Written by
Mark Doty |
Because the road to our house
is a back road, meadowlands punctuated
by gravel quarry and lumberyard,
there are unexpected travelers
some nights on our way home from work.
Once, on the lawn of the Tool
and Die Company, a swan;
the word doesn't convey the shock
of the thing, white architecture
rippling like a pond's rain-pocked skin,
beak lifting to hiss at my approach.
Magisterial, set down in elegant authority,
he let us know exactly how close we might come.
After a week of long rains
that filled the marsh until it poured
across the road to make in low woods
a new heaven for toads,
a snapping turtle lumbered down the center
of the asphalt like an ambulatory helmet.
His long tail dragged, blunt head jutting out
of the lapidary prehistoric sleep of shell.
We'd have lifted him from the road
but thought he might bend his long neck back
to snap. I tried herding him; he rushed,
though we didn't think those blocky legs
could hurry-- then ambled back
to the center of the road, a target
for kids who'd delight in the crush
of something slow with the look
of primeval invulnerability. He turned
the blunt spear point of his jaws,
puffing his undermouth like a bullfrog,
and snapped at your shoe,
vising a beakful of-- thank God--
leather. You had to shake him loose. We left him
to his own devices, talked on the way home
of what must lead him to new marsh
or old home ground. The next day you saw,
one town over, remains of shell
in front of the little liquor store. I argued
it was too far from where we'd seen him,
too small to be his... though who could tell
what the day's heat might have taken
from his body. For days he became a stain,
a blotch that could have been merely
oil. I did not want to believe that
was what we saw alive in the firm center
of his authority and right
to walk the center of the road,
head up like a missionary moving certainly
into the country of his hopes.
In the movies in this small town
I stopped for popcorn while you went ahead
to claim seats. When I entered the cool dark
I saw straight couples everywhere,
no single silhouette who might be you.
I walked those two aisles too small
to lose anyone and thought of a book
I read in seventh grade, "Stranger Than Science,"
in which a man simply walked away,
at a picnic, and was,
in the act of striding forward
to examine a flower, gone.
By the time the previews ended
I was nearly in tears-- then realized
the head of one-half the couple in the first row
was only your leather jacket propped in the seat
that would be mine. I don't think I remember
anything of the first half of the movie.
I don't know what happened to the swan. I read
every week of some man's lover showing
the first symptoms, the night sweat
or casual flu, and then the wasting begins
and the disappearance a day at a time.
I don't know what happened to the swan;
I don't know if the stain on the street
was our turtle or some other. I don't know
where these things we meet and know briefly,
as well as we can or they will let us,
go. I only know that I do not want you
--you with your white and muscular wings
that rise and ripple beneath or above me,
your magnificent neck, eyes the deep mottled autumnal colors
of polished tortoise-- I do not want you ever to die.
|
Written by
Thomas Lux |
More like a vault -- you pull the handle out
and on the shelves: not a lot,
and what there is (a boiled potato
in a bag, a chicken carcass
under foil) looking dispirited,
drained, mugged. This is not
a place to go in hope or hunger.
But, just to the right of the middle
of the middle door shelf, on fire, a lit-from-within red,
heart red, sexual red, wet neon red,
shining red in their liquid, exotic,
aloof, slumming
in such company: a jar
of maraschino cherries. Three-quarters
full, fiery globes, like strippers
at a church social. Maraschino cherries, maraschino,
the only foreign word I knew. Not once
did I see these cherries employed: not
in a drink, nor on top
of a glob of ice cream,
or just pop one in your mouth. Not once.
The same jar there through an entire
childhood of dull dinners -- bald meat,
pocked peas and, see above,
boiled potatoes. Maybe
they came over from the old country,
family heirlooms, or were status symbols
bought with a piece of the first paycheck
from a sweatshop,
which beat the pig farm in Bohemia,
handed down from my grandparents
to my parents
to be someday mine,
then my child's?
They were beautiful
and, if I never ate one,
it was because I knew it might be missed
or because I knew it would not be replaced
and because you do not eat
that which rips your heart with joy.
|
Written by
Margaret Atwood |
I'm thinking about you. What else can I say?
The palm trees on the reverse
are a delusion; so is the pink sand.
What we have are the usual
fractured coke bottles and the smell
of backed-up drains, too sweet,
like a mango on the verge
of rot, which we have also.
The air clear sweat, mosquitoes
& their tracks; birds & elusive.
Time comes in waves here, a sickness, one
day after the other rolling on;
I move up, it's called
awake, then down into the uneasy
nights but never
forward. The roosters crow
for hours before dawn, and a prodded
child howls & howls
on the pocked road to school.
In the hold with the baggage
there are two prisoners,
their heads shaved by bayonets, & ten crates
of queasy chicks. Each spring
there's race of cripples, from the store
to the church. This is the sort of junk
I carry with me; and a clipping
about democracy from the local paper.
Outside the window
they're building the damn hotel,
nail by nail, someone's
crumbling dream. A universe that includes you
can't be all bad, but
does it? At this distance
you're a mirage, a glossy image
fixed in the posture
of the last time I saw you.
Turn you over, there's the place
for the address. Wish you were
here. Love comes
in waves like the ocean, a sickness which goes on
& on, a hollow cave
in the head, filling & pounding, a kicked ear.
|
Written by
Anne Sexton |
It's in the heart of the grape
where that smile lies.
It's in the good-bye-bow in the hair
where that smile lies.
It's in the clerical collar of the dress
where that smile lies.
What smile?
The smile of my seventh year,
caught here in the painted photograph.
It's peeling now, age has got it,
a kind of cancer of the background
and also in the assorted features.
It's like a rotten flag
or a vegetable from the refrigerator,
pocked with mold.
I am aging without sound,
into darkness, darkness.
Anne,
who are you?
I open the vein
and my blood rings like roller skates.
I open the mouth
and my teeth are an angry army.
I open the eyes
and they go sick like dogs
with what they have seen.
I open the hair
and it falls apart like dust balls.
I open the dress
and I see a child bent on a toilet seat.
I crouch there, sitting dumbly
pushing the enemas out like ice cream,
letting the whole brown world
turn into sweets.
Anne,
who are you?
Merely a kid keeping alive.
|
Written by
Karl Shapiro |
The beauty of manhole covers--what of that?
Like medals struck by a great savage khan,
Like Mayan calendar stones, unliftable, indecipherable,
Not like the old electrum, chased and scored,
Mottoed and sculptured to a turn,
But notched and whelked and pocked and smashed
With the great company names
(Gentle Bethlehem, smiling United States).
This rustproof artifact of my street,
Long after roads are melted away will lie
Sidewise in the grave of the iron-old world,
Bitten at the edges,
Strong with its cryptic American,
Its dated beauty.
|
Written by
Gerard Manley Hopkins |
A Brother and Sister
O I admire and sorrow! The heart’s eye grieves
Discovering you, dark tramplers, tyrant years.
A juice rides rich through bluebells, in vine leaves,
And beauty’s dearest veriest vein is tears.
Happy the father, mother of these! Too fast:
Not that, but thus far, all with frailty, blest
In one fair fall; but, for time’s aftercast,
Creatures all heft, hope, hazard, interest.
And are they thus? The fine, the fingering beams
Their young delightful hour do feature down
That fleeted else like day-dissolv?d dreams
Or ringlet-race on burling Barrow brown.
She leans on him with such contentment fond
As well the sister sits, would well the wife;
His looks, the soul’s own letters, see beyond,
Gaze on, and fall directly forth on life.
But ah, bright forelock, cluster that you are
Of favoured make and mind and health and youth,
Where lies your landmark, seamark, or soul’s star?
There’s none but truth can stead you. Christ is truth.
There ’s none but good can b? good, both for you
And what sways with you, maybe this sweet maid;
None good but God—a warning wav?d to
One once that was found wanting when Good weighed.
Man lives that list, that leaning in the will
No wisdom can forecast by gauge or guess,
The selfless self of self, most strange, most still,
Fast furled and all foredrawn to No or Yes.
Your feast of; that most in you earnest eye
May but call on your banes to more carouse.
Worst will the best. What worm was here, we cry,
To have havoc-pocked so, see, the hung-heavenward boughs?
Enough: corruption was the world’s first woe.
What need I strain my heart beyond my ken?
O but I bear my burning witness though
Against the wild and wanton work of men.
. . . . . . .
|
Written by
John Berryman |
I heard said 'Cats that walk by their wild lone'
but Henry had need of friends. They disappeared
Shall I follow my dream?
Clothes disappeared in a backward sliding, zones
shot into view, pocked, exact & weird:
who is what he seem?
I will tell you now a story about Speck:
after other cuts, he put the knife in her eye,
one of the eight:
he was troubled, missionary: and Whitman
of the tower murdered his wife & mother
before (mercy-killings) he set out.
Not every shot went in. But most went in:
in just over an hour
with the tumor thudding in his brain
he killed 13, hit 33:
his empty father said he taught him to respect guns
(not persons).
|
Written by
Philip Levine |
Earth and water without form,
change, or pause: as if the third
day had not come, this calm norm
of chaos denies the Word.
One sees only a surface
pocked with rushes, the starved clumps
pressed between water and space --
rootless, perennial stumps
fixed in position, entombed
in nothing; it is too late
to bring forth branches, to bloom
or die, only the long wait
lies ahead, a parody
of perfection. Who denies
this is creation, this sea
constant before the stunned eye's
insatiable gaze, shall find
nothing he can comprehend.
Here the mind beholds the mind
as it shall be in the end.
|
Written by
Delmore Schwartz |
Old man in the crystal morning after snow,
Your throat swathed in a muffler, your bent
Figure building the snow man which is meant
For the grandchild's target,
do you know
This fat cartoon, his eyes pocked in with coal
Nears you each time your breath smokes the air,
Lewdly grinning out of a private nightmare?
He is the white cold shadow of your soul.
You build his comic head, you place his comic hat;
Old age is not so serious, and I
By the window sad and watchful as a cat,
Build to this poem of old age and of snow,
And weep: you are my snow man and I know
I near you, you near him, all of us must die.
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