Written by
Charles Bukowski |
we have everything and we have nothing
and some men do it in churches
and some men do it by tearing butterflies
in half
and some men do it in Palm Springs
laying it into butterblondes
with Cadillac souls
Cadillacs and butterflies
nothing and everything,
the face melting down to the last puff
in a cellar in Corpus Christi.
there's something for the touts, the nuns,
the grocery clerks and you . . .
something at 8 a.m., something in the library
something in the river,
everything and nothing.
in the slaughterhouse it comes running along
the ceiling on a hook, and you swing it --
one
two
three
and then you've got it, $200 worth of dead
meat, its bones against your bones
something and nothing.
it's always early enough to die and
it's always too late,
and the drill of blood in the basin white
it tells you nothing at all
and the gravediggers playing poker over
5 a.m. coffee, waiting for the grass
to dismiss the frost . . .
they tell you nothing at all.
we have everything and we have nothing --
days with glass edges and the impossible stink
of river moss -- worse than ****;
checkerboard days of moves and countermoves,
fagged interest, with as much sense in defeat as
in victory; slow days like mules
humping it slagged and sullen and sun-glazed
up a road where a madman sits waiting among
bluejays and wrens netted in and sucked a flakey
grey.
good days too of wine and shouting, fights
in alleys, fat legs of women striving around
your bowels buried in moans,
the signs in bullrings like diamonds hollering
Mother Capri, violets coming out of the ground
telling you to forget the dead armies and the loves
that robbed you.
days when children say funny and brilliant things
like savages trying to send you a message through
their bodies while their bodies are still
alive enough to transmit and feel and run up
and down without locks and paychecks and
ideals and possessions and beetle-like
opinions.
days when you can cry all day long in
a green room with the door locked, days
when you can laugh at the breadman
because his legs are too long, days
of looking at hedges . . .
and nothing, and nothing, the days of
the bosses, yellow men
with bad breath and big feet, men
who look like frogs, hyenas, men who walk
as if melody had never been invented, men
who think it is intelligent to hire and fire and
profit, men with expensive wives they possess
like 60 acres of ground to be drilled
or shown-off or to be walled away from
the incompetent, men who'd kill you
because they're crazy and justify it because
it's the law, men who stand in front of
windows 30 feet wide and see nothing,
men with luxury yachts who can sail around
the world and yet never get out of their vest
pockets, men like snails, men like eels, men
like slugs, and not as good . . .
and nothing, getting your last paycheck
at a harbor, at a factory, at a hospital, at an
aircraft plant, at a penny arcade, at a
barbershop, at a job you didn't want
anyway.
income tax, sickness, servility, broken
arms, broken heads -- all the stuffing
come out like an old pillow.
we have everything and we have nothing.
some do it well enough for a while and
then give way. fame gets them or disgust
or age or lack of proper diet or ink
across the eyes or children in college
or new cars or broken backs while skiing
in Switzerland or new politics or new wives
or just natural change and decay --
the man you knew yesterday hooking
for ten rounds or drinking for three days and
three nights by the Sawtooth mountains now
just something under a sheet or a cross
or a stone or under an easy delusion,
or packing a bible or a golf bag or a
briefcase: how they go, how they go! -- all
the ones you thought would never go.
days like this. like your day today.
maybe the rain on the window trying to
get through to you. what do you see today?
what is it? where are you? the best
days are sometimes the first, sometimes
the middle and even sometimes the last.
the vacant lots are not bad, churches in
Europe on postcards are not bad. people in
wax museums frozen into their best sterility
are not bad, horrible but not bad. the
cannon, think of the cannon, and toast for
breakfast the coffee hot enough you
know your tongue is still there, three
geraniums outside a window, trying to be
red and trying to be pink and trying to be
geraniums, no wonder sometimes the women
cry, no wonder the mules don't want
to go up the hill. are you in a hotel room
in Detroit looking for a cigarette? one more
good day. a little bit of it. and as
the nurses come out of the building after
their shift, having had enough, eight nurses
with different names and different places
to go -- walking across the lawn, some of them
want cocoa and a paper, some of them want a
hot bath, some of them want a man, some
of them are hardly thinking at all. enough
and not enough. arcs and pilgrims, oranges
gutters, ferns, antibodies, boxes of
tissue paper.
in the most decent sometimes sun
there is the softsmoke feeling from urns
and the canned sound of old battleplanes
and if you go inside and run your finger
along the window ledge you'll find
dirt, maybe even earth.
and if you look out the window
there will be the day, and as you
get older you'll keep looking
keep looking
sucking your tongue in a little
ah ah no no maybe
some do it naturally
some obscenely
everywhere.
|
Written by
Alfred Lord Tennyson |
I come from haunts of coot and hern,
I make a sudden sally
And sparkle out among the fern,
To bicker down a valley.
By thirty hills I hurry down,
Or slip between the ridges,
By twenty thorpes, a little town,
And half a hundred bridges.
Till last by Philip's farm I flow
To join the brimming river,
For men may come and men may go,
But I go on for ever.
I chatter over stony ways,
In little sharps and trebles,
I bubble into eddying bays,
I babble on the pebbles.
With many a curve my banks I fret
By many a field and fallow,
And many a fairy foreland set
With willow-weed and mallow.
I chatter, chatter, as I flow
To join the brimming river,
For men may come and men may go,
But I go on for ever.
I wind about, and in and out,
With here a blossom sailing,
And here and there a lusty trout,
And here and there a grayling,
And here and there a foamy flake
Upon me, as I travel
With many a silvery waterbreak
Above the golden gravel,
And draw them all along, and flow
To join the brimming river
For men may come and men may go,
But I go on for ever.
I steal by lawns and grassy plots,
I slide by hazel covers;
I move the sweet forget-me-nots
That grow for happy lovers.
I slip, I slide, I gloom, I glance,
Among my skimming swallows;
I make the netted sunbeam dance
Against my sandy shallows.
I murmur under moon and stars
In brambly wildernesses;
I linger by my shingly bars;
I loiter round my cresses;
And out again I curve and flow
To join the brimming river,
For men may come and men may go,
But I go on for ever.
|
Written by
Galway Kinnell |
At intermission I find her backstage
still practicing the piece coming up next.
She calls it the "solo in high dreary."
Her bow niggles at the string like a hand
stroking skin it never wanted to touch.
Probably under her scorn she is sick
that she can't do better by it. As I am,
at the dreary in me, such as the disparity
between all the tenderness I've received
and the amount I've given, and the way
I used to shrug off the imbalance
simply as how things are, as if the male
were constituted like those coffeemakers
that produce less black bitter than the quantity
of sweet clear you poured in--forgetting about
how much I spilled through unsteady walking,
and that lot I threw on the ground
in suspicion, and for fear I wasn't worthy,
and all I poured out for reasons I don't understand yet.
"Break a leg!" somebody tells her.
Back in my seat, I can see she is nervous
when she comes out; her hand shakes as she
re-dog-ears the top corners of the big pages
that look about to flop over on their own.
Now she raises the bow--its flat bundle of hair
harvested from the rear ends of horses--like a whetted
scimitar she is about to draw across a throat,
and attacks. In a back alley a cat opens
her pink-ceilinged mouth, gets netted
in full yowl, clubbed, bagged, bicycled off, haggled open,
gutted, the gut squeezed down to its highest pitch,
washed, sliced into cello strings, which bring
an ancient screaming into this duet of hair and gut.
Now she is flying--tossing back the goblets
of Saint-Amour standing empty,
half-empty, or full on the tablecloth-
like sheet music. Her knees tighten
and loosen around the big-hipped creature
wailing and groaning between them
as if in elemental amplexus.
The music seems to rise from the crater left
when heaven was torn up and taken off the earth;
more likely it comes up through her priest's dress,
up from that clump of hair which by now
may be so wet with its waters, like the waters
the fishes multiplied in at Galilee, that
each wick draws a portion all the way out
to its tip and fattens a droplet on the bush
of half notes now glittering in that dark.
At last she lifts off the bow and sits back.
Her face shines with the unselfconsciousness of a cat
screaming at night and the teary radiance of one
who gives everything no matter what has been given.
|
Written by
Siegfried Sassoon |
I
Because the night was falling warm and still
Upon a golden day at April’s end,
I thought; I will go up the hill once more
To find the face of him that I have lost,
And speak with him before his ghost has flown
Far from the earth that might not keep him long.
So down the road I went, pausing to see
How slow the dusk drew on, and how the folk
Loitered about their doorways, well-content
With the fine weather and the waxing year.
The miller’s house, that glimmered with grey walls,
Turned me aside; and for a while I leaned
Along the tottering rail beside the bridge
To watch the dripping mill-wheel green with damp.
The miller peered at me with shadowed eyes
And pallid face: I could not hear his voice
For sound of the weir’s plunging. He was old.
His days went round with the unhurrying wheel.
Moving along the street, each side I saw
The humble, kindly folk in lamp-lit rooms;
Children at table; simple, homely wives;
Strong, grizzled men; and soldiers back from war,
Scaring the gaping elders with loud talk.
Soon all the jumbled roofs were down the hill,
And I was turning up the grassy lane
That goes to the big, empty house that stands
Above the town, half-hid by towering trees.
I looked below and saw the glinting lights:
I heard the treble cries of bustling life,
And mirth, and scolding; and the grind of wheels.
An engine whistled, piercing-shrill, and called
High echoes from the sombre slopes afar;
Then a long line of trucks began to move.
It was quite still; the columned chestnuts stood
Dark in their noble canopies of leaves.
I thought: ‘A little longer I’ll delay,
And then he’ll be more glad to hear my feet,
And with low laughter ask me why I’m late.
The place will be too dim to show his eyes,
But he will loom above me like a tree,
With lifted arms and body tall and strong.’
There stood the empty house; a ghostly hulk
Becalmed and huge, massed in the mantling dark,
As builders left it when quick-shattering war
Leapt upon France and called her men to fight.
Lightly along the terraces I trod,
Crunching the rubble till I found the door
That gaped in twilight, framing inward gloom.
An owl flew out from under the high eaves
To vanish secretly among the firs,
Where lofty boughs netted the gleam of stars.
I stumbled in; the dusty floors were strewn
With cumbering piles of planks and props and beams;
Tall windows gapped the walls; the place was free
To every searching gust and jousting gale;
But now they slept; I was afraid to speak,
And heavily the shadows crowded in.
I called him, once; then listened: nothing moved:
Only my thumping heart beat out the time.
Whispering his name, I groped from room to room.
Quite empty was that house; it could not hold
His human ghost, remembered in the love
That strove in vain to be companioned still.
II
Blindly I sought the woods that I had known
So beautiful with morning when I came
Amazed with spring that wove the hazel twigs
With misty raiment of awakening green.
I found a holy dimness, and the peace
Of sanctuary, austerely built of trees,
And wonder stooping from the tranquil sky.
Ah! but there was no need to call his name.
He was beside me now, as swift as light.
I knew him crushed to earth in scentless flowers,
And lifted in the rapture of dark pines.
‘For now,’ he said, ‘my spirit has more eyes
Than heaven has stars; and they are lit by love.
My body is the magic of the world,
And dawn and sunset flame with my spilt blood.
My breath is the great wind, and I am filled
With molten power and surge of the bright waves
That chant my doom along the ocean’s edge.
‘Look in the faces of the flowers and find
The innocence that shrives me; stoop to the stream
That you may share the wisdom of my peace.
For talking water travels undismayed.
The luminous willows lean to it with tales
Of the young earth; and swallows dip their wings
Where showering hawthorn strews the lanes of light.
‘I can remember summer in one thought
Of wind-swept green, and deeps of melting blue,
And scent of limes in bloom; and I can hear
Distinct the early mower in the grass,
Whetting his blade along some morn of June.
‘For I was born to the round world’s delight,
And knowledge of enfolding motherhood,
Whose tenderness, that shines through constant toil,
Gathers the naked children to her knees.
In death I can remember how she came
To kiss me while I slept; still I can share
The glee of childhood; and the fleeting gloom
When all my flowers were washed with rain of tears.
‘I triumph in the choruses of birds,
Bursting like April buds in gyres of song.
My meditations are the blaze of noon
On silent woods, where glory burns the leaves.
I have shared breathless vigils; I have slaked
The thirst of my desires in bounteous rain
Pouring and splashing downward through the dark.
Loud storm has roused me with its winking glare,
And voice of doom that crackles overhead.
I have been tired and watchful, craving rest,
Till the slow-footed hours have touched my brows
And laid me on the breast of sundering sleep.’
III
I know that he is lost among the stars,
And may return no more but in their light.
Though his hushed voice may call me in the stir
Of whispering trees, I shall not understand.
Men may not speak with stillness; and the joy
Of brooks that leap and tumble down green hills
Is faster than their feet; and all their thoughts
Can win no meaning from the talk of birds.
My heart is fooled with fancies, being wise;
For fancy is the gleaming of wet flowers
When the hid sun looks forth with golden stare.
Thus, when I find new loveliness to praise,
And things long-known shine out in sudden grace,
Then will I think: ‘He moves before me now.’
So he will never come but in delight,
And, as it was in life, his name shall be
Wonder awaking in a summer dawn,
And youth, that dying, touched my lips to song.
|
Written by
Seamus Heaney |
Fishermen at Ballyshannon
Netted an infant last night
Along with the salmon.
An illegitimate spawning,
A small one thrown back
To the waters. But I'm sure
As she stood in the shallows
Ducking him tenderly
Till the frozen knobs of her wrists
Were dead as the gravel,
He was a minnow with hooks
Tearing her open.
She waded in under
The sign of the cross.
He was hauled in with the fish.
Now limbo will be
A cold glitter of souls
Through some far briny zone.
Even Christ's palms, unhealed,
Smart and cannot fish there.
|
Written by
Anthony Hecht |
I have been wondering
What you are thinking about, and by now suppose
It is certainly not me.
But the crocus is up, and the lark, and the blundering
Blood knows what it knows.
It talks to itself all night, like a sliding moonlit sea.
Of course, it is talking of you.
At dawn, where the ocean has netted its catch of lights,
The sun plants one lithe foot
On that spill of mirrors, but the blood goes worming through
Its warm Arabian nights,
Naming your pounding name again in the dark heart-root.
Who shall, of course, be nameless.
Anyway, I should want you to know I have done my best,
As I'm sure you have, too.
Others are bound to us, the gentle and blameless
Whose names are not confessed
In the ceaseless palaver. My dearest, the clear unquaried blue
Of those depths is all but blinding.
You may remember that once you brought my boys
Two little woolly birds.
Yesterday the older one asked for you upon finding
Your thrush among his toys.
And the tides welled about me, and I could find no words.
There is not much else to tell.
One tries one's best to continue as before,
Doing some little good.
But I would have you know that all is not well
With a man dead set to ignore
The endless repetitions of his own murmurous blood.
|
Written by
George William Russell |
WHY does this sudden passion smite me?
I stretch my hands, all blind to see:
I need the lamp of the world to light me,
Lead me and set me free.
Something a moment seemed to stoop from
The night with cool, cool breath on my face:
Or did the hair of the twilight droop from
Its silent wandering ways?
About me in the thick wood netted
The wizard glow looks human-wise;
And over the tree-tops barred and fretted
Ponders with strange old eyes.
The tremulous lips of air blow by me
And hymn their time-old melody:
Its secret strain comes nigh and nigh me:
“Ah, brother, come with me;
“For here the ancient mother lingers
To dip her hands in the diamond dew,
And lave thine ache with cloud-cool fingers
Till sorrow die from you.”
|