Written by
Mark Doty |
Under Grand Central's tattered vault
--maybe half a dozen electric stars still lit--
one saxophone blew, and a sheer black scrim
billowed over some minor constellation
under repair.
Then, on Broadway, red wings
in a storefront tableau, lustrous, the live macaws
preening, beaks opening and closing
like those animated knives that unfold all night
in jewelers' windows.
For sale,
glass eyes turned outward toward the rain,
the birds lined up like the endless flowers
and cheap gems, the makeshift tables
of secondhand magazines
and shoes the hawkers eye
while they shelter in the doorways of banks.
So many pockets and paper cups
and hands reeled over the weight
of that glittered pavement, and at 103rd
a woman reached to me across the wet roof
of a stranger's car and said, I'm Carlotta,
I'm hungry.
She was only asking for change,
so I don't know why I took her hand.
The rooftops were glowing above us,
enormous, crystalline, a second city
lit from within.
That night
a man on the downtown local stood up
and said, My name is Ezekiel,
I am a poet, and my poem this evening is called
fall.
He stood up straight
to recite, a child reminded of his posture
by the gravity of his text, his hands
hidden in the pockets of his coat.
Love is protected, he said,
the way leaves are packed in snow,
the rubies of fall.
God is protecting
the jewel of love for us.
He didn't ask for anything, but I gave him
all the change left in my pocket,
and the man beside me, impulsive, moved,
gave Ezekiel his watch.
It wasn't an expensive watch,
I don't even know if it worked,
but the poet started, then walked away
as if so much good fortune
must be hurried away from,
before anyone realizes it's a mistake.
Carlotta, her stocking cap glazed
like feathers in the rain,
under the radiant towers, the floodlit ramparts,
must have wondered at my impulse to touch her,
which was like touching myself,
the way your own hand feels when you hold it
because you want to feel contained.
She said, You get home safe now, you hear?
In the same way Ezekiel turned back
to the benevolent stranger.
I will write a poem for you tomorrow,
he said.
The poem I will write will go like this:
Our ancestors are replenishing
the jewel of love for us.
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Written by
Anne Sexton |
for my friend Ruth, who urges me to make an
appointment for the Sacrament of Confesson
Concerning your letter in which you ask
me to call a priest and in which you ask
me to wear The Cross that you enclose;
your own cross,
your dog-bitten cross,
no larger than a thumb,
small and wooden, no thorns, this rose --
I pray to its shadow,
that gray place
where it lies on your letter .
.
.
deep, deep.
I detest my sins and I try to believe
in The Cross.
I touch its tender hips, its dark jawed face,
its solid neck, its brown sleep.
True.
There is
a beautiful Jesus.
He is frozen to his bones like a chunk of beef.
How desperately he wanted to pull his arms in!
How desperately I touch his vertical and horizontal axes!
But I can't.
Need is not quite belief.
All morning long
I have worn
your cross, hung with package string around my throat.
It tapped me lightly as a child's heart might,
tapping secondhand, softly waiting to be born.
Ruth, I cherish the letter you wrote.
My friend, my friend, I was born
doing reference work in sin, and born
confessing it.
This is what poems are:
with mercy
for the greedy,
they are the tongue's wrangle,
the world's pottage, the rat's star.
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