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Best Famous Particulars Poems

Here is a collection of the all-time best famous Particulars poems. This is a select list of the best famous Particulars poetry. Reading, writing, and enjoying famous Particulars poetry (as well as classical and contemporary poems) is a great past time. These top poems are the best examples of particulars poems.

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Written by Walt Whitman | Create an image from this poem

American Feuillage

 AMERICA always! 
Always our own feuillage! 
Always Florida’s green peninsula! Always the priceless delta of Louisiana! Always the
 cotton-fields of Alabama and Texas! 
Always California’s golden hills and hollows—and the silver mountains of New
 Mexico!
 Always soft-breath’d Cuba! 
Always the vast slope drain’d by the Southern Sea—inseparable with the slopes
 drain’d
 by the Eastern and Western Seas;
The area the eighty-third year of These States—the three and a half millions of
 square
 miles; 
The eighteen thousand miles of sea-coast and bay-coast on the main—the thirty
 thousand
 miles of
 river navigation, 
The seven millions of distinct families, and the same number of dwellings—Always
 these,
 and
 more, branching forth into numberless branches; 
Always the free range and diversity! always the continent of Democracy! 
Always the prairies, pastures, forests, vast cities, travelers, Kanada, the snows;
Always these compact lands—lands tied at the hips with the belt stringing the huge
 oval
 lakes; 
Always the West, with strong native persons—the increasing density there—the
 habitans,
 friendly, threatening, ironical, scorning invaders; 
All sights, South, North, East—all deeds, promiscuously done at all times, 
All characters, movements, growths—a few noticed, myriads unnoticed, 
Through Mannahatta’s streets I walking, these things gathering;
On interior rivers, by night, in the glare of pine knots, steamboats wooding up; 
Sunlight by day on the valley of the Susquehanna, and on the valleys of the Potomac and
 Rappahannock, and the valleys of the Roanoke and Delaware; 
In their northerly wilds, beasts of prey haunting the Adirondacks, the hills—or
 lapping
 the
 Saginaw waters to drink; 
In a lonesome inlet, a sheldrake, lost from the flock, sitting on the water, rocking
 silently; 
In farmers’ barns, oxen in the stable, their harvest labor done—they rest
 standing—they are too tired;
Afar on arctic ice, the she-walrus lying drowsily, while her cubs play around; 
The hawk sailing where men have not yet sail’d—the farthest polar sea, ripply,
 crystalline, open, beyond the floes; 
White drift spooning ahead, where the ship in the tempest dashes; 
On solid land, what is done in cities, as the bells all strike midnight together; 
In primitive woods, the sounds there also sounding—the howl of the wolf, the scream
 of the
 panther, and the hoarse bellow of the elk;
In winter beneath the hard blue ice of Moosehead Lake—in summer visible through the
 clear
 waters, the great trout swimming; 
In lower latitudes, in warmer air, in the Carolinas, the large black buzzard floating
 slowly,
 high
 beyond the tree tops, 
Below, the red cedar, festoon’d with tylandria—the pines and cypresses, growing
 out
 of the
 white sand that spreads far and flat; 
Rude boats descending the big Pedee—climbing plants, parasites, with color’d
 flowers
 and
 berries, enveloping huge trees, 
The waving drapery on the live oak, trailing long and low, noiselessly waved by the wind;
The camp of Georgia wagoners, just after dark—the supper-fires, and the cooking and
 eating
 by
 whites and *******, 
Thirty or forty great wagons—the mules, cattle, horses, feeding from troughs, 
The shadows, gleams, up under the leaves of the old sycamore-trees—the
 flames—with
 the
 black smoke from the pitch-pine, curling and rising; 
Southern fishermen fishing—the sounds and inlets of North Carolina’s
 coast—the
 shad-fishery and the herring-fishery—the large sweep-seines—the windlasses on
 shore
 work’d by horses—the clearing, curing, and packing-houses; 
Deep in the forest, in piney woods, turpentine dropping from the incisions in the
 trees—There
 are the turpentine works,
There are the ******* at work, in good health—the ground in all directions is
 cover’d
 with
 pine straw: 
—In Tennessee and Kentucky, slaves busy in the coalings, at the forge, by the
 furnace-blaze, or
 at the corn-shucking; 
In Virginia, the planter’s son returning after a long absence, joyfully welcom’d
 and
 kiss’d by the aged mulatto nurse; 
On rivers, boatmen safely moor’d at night-fall, in their boats, under shelter of high
 banks, 
Some of the younger men dance to the sound of the banjo or fiddle—others sit on the
 gunwale,
 smoking and talking;
Late in the afternoon, the mocking-bird, the American mimic, singing in the Great Dismal
 Swamp—there are the greenish waters, the resinous odor, the plenteous moss, the
 cypress
 tree,
 and the juniper tree; 
—Northward, young men of Mannahatta—the target company from an excursion
 returning
 home at
 evening—the musket-muzzles all bear bunches of flowers presented by women; 
Children at play—or on his father’s lap a young boy fallen asleep, (how his lips
 move! how
 he smiles in his sleep!) 
The scout riding on horseback over the plains west of the Mississippi—he ascends a
 knoll
 and
 sweeps his eye around; 
California life—the miner, bearded, dress’d in his rude costume—the stanch
 California
 friendship—the sweet air—the graves one, in passing, meets, solitary, just
 aside the
 horsepath;
Down in Texas, the cotton-field, the *****-cabins—drivers driving mules or oxen
 before
 rude
 carts—cotton bales piled on banks and wharves; 
Encircling all, vast-darting, up and wide, the American Soul, with equal
 hemispheres—one
 Love,
 one Dilation or Pride; 
—In arriere, the peace-talk with the Iroquois, the aborigines—the calumet, the
 pipe
 of
 good-will, arbitration, and indorsement, 
The sachem blowing the smoke first toward the sun and then toward the earth, 
The drama of the scalp-dance enacted with painted faces and guttural exclamations,
The setting out of the war-party—the long and stealthy march, 
The single-file—the swinging hatchets—the surprise and slaughter of enemies; 
—All the acts, scenes, ways, persons, attitudes of These States—reminiscences,
 all
 institutions, 
All These States, compact—Every square mile of These States, without excepting a
 particle—you also—me also, 
Me pleas’d, rambling in lanes and country fields, Paumanok’s fields,
Me, observing the spiral flight of two little yellow butterflies, shuffling between each
 other,
 ascending high in the air; 
The darting swallow, the destroyer of insects—the fall traveler southward, but
 returning
 northward early in the spring; 
The country boy at the close of the day, driving the herd of cows, and shouting to them as
 they
 loiter to browse by the road-side; 
The city wharf—Boston, Philadelphia, Baltimore, Charleston, New Orleans, San
 Francisco, 
The departing ships, when the sailors heave at the capstan;
—Evening—me in my room—the setting sun, 
The setting summer sun shining in my open window, showing the swarm of flies, suspended,
 balancing
 in the air in the centre of the room, darting athwart, up and down, casting swift shadows
 in
 specks
 on the opposite wall, where the shine is; 
The athletic American matron speaking in public to crowds of listeners; 
Males, females, immigrants, combinations—the copiousness—the individuality of
 The
 States,
 each for itself—the money-makers; 
Factories, machinery, the mechanical forces—the windlass, lever, pulley—All
 certainties,
The certainty of space, increase, freedom, futurity, 
In space, the sporades, the scatter’d islands, the stars—on the firm earth, the
 lands, my
 lands; 
O lands! all so dear to me—what you are, (whatever it is,) I become a part of that,
 whatever it
 is; 
Southward there, I screaming, with wings slowly flapping, with the myriads of gulls
 wintering
 along
 the coasts of Florida—or in Louisiana, with pelicans breeding; 
Otherways, there, atwixt the banks of the Arkansaw, the Rio Grande, the Nueces, the
 Brazos, the
 Tombigbee, the Red River, the Saskatchawan, or the Osage, I with the spring waters
 laughing
 and
 skipping and running;
Northward, on the sands, on some shallow bay of Paumanok, I, with parties of snowy herons
 wading in
 the wet to seek worms and aquatic plants; 
Retreating, triumphantly twittering, the king-bird, from piercing the crow with its bill,
 for
 amusement—And I triumphantly twittering; 
The migrating flock of wild geese alighting in autumn to refresh themselves—the body
 of
 the
 flock feed—the sentinels outside move around with erect heads watching, and are from
 time
 to
 time reliev’d by other sentinels—And I feeding and taking turns with the rest; 
In Kanadian forests, the moose, large as an ox, corner’d by hunters, rising
 desperately on
 his
 hind-feet, and plunging with his fore-feet, the hoofs as sharp as knives—And I,
 plunging
 at the
 hunters, corner’d and desperate; 
In the Mannahatta, streets, piers, shipping, store-houses, and the countless workmen
 working in
 the
 shops,
And I too of the Mannahatta, singing thereof—and no less in myself than the whole of
 the
 Mannahatta in itself, 
Singing the song of These, my ever united lands—my body no more inevitably united,
 part to
 part, and made one identity, any more than my lands are inevitably united, and made ONE
 IDENTITY; 
Nativities, climates, the grass of the great Pastoral Plains; 
Cities, labors, death, animals, products, war, good and evil—these me, 
These affording, in all their particulars, endless feuillage to me and to America, how can
 I do
 less
 than pass the clew of the union of them, to afford the like to you?
Whoever you are! how can I but offer you divine leaves, that you also be eligible as I am?

How can I but, as here, chanting, invite you for yourself to collect bouquets of the
 incomparable
 feuillage of These States?


Written by Donald Justice | Create an image from this poem

Pantoum Of The Great Depression

 Our lives avoided tragedy
Simply by going on and on,
Without end and with little apparent meaning.
Oh, there were storms and small catastrophes.

Simply by going on and on
We managed. No need for the heroic.
Oh, there were storms and small catastrophes.
I don't remember all the particulars.

We managed. No need for the heroic.
There were the usual celebrations, the usual sorrows.
I don't remember all the particulars.
Across the fence, the neighbors were our chorus.

There were the usual celebrations, the usual sorrows
Thank god no one said anything in verse.
The neighbors were our only chorus,
And if we suffered we kept quiet about it.

At no time did anyone say anything in verse.
It was the ordinary pities and fears consumed us,
And if we suffered we kept quiet about it.
No audience would ever know our story.

It was the ordinary pities and fears consumed us.
We gathered on porches; the moon rose; we were poor.
What audience would ever know our story?
Beyond our windows shone the actual world.

We gathered on porches; the moon rose; we were poor.
And time went by, drawn by slow horses.
Somewhere beyond our windows shone the actual world.
The Great Depression had entered our souls like fog.

And time went by, drawn by slow horses.
We did not ourselves know what the end was.
The Great Depression had entered our souls like fog.
We had our flaws, perhaps a few private virtues.

But we did not ourselves know what the end was.
People like us simply go on.
We had our flaws, perhaps a few private virtues,
But it is by blind chance only that we escape tragedy.

And there is no plot in that; it is devoid of poetry.
Written by Anthony Hecht | Create an image from this poem

The Transparent Man

 I'm mighty glad to see you, Mrs. Curtis,
And thank you very kindly for this visit--
Especially now when all the others here
Are having holiday visitors, and I feel
A little conspicuous and in the way.
It's mainly because of Thanksgiving. All these mothers
And wives and husbands gaze at me soulfully
And feel they should break up their box of chocolates
For a donation, or hand me a chunk of fruitcake. 
What they don't understand and never guess
Is that it's better for me without a family;
It's a great blessing. Though I mean no harm.
And as for visitors, why, I have you,
All cheerful, brisk and punctual every Sunday,
Like church, even if the aisles smell of phenol.
And you always bring even better gifts than any 
On your book-trolley. Though they mean only good,
Families can become a sort of burden.
I've only got my father, and he won't come,
Poor man, because it would be too much for him.
And for me, too, so it's best the way it is. 
He knows, you see, that I will predecease him,
Which is hard enough. It would take a callous man
To come and stand around and watch me failing.
(Now don't you fuss; we both know the plain facts.)
But for him it's even harder. He loved my mother.
They say she looked like me; I suppose she may have.
Or rather, as I grew older I came to look
More and more like she must one time have looked,
And so the prospect for my father now
Of losing me is like having to lose her twice.
I know he frets about me. Dr. Frazer
Tells me he phones in every single day,
Hoping that things will take a turn for the better.
But with leukemia things don't improve.
It's like a sort of blizzard in the bloodstream,
A deep, severe, unseasonable winter,
Burying everything. The white blood cells
Multiply crazily and storm around,
Out of control. The chemotherapy
Hasn't helped much, and it makes my hair fall out.
I know I look a sight, but I don't care.
I care about fewer things; I'm more selective.
It's got so I can't even bring myself
To read through any of your books these days.
It's partly weariness, and partly the fact
That I seem not to care much about the endings,
How things work out, or whether they even do.
What I do instead is sit here by this window
And look out at the trees across the way.
You wouldn't think that was much, but let me tell you,
It keeps me quite intent and occupied.
Now all the leaves are down, you can see the spare,
Delicate structures of the sycamores,
The fine articulation of the beeches.
I have sat here for days studying them,
And I have only just begun to see
What it is that they resemble. One by one,
They stand there like magnificent enlargements
Of the vascular system of the human brain.
I see them there like huge discarnate minds,
Lost in their meditative silences.
The trunks, branches and twigs compose the vessels
That feed and nourish vast immortal thoughts.
So I've assigned them names. There, near the path,
Is the great brain of Beethoven, and Kepler
Haunts the wide spaces of that mountain ash.
This view, you see, has become my Hall of Fame,
It came to me one day when I remembered 
Mary Beth Finley who used to play with me
When we were girls. One year her parents gave her
A birthday toy called "The Transparent Man."
It was made of plastic, with different colored organs,
And the circulatory system all mapped out
In rivers of red and blue. She'd ask me over
And the two of us would sit and study him
Together, and do a powerful lot of giggling.
I figure he's most likely the only man
Either of us would ever get to know
Intimately, because Mary Beth became
A Sister of Mercy when she was old enough.
She must be thirty-one; she was a year 
Older than I, and about four inches taller.
I used to envy both those advantages
Back in those days. Anyway, I was struck
Right from the start by the sea-weed intricacy,
The fine-haired, silken-threaded filiations
That wove, like Belgian lace, throughout the head.
But this last week it seems I have found myself
Looking beyond, or through, individual trees
At the dense, clustered woodland just behind them,
Where those great, nameless crowds patiently stand.
It's become a sort of complex, ultimate puzzle
And keeps me fascinated. My eyes are twenty-twenty,
Or used to be, but of course I can't unravel
The tousled snarl of intersecting limbs,
That mackled, cinder grayness. It's a riddle
Beyond the eye's solution. Impenetrable.
If there is order in all that anarchy
Of granite mezzotint, that wilderness,
It takes a better eye than mine to see it.
It set me on to wondering how to deal
With such a thickness of particulars,
Deal with it faithfully, you understand,
Without blurring the issue. Of course I know
That within a month the sleeving snows will come
With cold, selective emphases, with massings
And arbitrary contrasts, rendering things
Deceptively simple, thickening the twigs
To frosty veins, bestowing epaulets
And decorations on every birch and aspen.
And the eye, self-satisfied, will be misled,
Thinking the puzzle solved, supposing at last
It can look forth and comprehend the world.
That's when you have to really watch yourself.
So I hope that you won't think me plain ungrateful
For not selecting one of your fine books,
And I take it very kindly that you came
And sat here and let me rattle on this way.
Written by Denise Duhamel | Create an image from this poem

Crater Face

 is what we called her. The story was
that her father had thrown Drano at her
which was probably true, given the way she slouched
through fifth grade, afraid of the world, recess
especially. She had acne scars
before she had acne—poxs and dips
and bright red patches.
 I don't remember
any report in the papers. I don't remember
my father telling me her father had gone to jail.
I never looked close to see the particulars
of Crater Face's scars. She was a blur, a cartoon
melting. Then, when she healed—her face,
a million pebbles set in cement.
 Even Comet Boy,
who got his name by being so abrasive,
who made fun of everyone, didn't make fun
of her. She walked over the bridge
with the one other white girl who lived
in her neighborhood. Smoke curled
like Slinkies from the factory stacks
above them.
 I liked to imagine that Crater Face
went straight home, like I did, to watch Shirley Temple
on channel 56. I liked to imagine that she slipped
into the screen, bumping Shirley with her hip
so that child actress slid out of frame, into the tubes
and wires that made the TV sputter when I turned it on.
Sometimes when I watched, I'd see Crater Face
tap-dancing with tall black men whose eyes
looked shiny, like the whites of hard-boiled eggs.
I'd try to imagine that her block was full
of friendly folk, with a lighthouse or goats
running in the street.
 It was my way of praying,
my way of un-imagining the Drano pellets
that must have smacked against her
like a round of mini-bullets,
her whole face as vulnerable as a tongue
wrapped in sizzling pizza cheese.
How she'd come home with homework,
the weight of her books bending her into a wilting plant.
How her father called her ****, *****, big baby, slob.
The hospital where she was forced to say it was an accident.
Her face palpable as something glowing in a Petri dish.
The bandages over her eyes.
 In black and white,
with all that make-up, Crater Face almost looked pretty
sure her MGM father was coming back soon from the war,
seeing whole zoos in her thin orphanage soup.
She looked happiest when she was filmed
from the back, sprinting into the future,
fading into tiny gray dots on UHF.
Written by Erin Belieu | Create an image from this poem

Against Writing about Children

 When I think of the many people
who privately despise children,
I can't say I'm completely shocked,

having been one. I was not
exceptional, uncomfortable as that is
to admit, and most children are not

exceptional. The particulars of
cruelty, sizes Large and X-Large,
memory gnawing it like

a fat dog, are ordinary: Mean Miss
Smigelsky from the sixth grade;
the orthodontist who

slapped you for crying out. Children
frighten us, other people's and
our own. They reflect

the virused figures in which failure
began. We feel accosted by their
vulnerable natures. Each child turns

into a problematic ocean, a mirrored
body growing denser and more
difficult to navigate until

sunlight merely bounces
off the surface. They become impossible
to sound. Like us, but even weaker.


Written by Bob Hicok | Create an image from this poem

Spirit Dity Of No Fax Line Dial Tone

 The telephone company calls and asks what the fuss is. 
Betty from the telephone company, who's not concerned 
with the particulars of my life. For instance 
if I believe in the transubstantiation of Christ 
or am gladdened at 7:02 in the morning to repeat 
an eighth time why a man wearing a hula skirt of tools 
slung low on his hips must a fifth time track mud 
across my white kitchen tile to look down at a phone jack. 
Up to a work order. Down at a phone jack. Up to a work order. 
Over at me. Down at a phone jack. Up to a work order 
before announcing the problem I have is not the problem 
I have because the problem I have cannot occur 
in this universe though possibly in an alternate 
universe which is not the responsibility or in any way 
the product, child or subsidiary of AT&T. With practice 
I've come to respect this moment. One man in jeans, 
t-shirt and socks looking across space at a man 
with probes and pliers of various inclinations, nothing 
being said for five or ten seconds, perhaps I'm still 
in pajamas and he has a cleft pallet or is so tall 
that gigantism comes to mind but I can't remember 
what causes flesh to pile that high, five or ten seconds 
of taking in and being taken in by eyes and a brain, 
during which I don't build a shotgun from what's at hand, 
oatmeal and National Geographics or a taser from hair 
caught in the drain and the million volts of frustration 
popping through my body. Even though. Even though his face 
is an abstract painting called Void. Even though 
I'm wondering if my pajama flap is open, placing me 
at a postural disadvantage. Breathe I say inside my head, 
which is where I store thoughts for the winter. All 
is an illusion I say by disassembling my fists, letting each 
finger loose to graze. Thank you I say to kill the silence 
with my mouth, meaning **** you, meaning die 
you shoulder-shrugging fusion of chipped chromosomes 
and puss, meaning enough. That a portal exists in my wall 
that even its makers can't govern seems an accurate mirror 
of life. Here's the truce I offer: I'll pay whatever's asked 
to be left alone. To receive a fax from me stand beside 
your mailbox for a week. It will come in what appears 
to be an envelope. While waiting for the fax reintroduce 
yourself to the sky. It's often blue and will transmit 
without fail everything clouds have been trying to say to you.
Written by James Tate | Create an image from this poem

The New Ergonomics

 The new ergonomics were delivered 
just before lunchtime 
so we ignored them.
Without revealing the particulars 
let me just say that 
lunch was most satisfying. 
Jack and Roberta went with 
the corned beef for a change. 
Jack believes in alien abduction 
and Roberta does not, 
although she has had 
several lost weekends lately 
and one or two unexplained scars 
on her buttocks. I thought 
I recognized someone
from my childhood 
at a table across the room, 
the same teeth, the same hair, 
but when he stood-up,
I wasn't sure, Squid with a red tie? 
Impossible. I finished 
my quiche lorraine 
and returned my thoughts 
to Jack's new jag:
"Well, I guess anything's 
possible. People disappear 
all the time, and most of them 
have no explanation
when and if they return. 
Look at Tony's daughter 
and she's never been the same."
Jack was looking as if 
he'd bet on the right horse now.
"And these new ergonomics, 
who really designed them?
Does anybody know?
Do they tell us anything?
A name, an address? Hell no."
Squid was paying his bill
in a standard-issue blue blazer. 
He looked across the room at me 
several times. He looked tired, 
like he wanted to sleep for a long time 
in a barn somewhere, in Kansas. 
I wanted to sleep there, too.
Written by Ambrose Bierce | Create an image from this poem

Safety-Clutch

 Once I seen a human ruin
In a elevator-well.
And his members was bestrewin'
All the place where he had fell.

And I says, apostrophisin'
That uncommon woful wreck:
"Your position's so surprisin'
That I tremble for your neck!"

Then that ruin, smilin' sadly
And impressive, up and spoke:
"Well, I wouldn't tremble badly,
For it's been a fortnight broke."

Then, for further comprehension 
Of his attitude, he begs
I will focus my attention
On his various arms and legs--

How they all are contumacious;
Where they each, respective, lie;
How one trotter proves ungracious,
T' other one an alibi.

These particulars is mentioned
For to show his dismal state,
Which I wasn't first intentioned
To specifical relate.

None is worser to be dreaded
That I ever have heard tell
Than the gent's who there was spreaded
In that elevator-well.

Now this tale is allegoric--
It is figurative all,
For the well is metaphoric
And the feller didn't fall.

I opine it isn't moral
For a writer-man to cheat,
And despise to wear a laurel
As was gotten by deceit.

For 'tis Politics intended
By the elevator, mind,
It will boost a person splendid
If his talent is the kind.

Col. Bryan had the talent
(For the busted man is him)
And it shot him up right gallant
Till his head began to swim.

Then the rope it broke above him
And he painful came to earth
Where there's nobody to love him
For his detrimented worth.

Though he's living' none would know him,
Or at leastwise not as such.
Moral of this woful poem:
Frequent oil your safety-clutch.
Written by William Butler Yeats | Create an image from this poem

The Double Vision Of Michael Robartes

 I

On the grey rock of Cashel the mind's eye
Has called up the cold spirits that are born
When the old moon is vanished from the sky
And the new still hides her horn.

Under blank eyes and fingers never still
The particular is pounded till it is man.
When had I my own will?
O not since life began.

Constrained, arraigned, baffled, bent and unbent
By these wire-jointed jaws and limbs of wood,
Themselves obedient,
Knowing not evil and good;

Obedient to some hidden magical breath.
They do not even feel, so abstract are they.
So dead beyond our death,
Triumph that we obey.

 II

On the grey rock of Cashel I suddenly saw
A Sphinx with woman breast and lion paw.
A Buddha, hand at rest,
Hand lifted up that blest;

And right between these two a girl at play
That, it may be, had danced her life away,
For now being dead it seemed
That she of dancing dreamed.

Although I saw it all in the mind's eye
There can be nothing solider till I die;
I saw by the moon's light
Now at its fifteenth night.

One lashed her tail; her eyes lit by the moon
Gazed upon all things known, all things unknown,
In triumph of intellect
With motionless head erect.

That other's moonlit eyeballs never moved,
Being fixed on all things loved, all things unloved.
Yet little peace he had,
For those that love are sad.

Little did they care who danced between,
And little she by whom her dance was seen
So she had outdanced thought.
Body perfection brought,

For what but eye and ear silence the mind
With the minute particulars of mankind?
Mind moved yet seemed to stop
As 'twere a spinning-top.

In contemplation had those three so wrought
Upon a moment, and so stretched it out
That they, time overthrown,
Were dead yet flesh and bone.

 III

I knew that I had seen, had seen at last
That girl my unremembering nights hold fast
Or else my dreams that fly
If I should rub an eye,

And yet in flying fling into my meat
A crazy juice that makes the pulses beat
As though I had been undone
By Homer's Paragon

Who never gave the burning town a thought;
To such a pitch of folly I am brought,
Being caught between the pull
Of the dark moon and the full,

The commonness of thought and images
That have the frenzy of our western seas.
Thereon I made my moan,
And after kissed a stone,

And after that arranged it in a song
Seeing that I, ignorant for So long,
Had been rewarded thus
In Cormac's ruined house.
Written by Edward Taylor | Create an image from this poem

The New Ergonomics

 The new ergonomics were delivered 
just before lunchtime 
so we ignored them.
Without revealing the particulars 
let me just say that 
lunch was most satisfying. 
Jack and Roberta went with 
the corned beef for a change. 
Jack believes in alien abduction 
and Roberta does not, 
although she has had 
several lost weekends lately 
and one or two unexplained scars 
on her buttocks. I thought 
I recognized someone
from my childhood 
at a table across the room, 
the same teeth, the same hair, 
but when he stood-up,
I wasn't sure, Squid with a red tie? 
Impossible. I finished 
my quiche lorraine 
and returned my thoughts 
to Jack's new jag:
"Well, I guess anything's 
possible. People disappear 
all the time, and most of them 
have no explanation
when and if they return. 
Look at Tony's daughter 
and she's never been the same."
Jack was looking as if 
he'd bet on the right horse now.
"And these new ergonomics, 
who really designed them?
Does anybody know?
Do they tell us anything?
A name, an address? Hell no."
Squid was paying his bill
in a standard-issue blue blazer. 
He looked across the room at me 
several times. He looked tired, 
like he wanted to sleep for a long time 
in a barn somewhere, in Kansas. 
I wanted to sleep there, too.

Book: Reflection on the Important Things