Written by
Adrienne Rich |
Good-by to you whom I shall see tomorrow,
Next year and when I'm fifty; still good-by.
This is the leave we never really take.
If you were dead or gone to live in China
The event might draw your stature in my mind.
I should be forced to look upon you whole
The way we look upon the things we lose.
We see each other daily and in segments;
Parting might make us meet anew, entire.
You asked me once, and I could give no answer,
How far dare we throw off the daily ruse,
Official treacheries of face and name,
Have out our true identity? I could hazard
An answer now, if you are asking still.
We are a small and lonely human race
Showing no sign of mastering solitude
Out on this stony planet that we farm.
The most that we can do for one another
Is let our blunders and our blind mischances
Argue a certain brusque abrupt compassion.
We might as well be truthful. I should say
They're luckiest who know they're not unique;
But only art or common interchange
Can teach that kindest truth. And even art
Can only hint at what disturbed a Melville
Or calmed a Mahler's frenzy; you and I
Still look from separate windows every morning
Upon the same white daylight in the square.
And when we come into each other's rooms
Once in awhile, encumbered and self-conscious,
We hover awkwardly about the threshold
And usually regret the visit later.
Perhaps the harshest fact is, only lovers--
And once in a while two with the grace of lovers--
Unlearn that clumsiness of rare intrusion
And let each other freely come and go.
Most of us shut too quickly into cupboards
The margin-scribbled books, the dried geranium,
The penny horoscope, letters never mailed.
The door may open, but the room is altered;
Not the same room we look from night and day.
It takes a late and slowly blooming wisdom
To learn that those we marked infallible
Are tragi-comic stumblers like ourselves.
The knowledge breeds reserve. We walk on tiptoe,
Demanding more than we know how to render.
Two-edged discovery hunts us finally down;
The human act will make us real again,
And then perhaps we come to know each other.
Let us return to imperfection's school.
No longer wandering after Plato's ghost,
Seeking the garden where all fruit is flawless,
We must at last renounce that ultimate blue
And take a walk in other kinds of weather.
The sourest apple makes its wry announcement
That imperfection has a certain tang.
Maybe we shouldn't turn our pockets out
To the last crumb or lingering bit of fluff,
But all we can confess of what we are
Has in it the defeat of isolation--
If not our own, then someone's, anyway.
So I come back to saying this good-by,
A sort of ceremony of my own,
This stepping backward for another glance.
Perhaps you'll say we need no ceremony,
Because we know each other, crack and flaw,
Like two irregular stones that fit together.
Yet still good-by, because we live by inches
And only sometimes see the full dimension.
Your stature's one I want to memorize--
Your whole level of being, to impose
On any other comers, man or woman.
I'd ask them that they carry what they are
With your particular bearing, as you wear
The flaws that make you both yourself and human.
|
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.
|
Written by
Billy Collins |
In most self-portraits it is the face that dominates:
Cezanne is a pair of eyes swimming in brushstrokes,
Van Gogh stares out of a halo of swirling darkness,
Rembrant looks relieved as if he were taking a breather
from painting The Blinding of Sampson.
But in this one Goya stands well back from the mirror
and is seen posed in the clutter of his studio
addressing a canvas tilted back on a tall easel.
He appears to be smiling out at us as if he knew
we would be amused by the extraordinary hat on his head
which is fitted around the brim with candle holders,
a device that allowed him to work into the night.
You can only wonder what it would be like
to be wearing such a chandelier on your head
as if you were a walking dining room or concert hall.
But once you see this hat there is no need to read
any biography of Goya or to memorize his dates.
To understand Goya you only have to imagine him
lighting the candles one by one, then placing
the hat on his head, ready for a night of work.
Imagine him surprising his wife with his new invention,
the laughing like a birthday cake when she saw the glow.
Imagine him flickering through the rooms of his house
with all the shadows flying across the walls.
Imagine a lost traveler knocking on his door
one dark night in the hill country of Spain.
"Come in, " he would say, "I was just painting myself,"
as he stood in the doorway holding up the wand of a brush,
illuminated in the blaze of his famous candle hat.
|
Written by
Billy Collins |
How agreeable it is not to be touring Italy this summer,
wandering her cities and ascending her torrid hilltowns.
How much better to cruise these local, familiar streets,
fully grasping the meaning of every roadsign and billboard
and all the sudden hand gestures of my compatriots.
There are no abbeys here, no crumbling frescoes or famous
domes and there is no need to memorize a succession
of kings or tour the dripping corners of a dungeon.
No need to stand around a sarcophagus, see Napoleon's
little bed on Elba, or view the bones of a saint under glass.
How much better to command the simple precinct of home
than be dwarfed by pillar, arch, and basilica.
Why hide my head in phrase books and wrinkled maps?
Why feed scenery into a hungry, one-eyes camera
eager to eat the world one monument at a time?
Instead of slouching in a café ignorant of the word for ice,
I will head down to the coffee shop and the waitress
known as Dot. I will slide into the flow of the morning
paper, all language barriers down,
rivers of idiom running freely, eggs over easy on the way.
And after breakfast, I will not have to find someone
willing to photograph me with my arm around the owner.
I will not puzzle over the bill or record in a journal
what I had to eat and how the sun came in the window.
It is enough to climb back into the car
as if it were the great car of English itself
and sounding my loud vernacular horn, speed off
down a road that will never lead to Rome, not even Bologna.
|
Written by
Steve Kowit |
A noun's a thing. A verb's the thing it does.
An adjective is what describes the noun.
In "The can of beets is filled with purple fuzz"
of and with are prepositions. The's
an article, a can's a noun,
a noun's a thing. A verb's the thing it does.
A can can roll - or not. What isn't was
or might be, might meaning not yet known.
"Our can of beets is filled with purple fuzz"
is present tense. While words like our and us
are pronouns - i.e. it is moldy, they are icky brown.
A noun's a thing; a verb's the thing it does.
Is is a helping verb. It helps because
filled isn't a full verb. Can's what our owns
in "Our can of beets is filled with purple fuzz."
See? There's almost nothing to it. Just
memorize these rules...or write them down!
A noun's a thing, a verb's the thing it does.
The can of beets is filled with purple fuzz.
|
Written by
Edgar Lee Masters |
Out of a cell into this darkened space --
The end at twenty-five!
My tongue could not speak what stirred within me,
And the village thought me a fool.
Yet at the start there was a clear vision,
A high and urgent purpose in my soul
Which drove me on trying to memorize
The Encyclopedia Britannica!
|
Written by
John Crowe Ransom |
Full of her long white arms and milky skin
He had a thousand times remembered sin.
Alone in the press of people traveled he,
Minding her jacinth, and myrrh, and ivory.
Mouth he remembered: the quaint orifice
From which came heat that flamed upon the kiss,
Till cold words came down spiral from the head.
Grey doves from the officious tower illsped.
Body: it was a white field ready for love,
On her body's field, with the gaunt tower above,
The lilies grew, beseeching him to take,
If he would pluck and wear them, bruise and break.
Eyes talking: Never mind the cruel words,
Embrace my flowers, but not embrace the swords.
But what they said, the doves came straightway flying
And unsaid: Honor, Honor, they came crying.
Importunate her doves. Too pure, too wise,
Clambering on his shoulder, saying, Arise,
Leave me now, and never let us meet,
Eternal distance now command thy feet.
Predicament indeed, which thus discovers
Honor among thieves, Honor between lovers.
O such a little word is Honor, they feel!
But the grey word is between them cold as steel.
At length I saw these lovers fully were come
Into their torture of equilibrium;
Dreadfully had forsworn each other, and yet
They were bound each to each, and they did not forget.
And rigid as two painful stars, and twirled
About the clustered night their prison world,
They burned with fierce love always to come near,
But honor beat them back and kept them clear
.
Ah, the strict lovers, they are ruined now!
I cried in anger. But with puddled brow
Devising for those gibbeted and brave
Came I descanting: Man, what would you have?
For spin your period out, and draw your breath,
A kinder saeculum begins with Death.
Would you ascend to Heaven and bodiless dwell?
Or take your bodies honorless to Hell ?
In Heaven you have heard no marriage is,
No white flesh tinder to your lecheries,
Your male and female tissue sweetly shaped
Sublimed away, and furious blood escaped.
Great lovers lie in Hell, the stubborn ones
Infatuate of the flesh upon the bones;
Stuprate, they rend each other when they kiss,
The pieces kiss again, no end to this.
But still I watched them spinning, orbited nice.
Their flames were not more radiant than their ice.
I dug in the quiet earth and wrought the tomb
And made these lines to memorize their doom:—
EPITAPH
Equilibrists lie here; stranger, tread light;
Close, but untouching in each other's sight;
Mouldered the lips arid ashy the tall skull.
Let them lie perilous and beautiful.
|
Written by
Edgar Lee Masters |
To this generation I would say:
Memorize some bit of verse of truth or beauty.
It may serve a turn in your life.
My husband had nothing to do
With the fall of the bank -- he was only cashier.
The wreck was due to the president, Thomas Rhodes,
And his vain, unscrupulous son.
Yet my husband was sent to prison,
And I was left with the children,
To feed and clothe and school them.
And I did it, and sent them forth
Into the world all clean and strong,
And all through the wisdom of Pope, the poet:
"Act well your part, there all the honor lies."
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