Written by
Billy Collins |
The name of the author is the first to go
followed obediently by the title, the plot,
the heartbreaking conclusion, the entire novel
which suddenly becomes one you have never read,
never even heard of,
as if, one by one, the memories you used to harbor
decided to retire to the southern hemisphere of the brain,
to a little fishing village where there are no phones.
Long ago you kissed the names of the nine Muses goodbye
and watched the quadratic equation pack its bag,
and even now as you memorize the order of the planets,
something else is slipping away, a state flower perhaps,
the address of an uncle, the capital of Paraguay.
Whatever it is you are struggling to remember,
it is not poised on the tip of your tongue,
not even lurking in some obscure corner of your spleen.
It has floated away down a dark mythological river
whose name begins with an L as far as you can recall,
well on your own way to oblivion where you will join those
who have even forgotten how to swim and how to ride a bicycle.
No wonder you rise in the middle of the night
to look up the date of a famous battle in a book on war.
No wonder the moon in the window seems to have drifted
out of a love poem that you used to know by heart.
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Written by
Eavan Boland |
In the worst hour of the worst season
of the worst year of a whole people
a man set out from the workhouse with his wife.
He was walking-they were both walking-north.
She was sick with famine fever and could not keep up.
He lifted her and put her on his back.
He walked like that west and north.
Until at nightfall under freezing stars they arrived.
In the morning they were both found dead.
Of cold. Of hunger. Of the toxins of a whole history.
But her feet were held against his breastbone.
The last heat of his flesh was his last gift to her.
Let no love poem ever come to this threshold.
There is no place here for the inexact
praise of the easy graces and sensuality of the body.
There is only time for this merciless inventory:
Their death together in the winter of 1847.
Also what they suffered. How they lived.
And what there is between a man and a woman.
And in which darkness it can best be proved.
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Written by
Richard Brautigan |
My clumsiest dear, whose hands shipwreck vases,
At whose quick touch all glasses chip and ring,
Whose palms are bulls in china, burs in linen,
And have no cunning with any soft thing
Except all ill-at-ease fidgeting people:
The refugee uncertain at the door
You make at home; deftly you steady
The drunk clambering on his undulant floor.
Unpredictable dear, the taxi drivers' terror,
Shrinking from far headlights pale as a dime
Yet leaping before apopleptic streetcars—
Misfit in any space. And never on time.
A wrench in clocks and the solar system. Only
With words and people and love you move at ease;
In traffic of wit expertly maneuver
And keep us, all devotion, at your knees.
Forgetting your coffee spreading on our flannel,
Your lipstick grinning on our coat,
So gaily in love's unbreakable heaven
Our souls on glory of spilt bourbon float.
Be with me, darling, early and late. Smash glasses—
I will study wry music for your sake.
For should your hands drop white and empty
All the toys of the world would break.
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Written by
Richard Brautigan |
There is always something to be made of pain.
Your mother knits.
She turns out scarves in every shade of red.
They were for Christmas, and they kept you warm
while she married over and over, taking you
along. How could it work,
when all those years she stored her widowed heart
as though the dead come back.
No wonder you are the way you are,
afraid of blood, your women
like one brick wall after another.
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Written by
Bob Hicok |
My left hand will live longer than my right. The rivers
of my palms tell me so.
Never argue with rivers. Never expect your lives to finish
at the same time. I think
praying, I think clapping is how hands mourn. I think
staying up and waiting
for paintings to sigh is science. In another dimension this
is exactly what's happening,
it's what they write grants about: the chromodynamics
of mournful Whistlers,
the audible sorrow and beta decay of Old Battersea Bridge.
I like the idea of different
theres and elsewheres, an Idaho known for bluegrass,
a Bronx where people talk
like violets smell. Perhaps I am somewhere patient, somehow
kind, perhaps in the nook
of a cousin universe I've never defiled or betrayed
anyone. Here I have
two hands and they are vanishing, the hollow of your back
to rest my cheek against,
your voice and little else but my assiduous fear to cherish.
My hands are webbed
like the wind-torn work of a spider, like they squeezed
something in the womb
but couldn't hang on. One of those other worlds
or a life I felt
passing through mine, or the ocean inside my mother's belly
she had to scream out.
Here, when I say I never want to be without you,
somewhere else I am saying
I never want to be without you again. And when I touch you
in each of the places we meet,
in all of the lives we are, it's with hands that are dying
and resurrected.
When I don't touch you it's a mistake in any life,
in each place and forever.
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Written by
Richard Brautigan |
It's so nice
to wake up in the morning
all alone
and not have to tell somebody
you love them
when you don't love them
any more.
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Written by
Kathleen Raine |
Yours is the face that the earth turns to me,
Continuous beyond its human features lie
The mountain forms that rest against the sky.
With your eyes, the reflecting rainbow, the sun's light
Sees me; forest and flower, bird and beast
Know and hold me forever in the world's thought,
Creation's deep untroubled retrospect.
When your hand touches mine it is the earth
That takes me--the green grass,
And rocks and rivers; the green graves,
And children still unborn, and ancestors,
In love passed down from hand to hand from God.
Your love comes from the creation of the world,
From those paternal fingers, streaming through the clouds
That break with light the surface of the sea.
Here, where I trace your body with my hand,
Love's presence has no end;
For these, your arms that hold me, are the world's.
In us, the continents, clouds and oceans meet
Our arbitrary selves, extensive with the night,
Lost, in the heart's worship, and the body's sleep.
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Written by
Maria Mazziotti Gillan |
I watch you walk up our front path,
the entire right side of your body,
stiff and unbending, your leg,
dragging on the ground,
your arm not moving.
Six different times you ask me
the date of our daughter's wedding,
seem surprised each time,
forget who called, though you can name
obscure desert animals,
and every detail of events
that took place in 3 B.C.
You complain now of pain
in your muscles, of swimming at the Y
where a 76 year old man tells you
you swim too slowly.
I imagine a world in which
you cannot move.
Most days, I force myself to look
only into the past;
remember you, singing
and playing your guitar: "Black,
black is the color of my true love's hair,"
you sang, and each time you came into a room
how my love for you caught in my throat,
how handsome you were, how strong
and muscular, how the sun
lit your blond hair.
Now I pretend not to notice
the trouble you have buttoning
your shirt, and yes, I am terrified
and no, I cannot tell you.
The future is a murky lake.
I am afraid of the monsters
who wait just below its surface.
Even in our mahogany bed, I am not safe.
Each day, I swim toward
everything I didn't want to know.
Copyright © 1997 by Maria Mazziotti Gillan, all rights reserved.
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