Written by
Rita Dove |
She was thinner, with a mannered gauntness
as she paused just inside the double
glass doors to survey the room, silvery cape
billowing dramatically behind her.What's this,
I thought, lifting a hand until
she nodded and started across the parquet;
that's when I saw she was dressed all in gray,
from a kittenish cashmere skirt and cowl
down to the graphite signature of her shoes.
"Sorry I'm late," she panted, though
she wasn't, sliding into the chair, her cape
tossed off in a shudder of brushed steel.
We kissed.Then I leaned back to peruse
my blighted child, this wary aristocratic mole.
"How's business?" I asked, and hazarded
a motherly smile to keep from crying out:
Are you content to conduct your life
as a cliché and, what's worse,
an anachronism, the brooding artist's demimonde?
Near the rue Princesse they had opened
a gallery cum souvenir shop which featured
fuzzy off-color Monets next to his acrylics, no doubt,
plus beared African drums and the occasional miniature
gargoyle from Notre Dame the Great Artist had
carved at breakfast with a pocket knife.
"Tourists love us.The Parisians, of course"--
she blushed--"are amused, though not without
a certain admiration . . ."
The Chateaubriand
arrived on a bone-white plate, smug and absolute
in its fragrant crust, a black plug steaming
like the heart plucked from the chest of a worthy enemy;
one touch with her fork sent pink juices streaming.
"Admiration for what?"Wine, a bloody
Pinot Noir, brought color to her cheeks."Why,
the aplomb with which we've managed
to support our Art"--meaning he'd convinced
her to pose nude for his appalling canvases,
faintly futuristic landscapes strewn
with carwrecks and bodies being chewed
by rabid cocker spaniels."I'd like to come by
the studio," I ventured, "and see the new stuff."
"Yes, if you wish . . ."A delicate rebuff
before the warning: "He dresses all
in black now.Me, he drapes in blues and carmine--
and even though I think it's kinda cute,
in company I tend toward more muted shades."
She paused and had the grace
to drop her eyes.She did look ravishing,
spookily insubstantial, a lipstick ghost on tissue,
or as if one stood on a fifth-floor terrace
peering through a fringe of rain at Paris'
dreaming chimney pots, each sooty issue
wobbling skyward in an ecstatic oracular spiral.
"And he never thinks of food.I wish
I didn't have to plead with him to eat. . . ."Fruit
and cheese appeared, arrayed on leaf-green dishes.
I stuck with café crème."This Camembert's
so ripe," she joked, "it's practically grown hair,"
mucking a golden glob complete with parsley sprig
onto a heel of bread.Nothing seemed to fill
her up: She swallowed, sliced into a pear,
speared each tear-shaped lavaliere
and popped the dripping mess into her pretty mouth.
Nowhere the bright tufted fields, weighted
vines and sun poured down out of the south.
"But are you happy?"Fearing, I whispered it
quickly."What?You know, Mother"--
she bit into the starry rose of a fig--
"one really should try the fruit here."
I've lost her, I thought, and called for the bill.
|
Written by
Galway Kinnell |
I eat oatmeal for breakfast.
I make it on the hot plate and put skimmed milk on it.
I eat it alone.
I am aware it is not good to eat oatmeal alone.
Its consistency is such that is better for your mental health
if somebody eats it with you.
That is why I often think up an imaginary companion to have
breakfast with.
Possibly it is even worse to eat oatmeal with an imaginary
companion.
Nevertheless, yesterday morning, I ate my oatmeal porridge,
as he called it with John Keats.
Keats said I was absolutely right to invite him:
due to its glutinous texture, gluey lumpishness, hint of slime,
and unsual willingness to disintigrate, oatmeal should
not be eaten alone.
He said that in his opinion, however, it is perfectly OK to eat
it with an imaginary companion, and that he himself had
enjoyed memorable porridges with Edmund Spenser and John
Milton.
Even if eating oatmeal with an imaginary companion is not as
wholesome as Keats claims, still, you can learn something
from it.
Yesterday morning, for instance, Keats told me about writing the
"Ode to a Nightingale."
He had a heck of a time finishing it those were his words "Oi 'ad
a 'eck of a toime," he said, more or less, speaking through
his porridge.
He wrote it quickly, on scraps of paper, which he then stuck in his
pocket,
but when he got home he couldn't figure out the order of the stanzas,
and he and a friend spread the papers on a table, and they
made some sense of them, but he isn't sure to this day if
they got it right.
An entire stanza may have slipped into the lining of his jacket
through a hole in his pocket.
He still wonders about the occasional sense of drift between stanzas,
and the way here and there a line will go into the
configuration of a Moslem at prayer, then raise itself up
and peer about, and then lay itself down slightly off the mark,
causing the poem to move forward with a reckless, shining wobble.
He said someone told him that later in life Wordsworth heard about
the scraps of paper on the table, and tried shuffling some
stanzas of his own, but only made matters worse.
I would not have known any of this but for my reluctance to eat oatmeal
alone.
When breakfast was over, John recited "To Autumn."
He recited it slowly, with much feeling, and he articulated the words
lovingly, and his odd accent sounded sweet.
He didn't offer the story of writing "To Autumn," I doubt if there
is much of one.
But he did say the sight of a just-harvested oat field go thim started
on it, and two of the lines, "For Summer has o'er-brimmed their
clammy cells" and "Thou watchest the last oozings hours by hours,"
came to him while eating oatmeal alone.
I can see him drawing a spoon through the stuff, gazing into the glimmering
furrows, muttering.
Maybe there is no sublime; only the shining of the amnion's tatters.
For supper tonight I am going to have a baked potato left over from lunch.
I am aware that a leftover baked potato is damp, slippery, and simultaneaously
gummy and crumbly, and therefore I'm going to invite Patrick Kavanagh
to join me.
|
Written by
Anne Sexton |
I knew you forever and you were always old,
soft white lady of my heart. Surely you would scold
me for sitting up late, reading your letters,
as if these foreign postmarks were meant for me.
You posted them first in London, wearing furs
and a new dress in the winter of eighteen-ninety.
I read how London is dull on Lord Mayor's Day,
where you guided past groups of robbers, the sad holes
of Whitechapel, clutching your pocketbook, on the way
to Jack the Ripper dissecting his famous bones.
This Wednesday in Berlin, you say, you will
go to a bazaar at Bismarck's house. And I
see you as a young girl in a good world still,
writing three generations before mine. I try
to reach into your page and breathe it back...
but life is a trick, life is a kitten in a sack.
This is the sack of time your death vacates.
How distant your are on your nickel-plated skates
in the skating park in Berlin, gliding past
me with your Count, while a military band
plays a Strauss waltz. I loved you last,
a pleated old lady with a crooked hand.
Once you read Lohengrin and every goose
hung high while you practiced castle life
in Hanover. Tonight your letters reduce
history to a guess. The count had a wife.
You were the old maid aunt who lived with us.
Tonight I read how the winter howled around
the towers of Schloss Schwobber, how the tedious
language grew in your jaw, how you loved the sound
of the music of the rats tapping on the stone
floors. When you were mine you wore an earphone.
This is Wednesday, May 9th, near Lucerne,
Switzerland, sixty-nine years ago. I learn
your first climb up Mount San Salvatore;
this is the rocky path, the hole in your shoes,
the yankee girl, the iron interior
of her sweet body. You let the Count choose
your next climb. You went together, armed
with alpine stocks, with ham sandwiches
and seltzer wasser. You were not alarmed
by the thick woods of briars and bushes,
nor the rugged cliff, nor the first vertigo
up over Lake Lucerne. The Count sweated
with his coat off as you waded through top snow.
He held your hand and kissed you. You rattled
down on the train to catch a steam boat for home;
or other postmarks: Paris, verona, Rome.
This is Italy. You learn its mother tongue.
I read how you walked on the Palatine among
the ruins of the palace of the Caesars;
alone in the Roman autumn, alone since July.
When you were mine they wrapped you out of here
with your best hat over your face. I cried
because I was seventeen. I am older now.
I read how your student ticket admitted you
into the private chapel of the Vatican and how
you cheered with the others, as we used to do
on the fourth of July. One Wednesday in November
you watched a balloon, painted like a silver abll,
float up over the Forum, up over the lost emperors,
to shiver its little modern cage in an occasional
breeze. You worked your New England conscience out
beside artisans, chestnut vendors and the devout.
Tonight I will learn to love you twice;
learn your first days, your mid-Victorian face.
Tonight I will speak up and interrupt
your letters, warning you that wars are coming,
that the Count will die, that you will accept
your America back to live like a prim thing
on the farm in Maine. I tell you, you will come
here, to the suburbs of Boston, to see the blue-nose
world go drunk each night, to see the handsome
children jitterbug, to feel your left ear close
one Friday at Symphony. And I tell you,
you will tip your boot feet out of that hall,
rocking from its sour sound, out onto
the crowded street, letting your spectacles fall
and your hair net tangle as you stop passers-by
to mumble your guilty love while your ears die.
|
Written by
Delmore Schwartz |
I Christmas Poem for Nancy
Noel, Noel
We live and we die
Between heaven and hell
Between the earth and the sky
And all shall be well
And all shall be unwell
And once again! all shall once again!
All shall be well
By the ringing and the swinging
of the great beautiful holiday bell
Of Noel! Noel!
II Salute Valentine
I'll drink to thee only with my eyes
When two are three and four,
And guzzle reality's rise and cries
And praise the truth beyond surmise
When small shots shout: More! More! More! More!
III Rabbi to Preach
Rabbi Robert Raaba will preach
on "An Eye for an Eye"
(an I for an I?)
(Two weeks from this week: "On the Sacred Would")
At Temple Sholem on Lake Shore Drive
- Pavel Slavensky will chant the liturgical responses
And William Leon, having now thirteen years
will thank his parents that he exists
To celebrate his birthday of manhood, his chocolate
Bar Mitzvah, his yum-yum kippered herring, his Russian
Corona.
|
Written by
Emily Dickinson |
The Angle of a Landscape --
That every time I wake --
Between my Curtain and the Wall
Upon an ample Crack --
Like a Venetian -- waiting --
Accosts my open eye --
Is just a Bough of Apples --
Held slanting, in the Sky --
The Pattern of a Chimney --
The Forehead of a Hill --
Sometimes -- a Vane's Forefinger --
But that's -- Occasional --
The Seasons -- shift -- my Picture --
Upon my Emerald Bough,
I wake -- to find no -- Emeralds --
Then -- Diamonds -- which the Snow
From Polar Caskets -- fetched me --
The Chimney -- and the Hill --
And just the Steeple's finger --
These -- never stir at all --
|
Written by
Siegfried Sassoon |
I never asked you to be perfect—did I?—
Though often I’ve called you sweet, in the invasion
Of mastering love. I never prayed that you
Might stand, unsoiled, angelic and inhuman,
Pointing the way toward Sainthood like a sign-post.
Oh yes, I know the way to heaven was easy.
We found the little kingdom of our passion
That all can share who walk the road of lovers.
In wild and secret happiness we stumbled;
And gods and demons clamoured in our senses.
But I’ve grown thoughtful now. And you have lost
Your early-morning freshness of surprise
At being so utterly mine: you’ve learned to fear
The gloomy, stricken places in my soul,
And the occasional ghosts that haunt my gaze.
You made me glad; and I can still return
To you, the haven of my lonely pride:
But I am sworn to murder those illusions
That blossom from desire with desperate beauty:
And there shall be no falsehood in our failure;
Since, if we loved like beasts, the thing is done,
And I’ll not hide it, though our heaven be hell.
You dream long liturgies of our devotion.
Yet, in my heart, I dread our love’s destruction.
But, should you grow to hate me, I would ask
No mercy of your mood: I’d have you stand
And look me in the eyes, and laugh, and smite me.
Then I should know, at least, that truth endured,
Though love had died of wounds. And you could leave me
Unvanquished in my atmosphere of devils.
|
Written by
Walt Whitman |
A MARCH in the ranks hard-prest, and the road unknown;
A route through a heavy wood, with muffled steps in the darkness;
Our army foil’d with loss severe, and the sullen remnant retreating;
Till after midnight glimmer upon us, the lights of a dim-lighted building;
We come to an open space in the woods, and halt by the dim-lighted building;
’Tis a large old church at the crossing roads—’tis now an impromptu
hospital;
—Entering but for a minute, I see a sight beyond all the pictures and poems ever
made:
Shadows of deepest, deepest black, just lit by moving candles and lamps,
And by one great pitchy torch, stationary, with wild red flame, and clouds of smoke;
By these, crowds, groups of forms, vaguely I see, on the floor, some in the pews laid
down;
At my feet more distinctly, a soldier, a mere lad, in danger of bleeding to death, (he is
shot
in
the abdomen;)
I staunch the blood temporarily, (the youngster’s face is white as a lily;)
Then before I depart I sweep my eyes o’er the scene, fain to absorb it all;
Faces, varieties, postures beyond description, most in obscurity, some of them dead;
Surgeons operating, attendants holding lights, the smell of ether, the odor of blood;
The crowd, O the crowd of the bloody forms of soldiers—the yard outside also
fill’d;
Some on the bare ground, some on planks or stretchers, some in the death-spasm sweating;
An occasional scream or cry, the doctor’s shouted orders or calls;
The glisten of the little steel instruments catching the glint of the torches;
These I resume as I chant—I see again the forms, I smell the odor;
Then hear outside the orders given, Fall in, my men, Fall in;
But first I bend to the dying lad—his eyes open—a half-smile gives he me;
Then the eyes close, calmly close, and I speed forth to the darkness,
Resuming, marching, ever in darkness marching, on in the ranks,
The unknown road still marching.
|
Written by
T S (Thomas Stearns) Eliot |
Bustopher Jones is not skin and bones--
In fact, he's remarkably fat.
He doesn't haunt pubs--he has eight or nine clubs,
For he's the St. James's Street Cat!
He's the Cat we all greet as he walks down the street
In his coat of fastidious black:
No commonplace mousers have such well-cut trousers
Or such an impreccable back.
In the whole of St. James's the smartest of names is
The name of this Brummell of Cats;
And we're all of us proud to be nodded or bowed to
By Bustopher Jones in white spats!
His visits are occasional to the Senior Educational
And it is against the rules
For any one Cat to belong both to that
And the Joint Superior Schools.
For a similar reason, when game is in season
He is found, not at Fox's, but Blimpy's;
He is frequently seen at the gay Stage and Screen
Which is famous for winkles and shrimps.
In the season of venison he gives his ben'son
To the Pothunter's succulent bones;
And just before noon's not a moment too soon
To drop in for a drink at the Drones.
When he's seen in a hurry there's probably curry
At the Siamese--or at the Glutton;
If he looks full of gloom then he's lunched at the Tomb
On cabbage, rice pudding and mutton.
So, much in this way, passes Bustopher's day-
At one club or another he's found.
It can be no surprise that under our eyes
He has grown unmistakably round.
He's a twenty-five pounder, or I am a bounder,
And he's putting on weight every day:
But he's so well preserved because he's observed
All his life a routine, so he'll say.
Or, to put it in rhyme: "I shall last out my time"
Is the word of this stoutest of Cats.
It must and it shall be Spring in Pall Mall
While Bustopher Jones wears white spats!
|
Written by
Elizabeth Bishop |
Out on the high "bird islands," Ciboux and Hertford,
the razorbill auks and the silly-looking puffins all stand
with their backs to the mainland
in solemn, uneven lines along the cliff's brown grass-frayed edge,
while the few sheep pastured there go "Baaa, baaa."
(Sometimes, frightened by aeroplanes, they stampede
and fall over into the sea or onto the rocks.)
The silken water is weaving and weaving,
disappearing under the mist equally in all directions,
lifted and penetrated now and then
by one shag's dripping serpent-neck,
and somewhere the mist incorporates the pulse,
rapid but unurgent, of a motor boat.
The same mist hangs in thin layers
among the valleys and gorges of the mainland
like rotting snow-ice sucked away
almost to spirit; the ghosts of glaciers drift
among those folds and folds of fir: spruce and hackmatack--
dull, dead, deep pea-cock colors,
each riser distinguished from the next
by an irregular nervous saw-tooth edge,
alike, but certain as a stereoscopic view.
The wild road clambers along the brink of the coast.
On it stand occasional small yellow bulldozers,
but without their drivers, because today is Sunday.
The little white churches have been dropped into the matted hills
like lost quartz arrowheads.
The road appears to have been abandoned.
Whatever the landscape had of meaning appears to have been abandoned,
unless the road is holding it back, in the interior,
where we cannot see,
where deep lakes are reputed to be,
and disused trails and mountains of rock
and miles of burnt forests, standing in gray scratches
like the admirable scriptures made on stones by stones--
and these regions now have little to say for themselves
except in thousands of light song-sparrow songs floating upward
freely, dispassionately, through the mist, and meshing
in brown-wet, fine torn fish-nets.
A small bus comes along, in up-and-down rushes,
packed with people, even to its step.
(On weekdays with groceries, spare automobile parts, and pump parts,
but today only two preachers extra, one carrying his frock coat on a
hanger.)
It passes the closed roadside stand, the closed schoolhouse,
where today no flag is flying
from the rough-adzed pole topped with a white china doorknob.
It stops, and a man carrying a bay gets off,
climbs over a stile, and goes down through a small steep meadow,
which establishes its poverty in a snowfall of daisies,
to his invisible house beside the water.
The birds keep on singing, a calf bawls, the bus starts.
The thin mist follows
the white mutations of its dream;
an ancient chill is rippling the dark brooks.
|
Written by
Elizabeth Bishop |
Man-Moth: Newspaper misprint for "mammoth."
Here, above,
cracks in the buldings are filled with battered moonlight.
The whole shadow of Man is only as big as his hat.
It lies at his feet like a circle for a doll to stand on,
and he makes an inverted pin, the point magnetized to the moon.
He does not see the moon; he observes only her vast properties,
feeling the ***** light on his hands, neither warm nor cold,
of a temperature impossible to records in thermometers.
But when the Man-Moth
pays his rare, although occasional, visits to the surface,
the moon looks rather different to him. He emerges
from an opening under the edge of one of the sidewalks
and nervously begins to scale the faces of the buildings.
He thinks the moon is a small hole at the top of the sky,
proving the sky quite useless for protection.
He trembles, but must investigate as high as he can climb.
Up the façades,
his shadow dragging like a photographer's cloth behind him
he climbs fearfully, thinking that this time he will manage
to push his small head through that round clean opening
and be forced through, as from a tube, in black scrolls on the light.
(Man, standing below him, has no such illusions.)
But what the Man-Moth fears most he must do, although
he fails, of course, and falls back scared but quite unhurt.
Then he returns
to the pale subways of cement he calls his home. He flits,
he flutters, and cannot get aboard the silent trains
fast enough to suit him. The doors close swiftly.
The Man-Moth always seats himself facing the wrong way
and the train starts at once at its full, terrible speed,
without a shift in gears or a gradation of any sort.
He cannot tell the rate at which he travels backwards.
Each night he must
be carried through artificial tunnels and dream recurrent dreams.
Just as the ties recur beneath his train, these underlie
his rushing brain. He does not dare look out the window,
for the third rail, the unbroken draught of poison,
runs there beside him. He regards it as a disease
he has inherited the susceptibility to. He has to keep
his hands in his pockets, as others must wear mufflers.
If you catch him,
hold up a flashlight to his eye. It's all dark pupil,
an entire night itself, whose haired horizon tightens
as he stares back, and closes up the eye. Then from the lids
one tear, his only possession, like the bee's sting, slips.
Slyly he palms it, and if you're not paying attention
he'll swallow it. However, if you watch, he'll hand it over,
cool as from underground springs and pure enough to drink.
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