Written by
Carl Sandburg |
SMOKE of the fields in spring is one,
Smoke of the leaves in autumn another.
Smoke of a steel-mill roof or a battleship funnel,
They all go up in a line with a smokestack,
Or they twist … in the slow twist … of the wind.
If the north wind comes they run to the south.
If the west wind comes they run to the east.
By this sign
all smokes
know each other.
Smoke of the fields in spring and leaves in autumn,
Smoke of the finished steel, chilled and blue,
By the oath of work they swear: “I know you.”
Hunted and hissed from the center
Deep down long ago when God made us over,
Deep down are the cinders we came from—
You and I and our heads of smoke.
Some of the smokes God dropped on the job
Cross on the sky and count our years
And sing in the secrets of our numbers;
Sing their dawns and sing their evenings,
Sing an old log-fire song:
You may put the damper up,
You may put the damper down,
The smoke goes up the chimney just the same.
Smoke of a city sunset skyline,
Smoke of a country dusk horizon—
They cross on the sky and count our years.
Smoke of a brick-red dust
Winds on a spiral
Out of the stacks
For a hidden and glimpsing moon.
This, said the bar-iron shed to the blooming mill,
This is the slang of coal and steel.
The day-gang hands it to the night-gang,
The night-gang hands it back.
Stammer at the slang of this—
Let us understand half of it.
In the rolling mills and sheet mills,
In the harr and boom of the blast fires,
The smoke changes its shadow
And men change their shadow;
A ******, a wop, a bohunk changes.
A bar of steel—it is only
Smoke at the heart of it, smoke and the blood of a man.
A runner of fire ran in it, ran out, ran somewhere else,
And left—smoke and the blood of a man
And the finished steel, chilled and blue.
So fire runs in, runs out, runs somewhere else again,
And the bar of steel is a gun, a wheel, a nail, a shovel,
A rudder under the sea, a steering-gear in the sky;
And always dark in the heart and through it,
Smoke and the blood of a man.
Pittsburg, Youngstown, Gary—they make their steel with men.
In the blood of men and the ink of chimneys
The smoke nights write their oaths:
Smoke into steel and blood into steel;
Homestead, Braddock, Birmingham, they make their steel with men.
Smoke and blood is the mix of steel.
The birdmen drone
in the blue; it is steel
a motor sings and zooms.
Steel barb-wire around The Works.
Steel guns in the holsters of the guards at the gates of The Works.
Steel ore-boats bring the loads clawed from the earth by steel, lifted and lugged by arms of steel, sung on its way by the clanking clam-shells.
The runners now, the handlers now, are steel; they dig and clutch and haul; they hoist their automatic knuckles from job to job; they are steel making steel.
Fire and dust and air fight in the furnaces; the pour is timed, the billets wriggle; the clinkers are dumped:
Liners on the sea, skyscrapers on the land; diving steel in the sea, climbing steel in the sky.
Finders in the dark, you Steve with a dinner bucket, you Steve clumping in the dusk on the sidewalks with an evening paper for the woman and kids, you Steve with your head wondering where we all end up—
Finders in the dark, Steve: I hook my arm in cinder sleeves; we go down the street together; it is all the same to us; you Steve and the rest of us end on the same stars; we all wear a hat in hell together, in hell or heaven.
Smoke nights now, Steve.
Smoke, smoke, lost in the sieves of yesterday;
Dumped again to the scoops and hooks today.
Smoke like the clocks and whistles, always.
Smoke nights now.
To-morrow something else.
Luck moons come and go:
Five men swim in a pot of red steel.
Their bones are kneaded into the bread of steel:
Their bones are knocked into coils and anvils
And the sucking plungers of sea-fighting turbines.
Look for them in the woven frame of a wireless station.
So ghosts hide in steel like heavy-armed men in mirrors.
Peepers, skulkers—they shadow-dance in laughing tombs.
They are always there and they never answer.
One of them said: “I like my job, the company is good to me, America is a wonderful country.”
One: “Jesus, my bones ache; the company is a liar; this is a free country, like hell.”
One: “I got a girl, a peach; we save up and go on a farm and raise pigs and be the boss ourselves.”
And the others were roughneck singers a long ways from home.
Look for them back of a steel vault door.
They laugh at the cost.
They lift the birdmen into the blue.
It is steel a motor sings and zooms.
In the subway plugs and drums,
In the slow hydraulic drills, in gumbo or gravel,
Under dynamo shafts in the webs of armature spiders,
They shadow-dance and laugh at the cost.
The ovens light a red dome.
Spools of fire wind and wind.
Quadrangles of crimson sputter.
The lashes of dying maroon let down.
Fire and wind wash out the slag.
Forever the slag gets washed in fire and wind.
The anthem learned by the steel is:
Do this or go hungry.
Look for our rust on a plow.
Listen to us in a threshing-engine razz.
Look at our job in the running wagon wheat.
Fire and wind wash at the slag.
Box-cars, clocks, steam-shovels, churns, pistons, boilers, scissors—
Oh, the sleeping slag from the mountains, the slag-heavy pig-iron will go down many roads.
Men will stab and shoot with it, and make butter and tunnel rivers, and mow hay in swaths, and slit hogs and skin beeves, and steer airplanes across North America, Europe, Asia, round the world.
Hacked from a hard rock country, broken and baked in mills and smelters, the rusty dust waits
Till the clean hard weave of its atoms cripples and blunts the drills chewing a hole in it.
The steel of its plinths and flanges is reckoned, O God, in one-millionth of an inch.
Once when I saw the curves of fire, the rough scarf women dancing,
Dancing out of the flues and smoke-stacks—flying hair of fire, flying feet upside down;
Buckets and baskets of fire exploding and chortling, fire running wild out of the steady and fastened ovens;
Sparks cracking a harr-harr-huff from a solar-plexus of rock-ribs of the earth taking a laugh for themselves;
Ears and noses of fire, gibbering gorilla arms of fire, gold mud-pies, gold bird-wings, red jackets riding purple mules, scarlet autocrats tumbling from the humps of camels, assassinated czars straddling vermillion balloons;
I saw then the fires flash one by one: good-by: then smoke, smoke;
And in the screens the great sisters of night and cool stars, sitting women arranging their hair,
Waiting in the sky, waiting with slow easy eyes, waiting and half-murmuring:
“Since you know all
and I know nothing,
tell me what I dreamed last night.”
Pearl cobwebs in the windy rain,
in only a flicker of wind,
are caught and lost and never known again.
A pool of moonshine comes and waits,
but never waits long: the wind picks up
loose gold like this and is gone.
A bar of steel sleeps and looks slant-eyed
on the pearl cobwebs, the pools of moonshine;
sleeps slant-eyed a million years,
sleeps with a coat of rust, a vest of moths,
a shirt of gathering sod and loam.
The wind never bothers … a bar of steel.
The wind picks only .. pearl cobwebs .. pools of moonshine.
|
Written by
Anne Sexton |
1. Old Man
Old man, it's four flights up and for what?
Your room is hardly bigger than your bed.
Puffing as you climb, you are a brown woodcut
stooped over the thin tail and the wornout tread.
The room will do. All that's left of the old life
is jampacked on shelves from floor to ceiling
like a supermarket: your books, your dead wife
generously fat in her polished frame, the congealing
bowl of cornflakes sagging in their instant milk,
your hot plate and your one luxury, a telephone.
You leave your door open, lounging in maroon silk
and smiling at the other roomers who live alone.
Well, almost alone. Through the old-fashioned wall
the fellow next door has a girl who comes to call.
Twice a week at noon during their lunch hour
they puase by your door to peer into your world.
They speak sadly as if the wine they carry would sour
or as if the mattress would not keep them curled
together, extravagantly young in their tight lock.
Old man, you are their father holding court
in the dingy hall until their alarm clock
rings and unwinds them. You unstopper the quart
of brandy you've saved, examining the small print
in the telephone book. The phone in your lap is all
that's left of your family name. Like a Romanoff prince
you stay the same in your small alcove off the hall.
Castaway, your time is a flat sea that doesn't stop,
with no new land to make for and no new stories to swap.
2. Seamstress
I'm at pains to know what else I could have done
but move him out of his parish, him being my son;
him being the only one at home since his Pa
left us to beat the Japs at Okinawa.
I put the gold star up in the front window
beside the flag. Alterations is what I know
and what I did: hems, gussets and seams.
When my boy had the fever and the bad dreams
I paid for the clinic exam and a pack of lies.
As a youngster his private parts were undersize.
I thought of his Pa, that muscly old laugh he had
and the boy was thin as a moth, but never once bad,
as smart as a rooster! To hear some neighbors tell,
Your kid! He'll go far. He'll marry well.
So when he talked of taking the cloth, I thought
I'd talk him out of it. You're all I got,
I told him. For six years he studied up. I prayed
against God Himself for my boy. But he stayed.
Christ was a hornet inside his head. I guess
I'd better stitch the zipper in this dress.
I guess I'll get along. I always did.
Across the hall from me's an old invalid,
aside of him, a young one -- he carries on
with a girl who pretends she comes to use the john.
The old one with the bad breath and his bed all mussed,
he smiles and talks to them. He's got some crust.
Sure as hell, what else could I have done
but pack up and move in here, him being my son?
3. Young Girl
Dear love, as simple as some distant evil
we walk a little drunk up these three flughts
where you tacked a Dufy print above your army cot.
The thin apartment doors on the way up will
not tell us. We are saying, we have our rights
and let them see the sandwiches and wine we bought
for we do not explain my husband's insane abuse
and we do not say why your wild-haired wife has fled
or that my father opened like a walnut and then was dead.
Your palms fold over me like knees. Love is the only use.
Both a little drunk in the afternoon
with the forgotten smart of August on our skin
we hold hands as if we were still children who trudge
up the wooden tower, on up past that close platoon
of doors, past the dear old man who always asks us in
and the one who sews like a wasp and will not budge.
Climbing the dark halls, I ignore their papers and pails,
the twelve coats of rubbish of someone else's dim life.
Tell them need is an excuse for love. Tell them need prevails.
Tell them I remake and smooth your bed and am your wife.
|
Written by
Walt Whitman |
THERE was a child went forth every day;
And the first object he look’d upon, that object he became;
And that object became part of him for the day, or a certain part of the day, or for many
years, or
stretching cycles of years.
The early lilacs became part of this child,
And grass, and white and red morning-glories, and white and red clover, and the song of
the
phoebe-bird,
And the Third-month lambs, and the sow’s pink-faint litter, and the mare’s foal,
and
the
cow’s calf,
And the noisy brood of the barn-yard, or by the mire of the pond-side,
And the fish suspending themselves so curiously below there—and the beautiful curious
liquid,
And the water-plants with their graceful flat heads—all became part of him.
The field-sprouts of Fourth-month and Fifth-month became part of him;
Winter-grain sprouts, and those of the light-yellow corn, and the esculent roots of the
garden,
And the apple-trees cover’d with blossoms, and the fruit afterward, and wood-berries,
and
the
commonest weeds by the road;
And the old drunkard staggering home from the out-house of the tavern, whence he had
lately
risen,
And the school-mistress that pass’d on her way to the school,
And the friendly boys that pass’d—and the quarrelsome boys,
And the tidy and fresh-cheek’d girls—and the barefoot ***** boy and girl,
And all the changes of city and country, wherever he went.
His own parents,
He that had father’d him, and she that had conceiv’d him in her womb, and
birth’d
him,
They gave this child more of themselves than that;
They gave him afterward every day—they became part of him.
The mother at home, quietly placing the dishes on the supper-table;
The mother with mild words—clean her cap and gown, a wholesome odor falling off her
person
and
clothes as she walks by;
The father, strong, self-sufficient, manly, mean, anger’d, unjust;
The blow, the quick loud word, the tight bargain, the crafty lure,
The family usages, the language, the company, the furniture—the yearning and swelling
heart,
Affection that will not be gainsay’d—the sense of what is real—the thought
if,
after
all, it should prove unreal,
The doubts of day-time and the doubts of night-time—the curious whether and how,
Whether that which appears so is so, or is it all flashes and specks?
Men and women crowding fast in the streets—if they are not flashes and specks, what
are
they?
The streets themselves, and the façades of houses, and goods in the windows,
Vehicles, teams, the heavy-plank’d wharves—the huge crossing at the ferries,
The village on the highland, seen from afar at sunset—the river between,
Shadows, aureola and mist, the light falling on roofs and gables of white or brown, three
miles
off,
The schooner near by, sleepily dropping down the tide—the little boat
slack-tow’d
astern,
The hurrying tumbling waves, quick-broken crests, slapping,
The strata of color’d clouds, the long bar of maroon-tint, away solitary by
itself—the
spread of purity it lies motionless in,
The horizon’s edge, the flying sea-crow, the fragrance of salt marsh and shore mud;
These became part of that child who went forth every day, and who now goes, and will
always go
forth
every day.
|
Written by
Derek Walcott |
When sunset, a brass gong,
vibrate through Couva,
is then I see my soul, swiftly unsheathed,
like a white cattle bird growing more small
over the ocean of the evening canes,
and I sit quiet, waiting for it to return
like a hog-cattle blistered with mud,
because, for my spirit, India is too far.
And to that gong
sometimes bald clouds in saffron robes assemble
sacred to the evening,
sacred even to Ramlochan,
singing Indian hits from his jute hammock
while evening strokes the flanks
and silver horns of his maroon taxi,
as the mosquitoes whine their evening mantras,
my friend Anopheles, on the sitar,
and the fireflies making every dusk Divali.
I knot my head with a cloud,
my white mustache bristle like horns,
my hands are brittle as the pages of Ramayana.
Once the sacred monkeys multiplied like branches
in the ancient temples: I did not miss them,
because these fields sang of Bengal,
behind Ramlochan Repairs there was Uttar Pradesh;
but time roars in my ears like a river,
old age is a conflagration
as fierce as the cane fires of crop time.
I will pass through these people like a cloud,
they will see a white bird beating the evening sea
of the canes behind Couva,
and who will point it as my soul unsheathed?
Naither the bridegroom in beads,
nor the bride in her veils,
their sacred language on the cinema hoardings.
I talked too damn much on the Couva Village Council.
I talked too softly, I was always drowned
by the loudspeakers in front of the stores
or the loudspeakers with the greatest pictures.
I am best suited to stalk like a white cattle bird
on legs like sticks, with sticking to the Path
between the canes on a district road at dusk.
Playing the Elder. There are no more elders.
Is only old people.
My friends spit on the government.
I do not think is just the government.
Suppose all the gods too old,
Suppose they dead and they burning them,
supposing when some cane cutter
start chopping up snakes with a cutlass
he is severing the snake-armed god,
and suppose some hunter has caught
Hanuman in his mischief in a monkey cage.
Suppose all the gods were killed by electric light?
Sunset, a bonfire, roars in my ears;
embers of brown swallows dart and cry,
like women distracted,
around its cremation.
I ascend to my bed of sweet sandalwood.
|
Written by
Stephen Vincent Benet |
He lay within a warm, soft world
Of motion. Colors bloomed and fled,
Maroon and turquoise, saffron, red,
Wave upon wave that broke and whirled
To vanish in the grey-green gloom,
Perspectiveless and shadowy.
A bulging world that had no walls,
A flowing world, most like the sea,
Compassing all infinity
Within a shapeless, ebbing room,
An endless tide that swells and falls . . .
He slept and woke and slept again.
As a veil drops Time dropped away;
Space grew a toy for children's play,
Sleep bolted fast the gates of Sense --
He lay in naked impotence;
Like a drenched moth that creeps and crawls
Heavily up brown, light-baked walls,
To fall in wreck, her task undone,
Yet somehow striving toward the sun.
So, as he slept, his hands clenched tighter,
Shut in the old way of the fighter,
His feet curled up to grip the ground,
His muscles tautened for a bound;
And though he felt, and felt alone,
Strange brightness stirred him to the bone,
Cravings to rise -- till deeper sleep
Buried the hope, the call, the leap;
A wind puffed out his mind's faint spark.
He was absorbed into the dark.
He woke again and felt a surge
Within him, a mysterious urge
That grew one hungry flame of passion;
The whole world altered shape and fashion.
Deceived, befooled, bereft and torn,
He scourged the heavens with his scorn,
Lifting a bitter voice to cry
Against the eternal treachery --
Till, suddenly, he found the breast,
And ceased, and all things were at rest,
The earth grew one warm languid sea
And he a wave. Joy, tingling, crept
Throughout him. He was quenched and slept.
So, while the moon made broad her ring,
He slept and cried and was a king.
So, worthily, he acted o'er
The endless miracle once more.
Facing immense adventures daily,
He strove still onward, weeping, gaily,
Conquered or fled from them, but grew
As soil-starved, rough pine-saplings do.
Till, one day, crawling seemed suspect.
He gripped the air and stood erect
And splendid. With immortal rage
He entered on man's heritage!
|
Written by
Geoffrey Hill |
He drove at evening through the hushed Vosges. The car radio,
glimmering, received broken utterance from the horizon of storms...
'God's honours - our bikes touched: he skidded and came off.' 'Liar.' A
timid father's protective bellow. Disfigurement of a village king. 'Just
look at the bugger...'
His maroon GT chanted then overtook. He lavished on the high valleys its
haleine.
|
Written by
Carl Sandburg |
KEEP a red heart of memories
Under the great gray rain sheds of the sky,
Under the open sun and the yellow gloaming embers.
Remember all paydays of lilacs and songbirds;
All starlights of cool memories on storm paths.
Out of this prairie rise the faces of dead men.
They speak to me. I can not tell you what they say.
Other faces rise on the prairie.
They are the unborn. The future.
Yesterday and to-morrow cross and mix on the skyline
The two are lost in a purple haze. One forgets. One waits.
In the yellow dust of sunsets, in the meadows of vermilion eight o’clock June nights … the dead men and the unborn children speak to me … I can not tell you what they say … you listen and you know.
I don’t care who you are, man:
I know a woman is looking for you
and her soul is a corn-tassel kissing a south-west wind.
(The farm-boy whose face is the color of brick-dust, is calling the cows; he will form the letter X with crossed streams of milk from the teats; he will beat a tattoo on the bottom of a tin pail with X’s of milk.)
I don’t care who you are, man:
I know sons and daughters looking for you
And they are gray dust working toward star paths
And you see them from a garret window when you laugh
At your luck and murmur, “I don’t care.”
I don’t care who you are, woman:
I know a man is looking for you
And his soul is a south-west wind kissing a corn-tassel.
(The kitchen girl on the farm is throwing oats to the chickens and the buff of their feathers says hello to the sunset’s late maroon.)
I don’t care who you are, woman:
I know sons and daughters looking for you
And they are next year’s wheat or the year after hidden in the dark and loam.
My love is a yellow hammer spinning circles in Ohio, Indiana. My love is a redbird shooting flights in straight lines in Kentucky and Tennessee. My love is an early robin flaming an ember of copper on her shoulders in March and April. My love is a graybird living in the eaves of a Michigan house all winter. Why is my love always a crying thing of wings?
On the Indiana dunes, in the Mississippi marshes, I have asked: Is it only a fishbone on the beach?
Is it only a dog’s jaw or a horse’s skull whitening in the sun? Is the red heart of man only ashes? Is the flame of it all a white light switched off and the power house wires cut?
Why do the prairie roses answer every summer? Why do the changing repeating rains come back out of the salt sea wind-blown? Why do the stars keep their tracks? Why do the cradles of the sky rock new babies?
|
Written by
Amy Lowell |
I will mix me a drink of stars, --
Large stars with polychrome needles,
Small stars jetting maroon and crimson,
Cool, quiet, green stars.
I will tear them out of the sky,
And squeeze them over an old silver cup,
And I will pour the cold scorn of my Beloved into it,
So that my drink shall be bubbled with ice.
It will lap and scratch
As I swallow it down;
And I shall feel it as a serpent of fire,
Coiling and twisting in my belly.
His snortings will rise to my head,
And I shall be hot, and laugh,
Forgetting that I have ever known a woman.
|