselves.
And you have not read Joshua Reynolds,
they say, until you have read him
enwreathed with Blake's furious scribbling.
Yet the one I think of most often,
the one that dangles from me like a locket,
was written in the copy of Catcher in the Rye
I borrowed from the local library
one slow, hot summer.
I was just beginning high school then,
reading books on a davenport in my parents' living room,
and I cannot tell you
how vastly my loneliness was deepened,
how poignant and amplified the world before me seemed,
when I found on one page
A few greasy looking smears
and next to them, written in soft pencil-
by a beautiful girl, I could tell,
whom I would never meet-
"Pardon the egg salad stains, but I'm in love."
|
Written by
Anne Sexton |
Who's she, that one in your arms?
She's the one I carried my bones to
and built a house that was just a cot
and built a life that was over an hour
and built a castle where no one lives
and built, in the end, a song
to go with the ceremony.
Why have you brought her here?
Why do you knock on my door
with your little stores and songs?
I had joined her the way a man joins
a woman and yet there was no place
for festivities or formalities
and these things matter to a woman
and, you see, we live in a cold climate
and are not permitted to kiss on the street
so I made up a song that wasn't true.
I made up a song called Marriage.
You come to me out of wedlock
and kick your foot on my stoop
and ask me to measure such things?
Never. Never. Not my real wife.
She's my real witch, my fork, my mare,
my mother of tears, my skirtful of hell,
the stamp of my sorrows, the stamp of my bruises
and also the children she might bear
and also a private place, a body of bones
that I would honestly buy, if I could buy,
that I would marry, if I could marry.
And should I torment you for that?
Each man has a small fate allotted to him
and yours is a passionate one.
But I am in torment. We have no place.
The cot we share is almost a prison
where I can't say buttercup, bobolink,
sugarduck, pumpkin, love ribbon, locket,
valentine, summergirl, funnygirl and all
those nonsense things one says in bed.
To say I have bedded with her is not enough.
I have not only bedded her down.
I have tied her down with a knot.
Then why do you stick your fists
into your pockets? Why do you shuffle
your feet like a schoolboy?
For years I have tied this knot in my dreams.
I have walked through a door in my dreams
and she was standing there in my mother's apron.
Once she crawled through a window that was shaped
like a keyhole and she was wearing my daughter's
pink corduroys and each time I tied these women
in a knot. Once a queen came. I tied her too.
But this is something I have actually tied
and now I have made her fast.
I sang her out. I caught her down.
I stamped her out with a song.
There was no other apartment for it.
There was no other chamber for it.
Only the knot. The bedded-down knot.
Thus I have laid my hands upon her
and have called her eyes and her mouth
as mine, as also her tongue.
Why do you ask me to make choices?
I am not a judge or a psychologist.
You own your bedded-down knot.
And yet I have real daytimes and nighttimes
with children and balconies and a good wife.
Thus I have tied these other knots,
yet I would rather not think of them
when I speak to you of her. Not now.
If she were a room to rent I would pay.
If she were a life to save I would save.
Maybe I am a man of many hearts.
A man of many hearts?
Why then do you tremble at my doorway?
A man of many hearts does not need me.
I'm caught deep in the dye of her.
I have allowed you to catch me red-handed,
catch me with my wild oats in a wild clock
for my mare, my dove and my own clean body.
People might say I have snakes in my boots
but I tell you that just once am I in the stirrups,
just once, this once, in the cup.
The love of the woman is in the song.
I called her the woman in red.
I called her the woman in pink
but she was ten colors
and ten women
I could hardly name her.
I know who she is.
You have named her enough.
Maybe I shouldn't have put it in words.
Frankly, I think I'm worse for this kissing,
drunk as a piper, kicking the traces
and determined to tie her up forever.
You see the song is the life,
the life I can't live.
God, even as he passes,
hand down monogamy like slang.
I wanted to write her into the law.
But, you know, there is no law for this.
Man of many hearts, you are a fool!
The clover has grown thorns this year
and robbed the cattle of their fruit
and the stones of the river
have sucked men's eyes dry,
season after season,
and every bed has been condemned,
not by morality or law,
but by time.
|
Written by
Robert Louis Stevenson |
THE relic taken, what avails the shrine?
The locket, pictureless? O heart of mine,
Art thou not worse than that,
Still warm, a vacant nest where love once sat?
Her image nestled closer at my heart
Than cherished memories, healed every smart
And warmed it more than wine
Or the full summer sun in noon-day shine.
This was the little weather gleam that lit
The cloudy promontories - the real charm was
That gilded hills and woods
And walked beside me thro' the solitudes.
The sun is set. My heart is widowed now
Of that companion-thought. Alone I plough
The seas of life, and trace
A separate furrow far from her and grace.
|
Written by
Robert William Service |
We brought him in from between the lines: we'd better have let him lie;
For what's the use of risking one's skin for a tyke that's going to die?
What's the use of tearing him loose under a gruelling fire,
When he's shot in the head, and worse than dead, and all messed up on the wire?
However, I say, we brought him in. Diable! The mud was bad;
The trench was crooked and greasy and high, and oh, what a time we had!
And often we slipped, and often we tripped, but never he made a moan;
And how we were wet with blood and with sweat! but we carried him in like our own.
Now there he lies in the dug-out dim, awaiting the ambulance,
And the doctor shrugs his shoulders at him, and remarks, "He hasn't a chance."
And we squat and smoke at our game of bridge on the glistening, straw-packed floor,
And above our oaths we can hear his breath deep-drawn in a kind of snore.
For the dressing station is long and low, and the candles gutter dim,
And the mean light falls on the cold clay walls and our faces bristly and grim;
And we flap our cards on the lousy straw, and we laugh and jibe as we play,
And you'd never know that the cursed foe was less than a mile away.
As we con our cards in the rancid gloom, oppressed by that snoring breath,
You'd never dream that our broad roof-beam was swept by the broom of death.
Heigh-ho! My turn for the dummy hand; I rise and I stretch a bit;
The fetid air is making me yawn, and my cigarette's unlit,
So I go to the nearest candle flame, and the man we brought is there,
And his face is white in the shabby light, and I stand at his feet and stare.
Stand for a while, and quietly stare: for strange though it seems to be,
The dying Boche on the stretcher there has a ***** resemblance to me.
It gives one a kind of a turn, you know, to come on a thing like that.
It's just as if I were lying there, with a turban of blood for a hat,
Lying there in a coat grey-green instead of a coat grey-blue,
With one of my eyes all shot away, and my brain half tumbling through;
Lying there with a chest that heaves like a bellows up and down,
And a cheek as white as snow on a grave, and lips that are coffee brown.
And confound him, too! He wears, like me, on his finger a wedding ring,
And around his neck, as around my own, by a greasy bit of string,
A locket hangs with a woman's face, and I turn it about to see:
Just as I thought . . . on the other side the faces of children three;
Clustered together cherub-like, three little laughing girls,
With the usual tiny rosebud mouths and the usual silken curls.
"Zut!" I say. "He has beaten me; for me, I have only two,"
And I push the locket beneath his shirt, feeling a little blue.
Oh, it isn't cheerful to see a man, the marvellous work of God,
Crushed in the mutilation mill, crushed to a smeary clod;
Oh, it isn't cheerful to hear him moan; but it isn't that I mind,
It isn't the anguish that goes with him, it's the anguish he leaves behind.
For his going opens a tragic door that gives on a world of pain,
And the death he dies, those who live and love, will die again and again.
So here I am at my cards once more, but it's kind of spoiling my play,
Thinking of those three brats of his so many a mile away.
War is war, and he's only a Boche, and we all of us take our chance;
But all the same I'll be mighty glad when I'm hearing the ambulance.
One foe the less, but all the same I'm heartily glad I'm not
The man who gave him his broken head, the sniper who fired the shot.
No trumps you make it, I think you said? You'll pardon me if I err;
For a moment I thought of other things . . .Mon Dieu! Quelle vache de gueerre.
|
Written by
Mother Goose |
Lucy Locket lost her pocket,Kitty Fisher found it;Nothing in it, nothing in it,But the binding round it.
|
Written by
Robert William Service |
Jack would laugh an' joke all day;
Never saw a lad so gay;
Singin' like a medder lark,
Loaded to the Plimsoll mark
With God's sunshine was that boy;
Had a strangle-holt on Joy.
Held his head 'way up in air,
Left no callin' cards on Care;
Breezy, buoyant, brave and true;
Sent his sunshine out to you;
Cheerfulest when clouds was black --
Happy Jack! Oh, Happy Jack!
Sittin' in my shack alone
I could hear him in his own,
Singin' far into the night,
Till it didn't seem just right
One man should corral the fun,
Live his life so in the sun;
Didn't seem quite natural
Not to have a grouch at all;
Not a trouble, not a lack --
Happy Jack! Oh, Happy Jack!
He was plumbful of good cheer
Till he struck that low-down year;
Got so thin, so little to him,
You could most see day-light through him.
Never was his eye so bright,
Never was his cheek so white.
Seemed as if somethin' was wrong,
Sort o' quaver in his song.
Same old smile, same hearty voice:
"Bless you, boys! let's all rejoice!"
But old Doctor shook his head:
"Half a lung," was all he said.
Yet that half was surely right,
For I heard him every night,
Singin', singin' in his shack --
Happy Jack! Oh, Happy Jack!
Then one day a letter came
Endin' with a female name;
Seemed to get him in the neck,
Sort o' pile-driver effect;
Paled his lip and plucked his breath,
Left him starin' still as death.
Somethin' had gone awful wrong,
Yet that night he sang his song.
Oh, but it was good to hear!
For there clutched my heart a fear,
So that I quaked listenin'
Every night to hear him sing.
But each day he laughed with me,
An' his smile was full of glee.
Nothin' seemed to set him back --
Happy Jack! Oh, Happy Jack!
Then one night the singin' stopped . . .
Seemed as if my heart just flopped;
For I'd learned to love the boy
With his gilt-edged line of joy,
With his glorious gift of bluff,
With his splendid fightin' stuff.
Sing on, lad, and play the game!
O dear God! . . . no singin' came,
But there surged to me instead --
Silence, silence, deep and dread;
Till I shuddered, tried to pray,
Said: "He's maybe gone away."
Oh, yes, he had gone away,
Gone forever and a day.
But he'd left behind him there,
In his cabin, pinched and bare,
His poor body, skin and bone,
His sharp face, cold as a stone.
An' his stiffened fingers pressed
Somethin' bright upon his breast:
Locket with a silken curl,
Poor, sweet portrait of a girl.
Yet I reckon at the last
How defiant-like he passed;
For there sat upon his lips
Smile that death could not eclipse;
An' within his eyes lived still
Joy that dyin' could not kill.
An' now when the nights are long,
How I miss his cheery song!
How I sigh an' wish him back!
Happy Jack! Oh, Happy Jack!
|
Written by
Robert William Service |
We was in a crump-'ole, 'im and me;
Fightin' wiv our bayonets was we;
Fightin' 'ard as 'ell we was,
Fightin' fierce as fire because
It was 'im or me as must be downed;
'E was twice as big as me;
I was 'arf the weight of 'e;
We was like a terryer and a 'ound.
'Struth! But 'e was sich a 'andsome bloke.
Me, I'm 'andsome as a chunk o' coke.
Did I give it 'im? Not 'arf!
Why, it fairly made me laugh,
'Cos 'is bloomin' bellows wasn't sound.
Couldn't fight for monkey nuts.
Soon I gets 'im in the guts,
There 'e lies a-floppin' on the ground.
In I goes to finish up the job.
Quick 'e throws 'is 'ands above 'is nob;
Speakin' English good as me:
"'Tain't no use to kill," says 'e;
"Can't yer tyke me prisoner instead?"
"Why, I'd like to, sir," says I;
"But -- yer knows the reason why:
If we pokes our noses out we're dead.
"Sorry, sir. Then on the other 'and
(As a gent like you must understand),
If I 'olds you longer 'ere,
Wiv yer pals so werry near,
It's me 'oo'll 'ave a free trip to Berlin;
If I lets yer go away,
Why, you'll fight another day:
See the sitooation I am in.
"Anyway I'll tell you wot I'll do,
Bein' kind and seein' as it's you,
Knowin' 'ow it's cold, the feel
Of a 'alf a yard o' steel,
I'll let yer 'ave a rifle ball instead;
Now, jist think yerself in luck. . . .
'Ere, ol' man! You keep 'em stuck,
Them saucy dooks o' yours, above yer 'ead."
'Ow 'is mits shot up it made me smile!
'Ow 'e seemed to ponder for a while!
Then 'e says: "It seems a shyme,
Me, a man wot's known ter Fyme:
Give me blocks of stone, I'll give yer gods.
Whereas, pardon me, I'm sure
You, my friend, are still obscure. . . ."
"In war," says I, "that makes no blurry odds."
Then says 'e: "I've painted picters too. . . .
Oh, dear God! The work I planned to do,
And to think this is the end!"
"'Ere," says I, "my hartist friend,
Don't you give yerself no friskin' airs.
Picters, statoos, is that why
You should be let off to die?
That the best ye done? Just say yer prayers."
Once again 'e seems ter think awhile.
Then 'e smiles a werry 'aughty smile:
"Why, no, sir, it's not the best;
There's a locket next me breast,
Picter of a gel 'oo's eyes are blue.
That's the best I've done," says 'e.
"That's me darter, aged three. . . ."
"Blimy!" says I, "I've a nipper, too."
Straight I chucks my rifle to one side;
Shows 'im wiv a lovin' farther's pride
Me own little Mary Jane.
Proud 'e shows me 'is Elaine,
And we talks as friendly as can be;
Then I 'elps 'im on 'is way,
'Opes 'e's sife at 'ome to-day,
Wonders -- 'ow would eE 'Aave treated me?
|
Written by
Robert William Service |
From out her shabby rain-coat pocket
The little Jew girl in the train
Produced a dinted silver locket
With pasted in it portraits twain.
"These are my parents, sir" she said;
"Or were, for now I fear they're dead.
"I know to Belsen they were sent;
I never heard of them again.
So many were like that - they went,
Our woeful quest was all in vain.
I was in London with a friend,
Or I, too, would have shared their end.
"They could have got away, I'm told,
And joined me here in Marylebne,
But Grannie was so sick and old,
They could not leave her there alone.
When they were seized she cried and cried:
Thank God! 'Twas in her bed she died.
"How did they die? I cannot bear
To think of that - it crazes me.
My mother was so sweet, so fair;
My father handsome as you see . . .
I'm sure no daughter ever had
More lovely parents . . . Yes, it's sad.
"But for their loss I shall not grieve;
I'll hug the hope they still survive;
Oh, I must make myself believe
Somehow, somewhere they're still alive. . . .
"Well, that's my only souvenir,
A locket stained with many a tear."
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