Written by
Billy Collins |
Remember the 1340's? We were doing a dance called the Catapult.
You always wore brown, the color craze of the decade,
and I was draped in one of those capes that were popular,
the ones with unicorns and pomegranates in needlework.
Everyone would pause for beer and onions in the afternoon,
and at night we would play a game called "Find the Cow."
Everything was hand-lettered then, not like today.
Where has the summer of 1572 gone? Brocade and sonnet
marathons were the rage. We used to dress up in the flags
of rival baronies and conquer one another in cold rooms of stone.
Out on the dance floor we were all doing the Struggle
while your sister practiced the Daphne all alone in her room.
We borrowed the jargon of farriers for our slang.
These days language seems transparent a badly broken code.
The 1790's will never come again. Childhood was big.
People would take walks to the very tops of hills
and write down what they saw in their journals without speaking.
Our collars were high and our hats were extremely soft.
We would surprise each other with alphabets made of twigs.
It was a wonderful time to be alive, or even dead.
I am very fond of the period between 1815 and 1821.
Europe trembled while we sat still for our portraits.
And I would love to return to 1901 if only for a moment,
time enough to wind up a music box and do a few dance steps,
or shoot me back to 1922 or 1941, or at least let me
recapture the serenity of last month when we picked
berries and glided through afternoons in a canoe.
Even this morning would be an improvement over the present.
I was in the garden then, surrounded by the hum of bees
and the Latin names of flowers, watching the early light
flash off the slanted windows of the greenhouse
and silver the limbs on the rows of dark hemlocks.
As usual, I was thinking about the moments of the past,
letting my memory rush over them like water
rushing over the stones on the bottom of a stream.
I was even thinking a little about the future, that place
where people are doing a dance we cannot imagine,
a dance whose name we can only guess.
|
Written by
Carl Sandburg |
SMOKE of the fields in spring is one,
Smoke of the leaves in autumn another.
Smoke of a steel-mill roof or a battleship funnel,
They all go up in a line with a smokestack,
Or they twist … in the slow twist … of the wind.
If the north wind comes they run to the south.
If the west wind comes they run to the east.
By this sign
all smokes
know each other.
Smoke of the fields in spring and leaves in autumn,
Smoke of the finished steel, chilled and blue,
By the oath of work they swear: “I know you.”
Hunted and hissed from the center
Deep down long ago when God made us over,
Deep down are the cinders we came from—
You and I and our heads of smoke.
Some of the smokes God dropped on the job
Cross on the sky and count our years
And sing in the secrets of our numbers;
Sing their dawns and sing their evenings,
Sing an old log-fire song:
You may put the damper up,
You may put the damper down,
The smoke goes up the chimney just the same.
Smoke of a city sunset skyline,
Smoke of a country dusk horizon—
They cross on the sky and count our years.
Smoke of a brick-red dust
Winds on a spiral
Out of the stacks
For a hidden and glimpsing moon.
This, said the bar-iron shed to the blooming mill,
This is the slang of coal and steel.
The day-gang hands it to the night-gang,
The night-gang hands it back.
Stammer at the slang of this—
Let us understand half of it.
In the rolling mills and sheet mills,
In the harr and boom of the blast fires,
The smoke changes its shadow
And men change their shadow;
A ******, a wop, a bohunk changes.
A bar of steel—it is only
Smoke at the heart of it, smoke and the blood of a man.
A runner of fire ran in it, ran out, ran somewhere else,
And left—smoke and the blood of a man
And the finished steel, chilled and blue.
So fire runs in, runs out, runs somewhere else again,
And the bar of steel is a gun, a wheel, a nail, a shovel,
A rudder under the sea, a steering-gear in the sky;
And always dark in the heart and through it,
Smoke and the blood of a man.
Pittsburg, Youngstown, Gary—they make their steel with men.
In the blood of men and the ink of chimneys
The smoke nights write their oaths:
Smoke into steel and blood into steel;
Homestead, Braddock, Birmingham, they make their steel with men.
Smoke and blood is the mix of steel.
The birdmen drone
in the blue; it is steel
a motor sings and zooms.
Steel barb-wire around The Works.
Steel guns in the holsters of the guards at the gates of The Works.
Steel ore-boats bring the loads clawed from the earth by steel, lifted and lugged by arms of steel, sung on its way by the clanking clam-shells.
The runners now, the handlers now, are steel; they dig and clutch and haul; they hoist their automatic knuckles from job to job; they are steel making steel.
Fire and dust and air fight in the furnaces; the pour is timed, the billets wriggle; the clinkers are dumped:
Liners on the sea, skyscrapers on the land; diving steel in the sea, climbing steel in the sky.
Finders in the dark, you Steve with a dinner bucket, you Steve clumping in the dusk on the sidewalks with an evening paper for the woman and kids, you Steve with your head wondering where we all end up—
Finders in the dark, Steve: I hook my arm in cinder sleeves; we go down the street together; it is all the same to us; you Steve and the rest of us end on the same stars; we all wear a hat in hell together, in hell or heaven.
Smoke nights now, Steve.
Smoke, smoke, lost in the sieves of yesterday;
Dumped again to the scoops and hooks today.
Smoke like the clocks and whistles, always.
Smoke nights now.
To-morrow something else.
Luck moons come and go:
Five men swim in a pot of red steel.
Their bones are kneaded into the bread of steel:
Their bones are knocked into coils and anvils
And the sucking plungers of sea-fighting turbines.
Look for them in the woven frame of a wireless station.
So ghosts hide in steel like heavy-armed men in mirrors.
Peepers, skulkers—they shadow-dance in laughing tombs.
They are always there and they never answer.
One of them said: “I like my job, the company is good to me, America is a wonderful country.”
One: “Jesus, my bones ache; the company is a liar; this is a free country, like hell.”
One: “I got a girl, a peach; we save up and go on a farm and raise pigs and be the boss ourselves.”
And the others were roughneck singers a long ways from home.
Look for them back of a steel vault door.
They laugh at the cost.
They lift the birdmen into the blue.
It is steel a motor sings and zooms.
In the subway plugs and drums,
In the slow hydraulic drills, in gumbo or gravel,
Under dynamo shafts in the webs of armature spiders,
They shadow-dance and laugh at the cost.
The ovens light a red dome.
Spools of fire wind and wind.
Quadrangles of crimson sputter.
The lashes of dying maroon let down.
Fire and wind wash out the slag.
Forever the slag gets washed in fire and wind.
The anthem learned by the steel is:
Do this or go hungry.
Look for our rust on a plow.
Listen to us in a threshing-engine razz.
Look at our job in the running wagon wheat.
Fire and wind wash at the slag.
Box-cars, clocks, steam-shovels, churns, pistons, boilers, scissors—
Oh, the sleeping slag from the mountains, the slag-heavy pig-iron will go down many roads.
Men will stab and shoot with it, and make butter and tunnel rivers, and mow hay in swaths, and slit hogs and skin beeves, and steer airplanes across North America, Europe, Asia, round the world.
Hacked from a hard rock country, broken and baked in mills and smelters, the rusty dust waits
Till the clean hard weave of its atoms cripples and blunts the drills chewing a hole in it.
The steel of its plinths and flanges is reckoned, O God, in one-millionth of an inch.
Once when I saw the curves of fire, the rough scarf women dancing,
Dancing out of the flues and smoke-stacks—flying hair of fire, flying feet upside down;
Buckets and baskets of fire exploding and chortling, fire running wild out of the steady and fastened ovens;
Sparks cracking a harr-harr-huff from a solar-plexus of rock-ribs of the earth taking a laugh for themselves;
Ears and noses of fire, gibbering gorilla arms of fire, gold mud-pies, gold bird-wings, red jackets riding purple mules, scarlet autocrats tumbling from the humps of camels, assassinated czars straddling vermillion balloons;
I saw then the fires flash one by one: good-by: then smoke, smoke;
And in the screens the great sisters of night and cool stars, sitting women arranging their hair,
Waiting in the sky, waiting with slow easy eyes, waiting and half-murmuring:
“Since you know all
and I know nothing,
tell me what I dreamed last night.”
Pearl cobwebs in the windy rain,
in only a flicker of wind,
are caught and lost and never known again.
A pool of moonshine comes and waits,
but never waits long: the wind picks up
loose gold like this and is gone.
A bar of steel sleeps and looks slant-eyed
on the pearl cobwebs, the pools of moonshine;
sleeps slant-eyed a million years,
sleeps with a coat of rust, a vest of moths,
a shirt of gathering sod and loam.
The wind never bothers … a bar of steel.
The wind picks only .. pearl cobwebs .. pools of moonshine.
|
Written by
Anne Sexton |
Who's she, that one in your arms?
She's the one I carried my bones to
and built a house that was just a cot
and built a life that was over an hour
and built a castle where no one lives
and built, in the end, a song
to go with the ceremony.
Why have you brought her here?
Why do you knock on my door
with your little stores and songs?
I had joined her the way a man joins
a woman and yet there was no place
for festivities or formalities
and these things matter to a woman
and, you see, we live in a cold climate
and are not permitted to kiss on the street
so I made up a song that wasn't true.
I made up a song called Marriage.
You come to me out of wedlock
and kick your foot on my stoop
and ask me to measure such things?
Never. Never. Not my real wife.
She's my real witch, my fork, my mare,
my mother of tears, my skirtful of hell,
the stamp of my sorrows, the stamp of my bruises
and also the children she might bear
and also a private place, a body of bones
that I would honestly buy, if I could buy,
that I would marry, if I could marry.
And should I torment you for that?
Each man has a small fate allotted to him
and yours is a passionate one.
But I am in torment. We have no place.
The cot we share is almost a prison
where I can't say buttercup, bobolink,
sugarduck, pumpkin, love ribbon, locket,
valentine, summergirl, funnygirl and all
those nonsense things one says in bed.
To say I have bedded with her is not enough.
I have not only bedded her down.
I have tied her down with a knot.
Then why do you stick your fists
into your pockets? Why do you shuffle
your feet like a schoolboy?
For years I have tied this knot in my dreams.
I have walked through a door in my dreams
and she was standing there in my mother's apron.
Once she crawled through a window that was shaped
like a keyhole and she was wearing my daughter's
pink corduroys and each time I tied these women
in a knot. Once a queen came. I tied her too.
But this is something I have actually tied
and now I have made her fast.
I sang her out. I caught her down.
I stamped her out with a song.
There was no other apartment for it.
There was no other chamber for it.
Only the knot. The bedded-down knot.
Thus I have laid my hands upon her
and have called her eyes and her mouth
as mine, as also her tongue.
Why do you ask me to make choices?
I am not a judge or a psychologist.
You own your bedded-down knot.
And yet I have real daytimes and nighttimes
with children and balconies and a good wife.
Thus I have tied these other knots,
yet I would rather not think of them
when I speak to you of her. Not now.
If she were a room to rent I would pay.
If she were a life to save I would save.
Maybe I am a man of many hearts.
A man of many hearts?
Why then do you tremble at my doorway?
A man of many hearts does not need me.
I'm caught deep in the dye of her.
I have allowed you to catch me red-handed,
catch me with my wild oats in a wild clock
for my mare, my dove and my own clean body.
People might say I have snakes in my boots
but I tell you that just once am I in the stirrups,
just once, this once, in the cup.
The love of the woman is in the song.
I called her the woman in red.
I called her the woman in pink
but she was ten colors
and ten women
I could hardly name her.
I know who she is.
You have named her enough.
Maybe I shouldn't have put it in words.
Frankly, I think I'm worse for this kissing,
drunk as a piper, kicking the traces
and determined to tie her up forever.
You see the song is the life,
the life I can't live.
God, even as he passes,
hand down monogamy like slang.
I wanted to write her into the law.
But, you know, there is no law for this.
Man of many hearts, you are a fool!
The clover has grown thorns this year
and robbed the cattle of their fruit
and the stones of the river
have sucked men's eyes dry,
season after season,
and every bed has been condemned,
not by morality or law,
but by time.
|
Written by
Lewis Carroll |
With saddest music all day long
She soothed her secret sorrow:
At night she sighed "I fear 'twas wrong
Such cheerful words to borrow.
Dearest, a sweeter, sadder song
I'll sing to thee to-morrow."
I thanked her, but I could not say
That I was glad to hear it:
I left the house at break of day,
And did not venture near it
Till time, I hoped, had worn away
Her grief, for nought could cheer it!
My dismal sister! Couldst thou know
The wretched home thou keepest!
Thy brother, drowned in daily woe,
Is thankful when thou sleepest;
For if I laugh, however low,
When thou'rt awake, thou weepest!
I took my sister t'other day
(Excuse the slang expression)
To Sadler's Wells to see the play
In hopes the new impression
Might in her thoughts, from grave to gay
Effect some slight digression.
I asked three gay young dogs from town
To join us in our folly,
Whose mirth, I thought, might serve to drown
My sister's melancholy:
The lively Jones, the sportive Brown,
And Robinson the jolly.
The maid announced the meal in tones
That I myself had taught her,
Meant to allay my sister's moans
Like oil on troubled water:
I rushed to Jones, the lively Jones,
And begged him to escort her.
Vainly he strove, with ready wit,
To joke about the weather -
To ventilate the last 'ON DIT' -
To quote the price of leather -
She groaned "Here I and Sorrow sit:
Let us lament together!"
I urged "You're wasting time, you know:
Delay will spoil the venison."
"My heart is wasted with my woe!
There is no rest - in Venice, on
The Bridge of Sighs!" she quoted low
From Byron and from Tennyson.
I need not tell of soup and fish
In solemn silence swallowed,
The sobs that ushered in each dish,
And its departure followed,
Nor yet my suicidal wish
To BE the cheese I hollowed.
Some desperate attempts were made
To start a conversation;
"Madam," the sportive Brown essayed,
"Which kind of recreation,
Hunting or fishing, have you made
Your special occupation?"
Her lips curved downwards instantly,
As if of india-rubber.
"Hounds IN FULL CRY I like," said she:
(Oh how I longed to snub her!)
"Of fish, a whale's the one for me,
IT IS SO FULL OF BLUBBER!"
The night's performance was "King John."
"It's dull," she wept, "and so-so!"
Awhile I let her tears flow on,
She said they soothed her woe so!
At length the curtain rose upon
'Bombastes Furioso.'
In vain we roared; in vain we tried
To rouse her into laughter:
Her pensive glances wandered wide
From orchestra to rafter -
"TIER UPON TIER!" she said, and sighed;
And silence followed after.
|
Written by
Andrew Barton Paterson |
He had drifted in among us as a straw drifts with the tide,
He was just a wand'ring mongrel from the weary world outside;
He was not aristocratic, being mostly ribs and hair,
With a hint of spaniel parents and a touch of native bear.
He was very poor and humble and content with what he got,
So we fed him bones and biscuits, till he heartened up a lot;
Then he growled and grew aggressive, treating orders with disdain,
Till at last he bit the butcher, which would argue want of brain.
Now the butcher, noble fellow, was a sport beyond belief,
And instead of bringing actions he brought half a shin of beef,
Which he handed on to Fido, who received it as a right
And removed it to the garden, where he buried it at night.
'Twas the means of his undoing, for my wife, who'd stood his friend,
To adopt a slang expression, "went in off the deepest end",
For among the pinks and pansies, the gloxinias and the gorse
He had made an excavation like a graveyard for a horse.
Then we held a consultation which decided on his fate:
'Twas in anger more than sorrow that we led him to the gate,
And we handed him the beef-bone as provision for the day,
Then we opened wide the portal and we told him, "On your way."
|
Written by
Marge Piercy |
You ask why sometimes I say stop
why sometimes I cry no
while I shake with pleasure.
What do I fear, you ask,
why don't I always want to come
and come again to that molten
deep sea center where the nerves
fuse open and the brain
and body shine with a black wordless light
fluorescent and heaving like plankton.
If you turn over the old refuse
of sexual slang, the worn buttons
of language, you find men
talk of spending and women
of dying.
You come in a torrent and ease
into limpness. Pleasure takes me
farther and farther from the shore
in a series of breakers, each
towering higher before it
crashes and spills flat.
I am open then as a palm held out,
open as a sunflower, without
crust, without shelter, without
skin, hideless and unhidden.
How can I let you ride
so far into me and not fear?
Helpless as a burning city,
how can I ignore that the extremes
of pleasure are fire storms
that leave a vacuum into which
dangerous feelings (tenderness,
affection, l o v e) may rush
like gale force winds.
|
Written by
Marilyn Hacker |
For Sára Karig
"You are so wise," the reindeer said, "you can bind the winds of the world in a single strand."—H. C. Andersen, "The Snow Queen"
She could bind the world's winds in a single strand.
She could find the world's words in a singing wind.
She could lend a weird will to a mottled hand.
She could wind a willed word from a muddled mind.
She could wend the wild woods on a saddled hind.
She could sound a wellspring with a rowan wand.
She could bind the wolf's wounds in a swaddling band.
She could bind a banned book in a silken skin.
She could spend a world war on invaded land.
She could pound the dry roots to a kind of bread.
She could feed a road gang on invented food.
She could find the spare parts of the severed dead.
She could find the stone limbs in a waste of sand.
She could stand the pit cold with a withered lung.
She could handle bad puns in the slang she learned.
She could dandle foundlings in their mother tongue.
She could plait a child's hair with a fishbone comb.
She could tend a coal fire in the Arctic wind.
She could mend an engine with a sewing pin.
She could warm the dark feet of a dying man.
She could drink the stone soup from a doubtful well.
She could breathe the green stink of a trench latrine.
She could drink a queen's share of important wine.
She could think a few things she would never tell.
She could learn the hand code of the deaf and blind.
She could earn the iron keys of the frozen queen.
She could wander uphill with a drunken friend.
She could bind the world's winds in a single strand.
|
Written by
Robert William Service |
Oh how it would enable me
To titillate my vanity
If you should choose to label me
A Poet of Profanity!
For I've been known with vulgar slang
To stoke the Sacred Fire,
And even used a word like 'hang',
Suggesting ire.
Yea, I've been slyly told, although
It savours of inanity,
In print the ladies often show
A failing for profanity.
So to delight the dears I try,
And often in the past
In fabricating sonnets I
Have fulminated: 'Blast!'
I know I shock the sober folk
Who doubt my lyric sanity,
And readers of my rhyme provoke
By publishing profanity,
But oh a hale and hearty curse
Is very dear to me,
And so I end this bit of verse
With d-- and d-- and d--!
|
Written by
Andrew Barton Paterson |
Oh, Mulligan's bar was the deuce of a place
To drink, and to fight, and to gamble and race;
The height of choice spirits from near and from far
Were all concentrated on Mulligan's bar.
There was "Jerry the Swell", and the jockey-boy Ned,
"Dog-bite-me" -- so called from the shape of his head --
And a man whom the boys, in their musical slang,
Designated the "Gaffer of Mulligan's Gang".
Now Mulligan's Gang had a racer to show,
A bad un to look at, a good un to go;
Whenever they backed her you safely might swear
She'd walk in a winner, would Mulligan's mare.
But Mulligan, having some radical views,
Neglected his business and got on the booze;
He took up with runners -- a treacherous troop --
Who gave him away, and he "fell in the soup".
And so it turned out on a fine summer day,
A bailiff turned up with a writ of "fi. fa.";
He walked to the bar with a manner serene,
"I levy," said he, "in the name of the Queen."
Then Mulligan wanted, in spite of the law,
To pay out the bailiff with "one on the jaw";
He drew out to hit him; but ere you could wink,
He changed his intention and stood him a drink.
A great consultation there straightway befell
'Twixt jockey-boy Neddy and Jerry the Swell,
And the man with the head, who remarked "Why, you bet!
Dog-bite-me!" said he, "but we'll diddle 'em yet.
"We'll slip out the mare from her stall in a crack,
And put in her place the old broken-down hack;
The hack is so like her, I'm ready to swear
The bailiff will think he has Mulligan's mare.
"So out with the racer and in with the screw,
We'll show him what Mulligan's talent can do;
And if he gets nasty and dares to say much,
I'll knock him as stiff as my grandfather's crutch."
Then off to the town went the mare and the lad;
The bailiff came out, never dreamt he was "had";
But marched to the stall with a confident air --
"I levy," said he, "upon Mulligan's mare."
He watched her by day and he watched her by night,
She was never an instant let out of his sight,
For races were coming away in the West
And Mulligan's mare had a chance with the best.
"Here's a slant," thought the bailiff, "to serve my own ends,
I'll send off a wire to my bookmaking friends:
'Get all you can borrow, beg, snavel or snare
And lay the whole lot against Mulligan's mare.'"
The races came round, and the crowd on the course
Were laying the mare till they made themselves hoarse,
And Mulligan's party, with ardour intense,
They backed her for pounds and for shillings and pence.
But think of the grief of the bookmaking host
At the sound of the summons to go to the post --
For down to the start with her thoroughbred air
As fit as a fiddle pranced Mulligan's mare!
They started, and off went the boy to the front,
He cleared out at once, and he made it a hunt;
He steadied as rounding the corner they wheeled,
Then gave her her head -- and she smothered the field.
The race put her owner right clear of his debts;
He landed a fortune in stakes and in bets,
He paid the old bailiff the whole of his pelf,
And gave him a hiding to keep for himself.
So all you bold sportsmen take warning, I pray,
Keep clear of the running, you'll find it don't pay;
For the very best rule that you'll hear in a week
Is never to bet on a thing that can speak.
And whether you're lucky or whether you lose,
Keep clear of the cards and keep clear of the booze,
And fortune in season will answer your prayer
And send you a flyer like Mulligan's mare.
|
Written by
William Ernest Henley |
"Tout aux tavernes et aux filles."
Suppose you screeve? or go cheap-jack?
Or fake the broads? or fig a nag?
Or thimble-rig? or knap a yack?
Or pitch a snide? or smash a rag?
Suppose you duff? or nose and lag?
Or get the straight, and land your pot?
How do you melt the multy swag?
Booze and the blowens cop the lot.
Fiddle, or fence, or mace, or mack;
Or moskeneer, or flash the drag;
Dead-lurk a crib, or do a crack;
Pad with a slang, or chuck a ***;
Bonnet, or tout, or mump and gag;
Rattle the tats, or mark the spot;
You can not bank a single stag;
Booze and the blowens cop the lot.
Suppose you try a different tack,
And on the square you flash your flag?
At penny-a-lining make your whack,
Or with the mummers mug and gag?
For nix, for nix the dibbs you bag!
At any graft, no matter what,
Your merry goblins soon stravag:
Booze and the blowens cop the lot.
THE MORAL
It's up the spout and Charley Wag
With wipes and tickers and what not.
Until the squeezer nips your scrag,
Booze and the blowens cop the lot.
|