Written by
Charles Webb |
Treacherous as trap door spiders,
they ambush children's innocence.
"Why is there g h in light? It isn't fair!"
Buddha declared the world illusory
as the p sound in psyche.
Sartre
said the same of God from France,
Olympus of silent letters, n'est -ce pas?
Polite conceals an e in the same way
"How are you?" hides "I don't care.
"
Physics asserts the desk I lean on,
the brush that fluffs my hair,
are only dots that punctuate a nullity
complete as the g sound in gnome,
the c e in Worcestershire.
Passions lurk under the saint's bed,
mute as the end of love.
They glide toward us, yellow eyes
gleaming, hushed as the finality
of hate, malice, snake.
As easily predict the h in lichen,
choral, Lichtenstein,
as laws against throttling rats,
making U-turns on empty streets.
Such nonsense must be memorized.
"Imagine dropkicking a spud,"
Dad said.
"If e breaks off
your toe, it spoils your potato.
"
Like compass needles
pointing north, silent letters
show the power of hidden things.
Voiced by our ancestors,
but heard no more, they nudge
our thoughts toward death,
infinity, our senses' inability
to see the earth as round,
circling the sun in a universe
implacable as "Might Makes Right,"
ineffable as tomorrow's second r,
incomprehensible as imbroglio's g,
the e that finishes inscrutable,
imponderable, immense,
the terrifying k in "I don't know.
"
|
Written by
Imamu Amiri Baraka |
A closed window looks down
on a dirty courtyard, and black people
call across or scream or walk across
defying physics in the stream of their will
Our world is full of sound
Our world is more lovely than anyone's
tho we suffer, and kill each other
and sometimes fail to walk the air
We are beautiful people
with african imaginations
full of masks and dances and swelling chants
with african eyes, and noses, and arms,
though we sprawl in grey chains in a place
full of winters, when what we want is sun.
We have been captured,
brothers.
And we labor
to make our getaway, into
the ancient image, into a new
correspondence with ourselves
and our black family.
We read magic
now we need the spells, to rise up
return, destroy, and create.
What will be
the sacred words?
|
Written by
Robert Browning |
I
Oh Galuppi, Baldassaro, this is very sad to find!
I can hardly misconceive you; it would prove me deaf and blind;
But although I give you credit, 'tis with such a heavy mind!
II
Here you come with your old music, and here's all the good it brings.
What, they lived once thus at Venice, where the merchants were the kings,
Where Saint Mark's is, where the Doges used to wed the sea with rings?
III
Ay, because the sea's the street there; and 'tis arched by.
.
.
what you call
.
.
.
Shylock's bridge with houses on it, where they kept the carnival;
I was never out of England—it's as if I saw it all!
IV
Did young people take their pleasure when the sea was warm in May?
Balls and masks begun at midnight, burning ever to mid-day,
When they made up fresh adventures for the morrow, do you say?
V
Was a lady such a lady, cheeks so round and lips so red,—
On her neck the small face buoyant, like a bell-flower on its bed,
O'er the breast's superb abundance where a man might base his head?
VI
Well (and it was graceful of them) they'd break talk off and afford
—She, to bite her mask's black velvet, he to finger on his sword,
While you sat and played Toccatas, stately at the clavichord?
VII
What? Those lesser thirds so plaintive, sixths diminished sigh on sigh,
Told them something? Those suspensions, those solutions—"Must we die?"
Those commiserating sevenths—"Life might last! we can but try!"
VIII
"Were you happy?"—"Yes.
"—"And are you still as happy?"—"Yes—and you?"
—"Then, more kisses!"—"Did I stop them, when a million seemed so few?"
Hark—the dominant's persistence till it must be answered to!
IX
So an octave struck the answer.
Oh, they praised you, I dare say!
"Brave Galuppi! that was music! good alike at grave and gay!
I can always leave off talking when I hear a master play!"
X
Then they left you for their pleasure: till in due time, one by one,
Some with lives that came to nothing, some with deeds as well undone,
Death stepped tacitly and took them where they never see the sun.
XI
But when I sit down to reason,—think to take my stand nor swerve
While I triumph o'er a secret wrung from nature's close reserve,
In you come with your cold music, till I creep thro' every nerve.
XII
Yes, you, like a ghostly cricket, creaking where a house was burned—
"Dust and ashes, dead and done with, Venice spent what Venice earned!
The soul, doubtless, is immortal—where a soul can be discerned.
XIII
"Yours for instance: you know physics, something of geology,
Mathematics are your pastime; souls shall rise in their degree;
Butterflies may dread extinction,—you'll not die, it cannot be!
XIV
"As for Venice and its people, merely born to bloom and drop,
Here on earth they bore their fruitage, mirth and folly were the crop:
What of soul was left, I wonder, when the kissing had to stop?
XV
"Dust and ashes!" So you creak it, and I want the heart to scold.
Dear dead women, with such hair, too—what's become of all the gold
Used to hang and brush their bosoms? I feel chilly and grown old.
|
Written by
Nick Flynn |
Children under, say, ten, shouldn't know
that the universe is ever-expanding,
inexorably pushing into the vacuum, galaxies
swallowed by galaxies, whole
solar systems collapsing, all of it
acted out in silence.
At ten we are still learning
the rules of cartoon animation,
that if a man draws a door on a rock
only he can pass through it.
Anyone else who tries
will crash into the rock.
Ten-year-olds
should stick with burning houses, car wrecks,
ships going down -- earthbound, tangible
disasters, arenas
where they can be heroes.
You can run
back into a burning house, sinking ships
have lifeboats, the trucks will come
with their ladders, if you jump
you will be saved.
A child
places her hand on the roof of a schoolbus,
& drives across a city of sand.
She knows
the exact spot it will skid, at which point
the bridge will give, who will swim to safety
& who will be pulled under by sharks.
She will learn
that if a man runs off the edge of a cliff
he will not fall
until he notices his mistake.
|
Written by
Julie Hill Alger |
I walk home at August moonrise
past a bright window.
Inside the room
an old woman sees the full moon
and turns off the lamp.
Afterimage shines in my eye:
pale face, snowy hair.
Moonlight streams over the dark house
like cool milk.
When the lamp is out, is the woman
still standing there alone?
In memory, her upraised hand glows;
in the house it is darker than shadow.
I stand on the sidewalk,
moonstruck.
Metaphysics of an old lamp:
the shade has less meaning
than a soul's body.
Physics of a window:
Glass is thicker than night air,
thinner than wonder.
The question of whiteness
bears looking into.
So does a window.
Sounds of a moonlight night
are softer than rainwater.
Before responding to a face
at the window, first ascertain whether
it's looking out or looking in.
Also, whether it's the moon
or someone else.
None of this, of course,
explains the perfumes of August
or the way the moon silvers the grass.
Turn around and look again-
She is still there.
The first question has not
been answered.
What was it?
|
Written by
Sir Walter Raleigh |
To Griggs, that learned man, in many a bygone session,
His kids were his delight, and physics his profession;
Now Griggs, grown old and glum, and less intent on knowledge,
Physics himself at home, and sends his kids to college.
|