Written by
Larry Levis |
--The Carpathian Frontier, October, 1968
--for my brother
Once, in a foreign country, I was suddenly ill.
I was driving south toward a large city famous
For so little it had a replica, in concrete,
In two-thirds scale, of the Arc de Triomphe stuck
In the midst of traffic, & obstructing it.
But the city was hours away, beyond the hills
Shaped like the bodies of sleeping women.
Often I had to slow down for herds of goats
Or cattle milling on those narrow roads, & for
The narrower, lost, stone streets of villages
I passed through.
The pains in my stomach had grown
Gradually sharper & more frequent as the day
Wore on, & now a fever had set up house.
In the villages there wasn't much point in asking
Anyone for help.
In those places, where tanks
Were bivouacked in shade on their way back
From some routine exercise along
The Danube, even food was scarce that year.
And the languages shifted for no clear reason
From two hard quarries of Slavic into German,
Then to a shred of Latin spliced with oohs
And hisses.
Even when I tried the simplest phrases,
The peasants passing over those uneven stones
Paused just long enough to look up once,
Uncomprehendingly.
Then they turned
Quickly away, vanishing quietly into that
Moment, like bark chips whirled downriver.
It was autumn.
Beyond each village the wind
Threw gusts of yellowing leaves across the road.
The goats I passed were thin, gray; their hind legs,
Caked with dried ****, seesawed along--
Not even mild contempt in their expressionless,
Pale eyes, & their brays like the scraping of metal.
Except for one village that had a kind
Of museum where I stopped to rest, & saw
A dead Scythian soldier under glass,
Turning to dust while holding a small sword
At attention forever, there wasn't much to look at.
Wind, leaves, goats, the higher passes
Locked in stone, the peasants with their fate
Embroidering a stillness into them,
And a spell over all things in that landscape,
Like .
.
.
That was the trouble; it couldn't be
Compared to anything else, not even the sleep
Of some asylum at a wood's edge with the sound
Of a pond's spillway beside it.
But as each cramp
Grew worse & lasted longer than the one before,
It was hard to keep myself aloof from the threadbare
World walking on that road.
After all,
Even as they moved, the peasants, the herds of goats
And cattle, the spiralling leaves, at least were part
Of that spell, that stillness.
After a while,
The villages grew even poorer, then thinned out,
Then vanished entirely.
An hour later,
There were no longer even the goats, only wind,
Then more & more leaves blown over the road, sometimes
Covering it completely for a second.
And yet, except for a random oak or some brush
Writhing out of the ravine I drove beside,
The trees had thinned into rock, into large,
Tough blonde rosettes of fading pasture grass.
Then that gave out in a bare plateau.
.
.
.
And then,
Easing the Dacia down a winding grade
In second gear, rounding a long, funneled curve--
In a complete stillness of yellow leaves filling
A wide field--like something thoughtlessly,
Mistakenly erased, the road simply ended.
I stopped the car.
There was no wind now.
I expected that, & though I was sick & lost,
I wasn't afraid.
I should have been afraid.
To this day I don't know why I wasn't.
I could hear time cease, the field quietly widen.
I could feel the spreading stillness of the place
Moving like something I'd witnessed as a child,
Like the ancient, armored leisure of some reptile
Gliding, gray-yellow, into the slightly tepid,
Unidentical gray-brown stillness of the water--
Something blank & unresponsive in its tough,
Pimpled skin--seen only a moment, then unseen
As it submerged to rest on mud, or glided just
Beneath the lustreless, calm yellow leaves
That clustered along a log, or floated there
In broken ringlets, held by a gray froth
On the opaque, unbroken surface of the pond,
Which reflected nothing, no one.
And then I remembered.
When I was a child, our neighbors would disappear.
And there wasn't a pond of crocodiles at all.
And they hadn't moved.
They couldn't move.
They
Lived in the small, fenced-off backwater
Of a canal.
I'd never seen them alive.
They
Were in still photographs taken on the Ivory Coast.
I saw them only once in a studio when
I was a child in a city I once loved.
I was afraid until our neighbor, a photographer,
Explained it all to me, explained how far
Away they were, how harmless; how they were praised
In rituals as "powers.
" But they had no "powers,"
He said.
The next week he vanished.
I thought
Someone had cast a spell & that the crocodiles
Swam out of the pictures on the wall & grew
Silently & multiplied & then turned into
Shadows resting on the banks of lakes & streams
Or took the shapes of fallen logs in campgrounds
In the mountains.
They ate our neighbor, Mr.
Hirata.
They ate his whole family.
That is what I believed,
Then.
.
.
that someone had cast a spell.
I did not
Know childhood was a spell, or that then there
Had been another spell, too quiet to hear,
Entering my city, entering the dust we ate.
.
.
.
No one knew it then.
No one could see it,
Though it spread through lawnless miles of housing tracts,
And the new, bare, treeless streets; it slipped
Into the vacant rows of warehouses & picked
The padlocked doors of working-class bars
And union halls & shuttered, empty diners.
And how it clung! (forever, if one had noticed)
To the brothel with the pastel tassels on the shade
Of an unlit table lamp.
Farther in, it feasted
On the decaying light of failing shopping centers;
It spilled into the older, tree-lined neighborhoods,
Into warm houses, sealing itself into books
Of bedtime stories read each night by fathers--
The books lying open to the flat, neglected
Light of dawn; & it settled like dust on windowsills
Downtown, filling the smug cafés, schools,
Banks, offices, taverns, gymnasiums, hotels,
Newsstands, courtrooms, opium parlors, Basque
Restaurants, Armenian steam baths,
French bakeries, & two of the florists' shops--
Their plate glass windows smashed forever.
Finally it tried to infiltrate the exact
Center of my city, a small square bordered
With palm trees, olives, cypresses, a square
Where no one gathered, not even thieves or lovers.
It was a place which no longer had any purpose,
But held itself aloof, I thought, the way
A deaf aunt might, from opinions, styles, gossip.
I liked it there.
It was completely lifeless,
Sad & clear in what seemed always a perfect,
Windless noon.
I saw it first as a child,
Looking down at it from that as yet
Unvandalized, makeshift studio.
I remember leaning my right cheek against
A striped beach ball so that Mr.
Hirata--
Who was Japanese, who would be sent the next week
To a place called Manzanar, a detention camp
Hidden in stunted pines almost above
The Sierra timberline--could take my picture.
I remember the way he lovingly relished
Each camera angle, the unwobbling tripod,
The way he checked each aperture against
The light meter, in love with all things
That were not accidental, & I remember
The care he took when focusing; how
He tried two different lens filters before
He found the one appropriate for that
Sensual, late, slow blush of afternoon
Falling through the one broad bay window.
I remember holding still & looking down
Into the square because he asked me to;
Because my mother & father had asked me please
To obey & be patient & allow the man--
Whose business was failing anyway by then--
To work as long as he wished to without any
Irritations or annoyances before
He would have to spend these years, my father said,
Far away, in snow, & without his cameras.
But Mr.
Hirata did not work.
He played.
His toys gleamed there.
That much was clear to me .
.
.
.
That was the day I decided I would never work.
It felt like a conversion.
Play was sacred.
My father waited behind us on a sofa made
From car seats.
One spring kept nosing through.
I remember the camera opening into the light .
.
.
.
And I remember the dark after, the studio closed,
The cameras stolen, slivers of glass from the smashed
Bay window littering the unsanded floors,
And the square below it bathed in sunlight .
.
.
.
All this
Before Mr.
Hirata died, months later,
From complications following pneumonia.
His death, a letter from a camp official said,
Was purely accidental.
I didn't believe it.
Diseases were wise.
Diseases, like the polio
My sister had endured, floating paralyzed
And strapped into her wheelchair all through
That war, seemed too precise.
Like photographs .
.
.
Except disease left nothing.
Disease was like
And equation that drank up light & never ended,
Not even in summer.
Before my fever broke,
And the pains lessened, I could actually see
Myself, in the exact center of that square.
How still it had become in my absence, & how
Immaculate, windless, sunlit.
I could see
The outline of every leaf on the nearest tree,
See it more clearly than ever, more clearly than
I had seen anything before in my whole life:
Against the modest, dark gray, solemn trunk,
The leaves were becoming only what they had to be--
Calm, yellow, things in themselves & nothing
More--& frankly they were nothing in themselves,
Nothing except their little reassurance
Of persisting for a few more days, or returning
The year after, & the year after that, & every
Year following--estranged from us by now--& clear,
So clear not one in a thousand trembled; hushed
And always coming back--steadfast, orderly,
Taciturn, oblivious--until the end of Time.
|
Written by
Mark Doty |
Under Grand Central's tattered vault
--maybe half a dozen electric stars still lit--
one saxophone blew, and a sheer black scrim
billowed over some minor constellation
under repair.
Then, on Broadway, red wings
in a storefront tableau, lustrous, the live macaws
preening, beaks opening and closing
like those animated knives that unfold all night
in jewelers' windows.
For sale,
glass eyes turned outward toward the rain,
the birds lined up like the endless flowers
and cheap gems, the makeshift tables
of secondhand magazines
and shoes the hawkers eye
while they shelter in the doorways of banks.
So many pockets and paper cups
and hands reeled over the weight
of that glittered pavement, and at 103rd
a woman reached to me across the wet roof
of a stranger's car and said, I'm Carlotta,
I'm hungry.
She was only asking for change,
so I don't know why I took her hand.
The rooftops were glowing above us,
enormous, crystalline, a second city
lit from within.
That night
a man on the downtown local stood up
and said, My name is Ezekiel,
I am a poet, and my poem this evening is called
fall.
He stood up straight
to recite, a child reminded of his posture
by the gravity of his text, his hands
hidden in the pockets of his coat.
Love is protected, he said,
the way leaves are packed in snow,
the rubies of fall.
God is protecting
the jewel of love for us.
He didn't ask for anything, but I gave him
all the change left in my pocket,
and the man beside me, impulsive, moved,
gave Ezekiel his watch.
It wasn't an expensive watch,
I don't even know if it worked,
but the poet started, then walked away
as if so much good fortune
must be hurried away from,
before anyone realizes it's a mistake.
Carlotta, her stocking cap glazed
like feathers in the rain,
under the radiant towers, the floodlit ramparts,
must have wondered at my impulse to touch her,
which was like touching myself,
the way your own hand feels when you hold it
because you want to feel contained.
She said, You get home safe now, you hear?
In the same way Ezekiel turned back
to the benevolent stranger.
I will write a poem for you tomorrow,
he said.
The poem I will write will go like this:
Our ancestors are replenishing
the jewel of love for us.
|
Written by
Jorie Graham |
I have put on my great coat it is cold.
It is an outer garment.
Coarse, woolen.
Of unknown origin.
*
It has a fine inner lining but it is
as an exterior that you see it — a grace.
*
I have a coat I am wearing.
It is a fine admixture.
The woman who threw the threads in the two directions
has made, skillfully, something dark-true,
as the evening calls the bird up into
the branches of the shaven hedgerows,
to twitter bodily
a makeshift coat — the boxelder cut back stringently by the owner
that more might grow next year, and thicker, you know —
the birds tucked gestures on the inner branches —
and space in the heart,
not shade-giving, not
chronological.
.
.
Oh transformer, logic, where are you here in this fold,
my name being called-out now but back, behind,
in the upper world.
.
.
.
*
I have a coat I am wearing I was told to wear it.
Someone knelt down each morning to button it up.
I looked at their face, down low, near me.
What is longing? what is a star?
Watched each button a peapod getting tucked back in.
Watched harm with its planeloads folded up in the sleeves.
Watched grappling hooks trawl through the late-night waters.
Watched bands of stations scan unable to ascertain.
There are fingers, friend, that never grow sluggish.
They crawl up the coat and don't miss an eyehole.
Glinting in kitchenlight.
Supervised by the traffic god.
Hissed at by grassblades that wire-up outside
their stirring rhetoric — this is your land, this is my my —
*
You do understanding, don't you, by looking?
The coat, which is itself a ramification, a city,
floats vulnerably above another city, ours,
the city on the hill (only with hill gone),
floats in illustration
of what once was believed, and thus was visible —
(all things believed are visible) —
floats a Jacob's ladder with hovering empty arms, an open throat,
a place where a heart might beat if it wishes,
pockets that hang awaiting the sandy whirr of a small secret,
folds where the legs could be, with their kneeling mechanism,
the floating fatigue of an after-dinner herald,
not guilty of any treason towards life except fatigue,
a skillfully cut coat, without chronology,
filled with the sensation of being suddenly completed —
as then it is, abruptly, the last stitch laid in, the knot bit off —
hung there in Gravity, as if its innermost desire,
numberless the awaitings flickering around it,
the other created things also floating but not of the same order, no,
not like this form, built so perfectly to mantle the body,
the neck like a vase awaiting its cut flower,
a skirting barely visible where the tucks indicate
the mild loss of bearing in the small of the back,
the grammar, so strict, of the two exact shoulders —
and the law of the shouldering —
and the chill allowed to skitter up through,
and those crucial spots where the fit cannot be perfect —
oh skirted loosening aswarm with lessenings,
with the mild pallors of unaccomplishment,
flaps night-air collects in,
folds.
.
.
But the night does not annul its belief in,
the night preserves its love for, this one narrowing of infinity,
that floats up into the royal starpocked blue its ripped, distracted supervisor —
this coat awaiting recollection,
this coat awaiting the fleeting moment, the true moment, the hill,the vision of the hill,
and then the moment when the prize is lost, and the erotic tinglings of the dream of reason
are left to linger mildly in the weave of the fabric according to the rules,
the wool gabardine mix, with its grammatical weave,
never never destined to lose its elasticity,
its openness to abandonment,
its willingness to be disturbed.
*
July 11 .
.
.
Oaks: the organization of this tree is difficult.
Speaking generally
no doubt the determining planes are concentric, a system of brief contiguous and
continuous tangents, whereas those of the cedar wd.
roughly be called horizontals
and those of the beech radiating but modified by droop and by a screw-set towards
jutting points.
But beyond this since the normal growth of the boughs is radiating
there is a system of spoke-wise clubs of green — sleeve-pieces.
And since the
end shoots curl and carry young scanty leaf-stars these clubs are tapered, and I
have seen also pieces in profile with chiseled outlines, the blocks thus made
detached and lessening towards the end.
However the knot-star is the chief thing:
it is whorled, worked round, and this is what keeps up the illusion of the tree.
Oaks differ much, and much turns on the broadness of the leaves, the narrower
giving the crisped and starry and catharine-wheel forms, the broader the flat-pieced
mailed or chard-covered ones, in wh.
it is possible to see composition in dips, etc.
But I shall study them further.
It was this night I believe but possibly the next
that I saw clearly the impossibility of staying in the Church of England.
*
How many coats do you think it will take?
The coat was a great-coat.
The Emperor's coat was.
How many coats do you think it will take?
The undercoat is dry.
What we now want is?
The sky can analyse the coat because of the rips in it.
The sky shivers through the coat because of the rips in it.
The rips in the sky ripen through the rips in the coat.
There is no quarrel.
*
I take off my coat and carry it.
*
There is no emergency.
*
I only made that up.
*
Behind everything the sound of something dripping
The sound of something: I will vanish, others will come here, what is that?
The canvas flapping in the wind like the first notes of our absence
An origin is not an action though it occurs at the very start
Desire goes travelling into the total dark of another's soul
looking for where it breaks off
I was a hard thing to undo
*
The life of a customer
What came on the paper plate
overheard nearby
an impermanence of structure
watching the lip-reading
had loved but couldn't now recognize
*
What are the objects, then, that man should consider most important?
What sort of a question is that he asks them.
The eye only discovers the visible slowly.
It floats before us asking to be worn,
offering "we must think about objects at the very moment
when all their meaning is abandoning them"
and "the title provides a protection from significance"
and "we are responsible for the universe.
"
*
I have put on my doubting, my wager, it is cold.
It is an outer garment, or, conversely a natural covering,
so coarse and woolen, also of unknown origin,
a barely apprehensible dilution of evening into
an outer garment, or, conversely a natural covering,
to twitter bodily a makeshift coat,
that more might grow next year, and thicker, you know,
not shade-giving, not chronological,
my name being called out now but from out back, behind,
an outer garment, so coarse and woolen,
also of unknown origin, not shade-giving, not chronological,
each harm with its planeloads folded up in the sleeves,
you do understand, don't you, by looking?
the jacob's ladder with its floating arms its open throat,
that more might grow next year, and thicker, you know,
filled with the sensation of being suddenly completed,
the other created things also floating but not of the same order,
not shade-giving, not chronological,
you do understand, don't you, by looking?
a neck like a vase awaiting its cut flower,
filled with the sensation of being suddenly completed,
the moment the prize is lost, the erotic tingling,
the wool-gabardine mix, its grammatical weave
— you do understand, don't you, by looking? —
never never destined to lose its elasticity,
it was this night I believe but possibly the next
I saw clearly the impossibility of staying
filled with the sensation of being suddenly completed,
also of unknown origin, not shade-giving, not chronological
since the normal growth of boughs is radiating
a system of spoke-wise clubs of green — sleeve pieces —
never never destined to lose its elasticity
my name being called out now but back, behind,
hissing how many coats do you think it will take
"or try with eyesight to divide" (there is no quarrel)
behind everything the sound of something dripping
a system of spoke-wise clubs of green — sleeve pieces
filled with the sensation of suddenly being completed
the wool gabardine mix, the grammatical weave,
the never-never-to-lose-its-elasticity: my name
flapping in the wind like the first note of my absence
hissing how many coats do you think it will take
are you a test case is it an emergency
flapping in the wind the first note of something
overheard nearby an impermanence of structure
watching the lip-reading, there is no quarrel,
I will vanish, others will come here, what is that,
never never to lose the sensation of suddenly being
completed in the wind — the first note of our quarrel —
it was this night I believe or possibly the next
filled with the sensation of being suddenly completed,
I will vanish, others will come here, what is that now
floating in the air before us with stars a test case
that I saw clearly the impossibility of staying
|
Written by
Rainer Maria Rilke |
A tree ascended there.
Oh pure transendence!
Oh Orpheus sings! Oh tall tree in the ear!
And all things hushed.
Yet even in that silence
a new beginning, beckoning, change appeared.
Creatures of stillness crowded from the bright
unbound forest, out of their lairs and nests;
and it was not from any dullness, not
from fear, that they were so quiet in themselves,
but from just listening.
Bellow, roar, shriek
seemed small inside their hearts.
And where there had been
at most a makeshift hut to receive the music,
a shelter nailed up out of their darkest longing,
with an entryway that shuddered in the wind-
you built a temple deep inside their hearing.
|
Written by
Robert William Service |
Gold! We leapt from our benches.
Gold! We sprang from our stools.
Gold! We wheeled in the furrow, fired with the faith of fools.
Fearless, unfound, unfitted, far from the night and the cold,
Heard we the clarion summons, followed the master-lure--Gold!
Men from the sands of the Sunland; men from the woods of the West;
Men from the farms and the cities, into the Northland we pressed.
Graybeards and striplings and women, good men and bad men and bold,
Leaving our homes and our loved ones, crying exultantly--"Gold!"
Never was seen such an army, pitiful, futile, unfit;
Never was seen such a spirit, manifold courage and grit.
Never has been such a cohort under one banner unrolled
As surged to the ragged-edged Arctic, urged by the arch-tempter--Gold.
"Farewell!" we cried to our dearests; little we cared for their tears.
"Farewell!" we cried to the humdrum and the yoke of the hireling years;
Just like a pack of school-boys, and the big crowd cheered us good-bye.
Never were hearts so uplifted, never were hopes so high.
The spectral shores flitted past us, and every whirl of the screw
Hurled us nearer to fortune, and ever we planned what we'd do--
Do with the gold when we got it--big, shiny nuggets like plums,
There in the sand of the river, gouging it out with our thumbs.
And one man wanted a castle, another a racing stud;
A third would cruise in a palace yacht like a red-necked prince of blood.
And so we dreamed and we vaunted, millionaires to a man,
Leaping to wealth in our visions long ere the trail began.
II
We landed in wind-swept Skagway.
We joined the weltering mass,
Clamoring over their outfits, waiting to climb the Pass.
We tightened our girths and our pack-straps; we linked on the Human Chain,
Struggling up to the summit, where every step was a pain.
Gone was the joy of our faces, grim and haggard and pale;
The heedless mirth of the shipboard was changed to the care of the trail.
We flung ourselves in the struggle, packing our grub in relays,
Step by step to the summit in the bale of the winter days.
Floundering deep in the sump-holes, stumbling out again;
Crying with cold and weakness, crazy with fear and pain.
Then from the depths of our travail, ere our spirits were broke,
Grim, tenacious and savage, the lust of the trail awoke.
"Klondike or bust!" rang the slogan; every man for his own.
Oh, how we flogged the horses, staggering skin and bone!
Oh, how we cursed their weakness, anguish they could not tell,
Breaking their hearts in our passion, lashing them on till they fell!
For grub meant gold to our thinking, and all that could walk must pack;
The sheep for the shambles stumbled, each with a load on its back;
And even the swine were burdened, and grunted and squealed and rolled,
And men went mad in the moment, huskily clamoring "Gold!"
Oh, we were brutes and devils, goaded by lust and fear!
Our eyes were strained to the summit; the weaklings dropped to the rear,
Falling in heaps by the trail-side, heart-broken, limp and wan;
But the gaps closed up in an instant, and heedless the chain went on.
Never will I forget it, there on the mountain face,
Antlike, men with their burdens, clinging in icy space;
Dogged, determined and dauntless, cruel and callous and cold,
Cursing, blaspheming, reviling, and ever that battle-cry--"Gold!"
Thus toiled we, the army of fortune, in hunger and hope and despair,
Till glacier, mountain and forest vanished, and, radiantly fair,
There at our feet lay Lake Bennett, and down to its welcome we ran:
The trail of the land was over, the trail of the water began.
III
We built our boats and we launched them.
Never has been such a fleet;
A packing-case for a bottom, a mackinaw for a sheet.
Shapeless, grotesque, lopsided, flimsy, makeshift and crude,
Each man after his fashion builded as best he could.
Each man worked like a demon, as prow to rudder we raced;
The winds of the Wild cried "Hurry!" the voice of the waters, "Haste!"
We hated those driving before us; we dreaded those pressing behind;
We cursed the slow current that bore us; we prayed to the God of the wind.
Spring! and the hillsides flourished, vivid in jewelled green;
Spring! and our hearts' blood nourished envy and hatred and spleen.
Little cared we for the Spring-birth; much cared we to get on--
Stake in the Great White Channel, stake ere the best be gone.
The greed of the gold possessed us; pity and love were forgot;
Covetous visions obsessed us; brother with brother fought.
Partner with partner wrangled, each one claiming his due;
Wrangled and halved their outfits, sawing their boats in two.
Thuswise we voyaged Lake Bennett, Tagish, then Windy Arm,
Sinister, savage and baleful, boding us hate and harm.
Many a scow was shattered there on that iron shore;
Many a heart was broken straining at sweep and oar.
We roused Lake Marsh with a chorus, we drifted many a mile;
There was the canyon before us--cave-like its dark defile;
The shores swept faster and faster; the river narrowed to wrath;
Waters that hissed disaster reared upright in our path.
Beneath us the green tumult churning, above us the cavernous gloom;
Around us, swift twisting and turning, the black, sullen walls of a tomb.
We spun like a chip in a mill-race; our hearts hammered under the test;
Then--oh, the relief on each chill face!--we soared into sunlight and rest.
Hand sought for hand on the instant.
Cried we, "Our troubles are o'er!"
Then, like a rumble of thunder, heard we a canorous roar.
Leaping and boiling and seething, saw we a cauldron afume;
There was the rage of the rapids, there was the menace of doom.
The river springs like a racer, sweeps through a gash in the rock;
Buts at the boulder-ribbed bottom, staggers and rears at the shock;
Leaps like a terrified monster, writhes in its fury and pain;
Then with the crash of a demon springs to the onset again.
Dared we that ravening terror; heard we its din in our ears;
Called on the Gods of our fathers, juggled forlorn with our fears;
Sank to our waists in its fury, tossed to the sky like a fleece;
Then, when our dread was the greatest, crashed into safety and peace.
But what of the others that followed, losing their boats by the score?
Well could we see them and hear them, strung down that desolate shore.
What of the poor souls that perished? Little of them shall be said--
On to the Golden Valley, pause not to bury the dead.
Then there were days of drifting, breezes soft as a sigh;
Night trailed her robe of jewels over the floor of the sky.
The moonlit stream was a python, silver, sinuous, vast,
That writhed on a shroud of velvet--well, it was done at last.
There were the tents of Dawson, there the scar of the slide;
Swiftly we poled o'er the shallows, swiftly leapt o'er the side.
Fires fringed the mouth of Bonanza; sunset gilded the dome;
The test of the trail was over--thank God, thank God, we were Home!
|
Written by
Paul Muldoon |
Two Workmen were carrying a sheet of asbestos
down the main street of Dingle;
it must have been nailed, at a slight angle,
to the same-sized gap between Brandon
and whichever's the next mountain.
Nine o'clock.
We watched the village dogs
take turns to spritz the hotel's refuse-sacks.
I remembered Tralee's unbiodegradable flags
from the time of the hunger-strikes.
We drove all day past mounds of sugar-beet,
hay-stacks, silage-pits, building-sites,
a thatched cottage even—
all of them draped in black polythene
and weighted against the north-east wind
by concrete blocks, old tyres; bags of sand
at a makeshift army post
across the border.
By the time we got to Belfast
the whole of Ireland would be under wraps
like, as I said, 'one of your man's landscapes'.
'Your man's? You don't mean Christo's?'
|