Written by
C S Lewis |
Lead us, Evolution, lead us
Up the future's endless stair;
Chop us, change us, prod us, weed us.
For stagnation is despair:
Groping, guessing, yet progressing,
Lead us nobody knows where.
Wrong or justice, joy or sorrow,
In the present what are they
while there's always jam-tomorrow,
While we tread the onward way?
Never knowing where we're going,
We can never go astray.
To whatever variation
Our posterity may turn
Hairy, squashy, or crustacean,
Bulbous-eyed or square of stern,
Tusked or toothless, mild or ruthless,
Towards that unknown god we yearn.
Ask not if it's god or devil,
Brethren, lest your words imply
Static norms of good and evil
(As in Plato) throned on high;
Such scholastic, inelastic,
Abstract yardsticks we deny.
Far too long have sages vainly
Glossed great Nature's simple text;
He who runs can read it plainly,
'Goodness = what comes next.
'
By evolving, Life is solving
All the questions we perplexed.
Oh then! Value means survival-
Value.
If our progeny
Spreads and spawns and licks each rival,
That will prove its deity
(Far from pleasant, by our present,
Standards, though it may well be).
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Written by
Rainer Maria Rilke |
High above he stands, beside the many
saintly figures fronting the cathedral's
gothic tympanum, close by the window
called the rose, and looks astonished at his
own deification which placed him there.
Erect and proud he smiles, and quite enjoys
this feat of his survival, willed by choice.
As labourer in the fields he made his start
and through his efforts brought to full fruition
the garden God named Eden.
But where was
the hidden path that led to the New Earth?
God would not listen to his endless pleas.
Instead, He threatened him that he shall die.
Yet Adam stood his ground: Eve shall give birth.
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Written by
Howard Nemerov |
They're taking down a tree at the front door,
The power saw is snarling at some nerves,
Whining at others.
Now and then it grunts,
And sawdust falls like snow or a drift of seeds.
Rotten, they tell us, at the fork, and one
Big wind would bring it down.
So what they do
They do, as usual, to do us good.
Whatever cannot carry its own weight
Has got to go, and so on; you expect
To hear them talking next about survival
And the values of a free society.
For in the explanations people give
On these occasions there is generally some
Mean-spirited moral point, and everyone
Privately wonders if his neighbors plan
To saw him up before he falls on them.
Maybe a hundred years in sun and shower
Dismantled in a morning and let down
Out of itself a finger at a time
And then an arm, and so down to the trunk,
Until there's nothing left to hold on to
Or snub the splintery holding rope around,
And where those big green divagations were
So loftily with shadows interleaved
The absent-minded blue rains in on us.
Now that they've got it sectioned on the ground
It looks as though somebody made a plain
Error in diagnosis, for the wood
Looks sweet and sound throughout.
You couldn't know,
Of course, until you took it down.
That's what
Experts are for, and these experts stand round
The giant pieces of tree as though expecting
An instruction booklet from the factory
Before they try to put it back together.
Anyhow, there it isn't, on the ground.
Next come the tractor and the crowbar crew
To extirpate what's left and fill the grave.
Maybe tomorrow grass seed will be sown.
There's some mean-spirited moral point in that
As well: you learn to bury your mistakes,
Though for a while at dusk the darkening air
Will be with many shadows interleaved,
And pierced with a bewilderment of birds.
|
Written by
Audre Lorde |
I.
My face resembles your face
less and less each day.
When I was young
no one mistook whose child I was.
Features build coloring
alone among my creamy fine-boned sisters
marked me Byron's daughter.
No sun set when you died, but a door
opened onto my mother.
After you left
she grieved her crumpled world aloft
an iron fist sweated with business symbols
a printed blotter dwell in the house of Lord's
your hollow voice changing down a hospital corridor
yea, though I walk through the valley
of the shadow of death
I will fear no evil.
II.
I rummage through the deaths you lived
swaying on a bridge of question.
At seven in Barbados
dropped into your unknown father's life
your courage vault from his tailor's table
back to the sea.
Did the Grenada treeferns sing
your 15th summer as you jumped ship
to seek your mother
finding her too late
surrounded with new sons?
Who did you bury to become the enforcer of the law
the handsome legend
before whose raised arm even trees wept
a man of deep and wordless passion
who wanted sons and got five girls?
You left the first two scratching in a treefern's shade
the youngest is a renegade poet
searching for your answer in my blood.
My mother's Grenville tales
spin through early summer evenings.
But you refused to speak of home
of stepping proud Black and penniless
into this land where only white men
ruled by money.
How you labored
in the docks of the Hotel Astor
your bright wife a chambermaid upstairs
welded love and survival to ambition
as the land of promise withered
crashed the hotel closed
and you peddle dawn-bought apples
from a push-cart on Broadway.
Does an image of return
wealthy and triumphant
warm your chilblained fingers
as you count coins in the Manhattan snow
or is it only Linda
who dreams of home?
When my mother's first-born cries for milk
in the brutal city winter
do the faces of your other daughters dim
like the image of the treeferned yard
where a dark girl first cooked for you
and her ash heap still smells of curry?
III.
Did the secret of my sisters steal your tongue
like I stole money from your midnight pockets
stubborn and quaking
as you threaten to shoot me if I am the one?
The naked lightbulbs in our kitchen ceiling
glint off your service revolver
as you load whispering.
Did two little dark girls in Grenada
dart like flying fish
between your averted eyes
and my pajamaless body
our last adolescent summer?
Eavesdropped orations
to your shaving mirror
our most intense conversations
were you practicing how to tell me
of my twin sisters abandoned
as you had been abandoned
by another Black woman seeking
her fortune Grenada Barbados
Panama Grenada.
New York City.
IV.
You bought old books at auctions
for my unlanguaged world
gave me your idols Marcus Garvey Citizen Kane
and morsels from your dinner plate
when I was seven.
I owe you my Dahomeyan jaw
the free high school for gifted girls
no one else thought I should attend
and the darkness that we share.
Our deepest bonds remain
the mirror and the gun.
V.
An elderly Black judge
known for his way with women
visits this island where I live
shakes my hand, smiling.
"I knew your father," he says
"quite a man!" Smiles again.
I flinch at his raised eyebrow.
A long-gone woman's voice
lashes out at me in parting
"You will never be satisfied
until you have the whole world
in your bed!"
Now I am older than you were when you died
overwork and silence exploding your brain.
You are gradually receding from my face.
Who were you outside the 23rd Psalm?
Knowing so little
how did I become so much
like you?
Your hunger for rectitude
blossoms into rage
the hot tears of mourning
never shed for you before
your twisted measurements
the agony of denial
the power of unshared secrets.
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Written by
Wendell Berry |
I.
The poem is important, but
not more than the people
whose survival it serves,
one of the necessities, so they may
speak what is true, and have
the patience for beauty: the weighted
grainfield, the shady street,
the well-laid stone and the changing tree
whose branches spread above.
For want of songs and stories
they have dug away the soil,
paved over what is left,
set up their perfunctory walls
in tribute to no god,
for the love of no man or woman,
so that the good that was here
cannot be called back
except by long waiting, by great
sorrows remembered and to come
by invoking the thunderstones
of the world, and the vivid air.
II.
The poem is important,
as the want of it
proves.
It is the stewardship
of its own possibility,
the past remembering itself
in the presence of
the present, the power learned
and handed down to see
what is present
and what is not: the pavement
laid down and walked over
regardlessly--by exiles, here
only because they are passing.
Oh, remember the oaks that were
here, the leaves, purple and brown,
falling, the nuthatches walking
headfirst down the trunks,
crying "onc! onc!" in the brightness
as they are doing now
in the cemetery across the street
where the past and the dead
keep each other.
To remember,
to hear and remember, is to stop
and walk on again
to a livelier, surer measure.
It is dangerous
to remember the past only
for its own sake, dangerous
to deliver a message
you did not get.
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Written by
Robinson Jeffers |
Our sardine fishermen work at night in the dark
of the moon; daylight or moonlight
They could not tell where to spread the net,
unable to see the phosphorescence of the
shoals of fish.
They work northward from Monterey, coasting
Santa Cruz; off New Year's Point or off
Pigeon Point
The look-out man will see some lakes of milk-color
light on the sea's night-purple; he points,
and the helmsman
Turns the dark prow, the motorboat circles the
gleaming shoal and drifts out her seine-net.
They close the circle
And purse the bottom of the net, then with great
labor haul it in.
I cannot tell you
How beautiful the scene is, and a little terrible,
then, when the crowded fish
Know they are caught, and wildly beat from one wall
to the other of their closing destiny the
phosphorescent
Water to a pool of flame, each beautiful slender body
sheeted with flame, like a live rocket
A comet's tail wake of clear yellow flame; while outside
the narrowing
Floats and cordage of the net great sea-lions come up
to watch, sighing in the dark; the vast walls
of night
Stand erect to the stars.
Lately I was looking from a night mountain-top
On a wide city, the colored splendor, galaxies of light:
how could I help but recall the seine-net
Gathering the luminous fish? I cannot tell you how
beautiful the city appeared, and a little terrible.
I thought, We have geared the machines and locked all together
into inter-dependence; we have built the great cities; now
There is no escape.
We have gathered vast populations incapable
of free survival, insulated
From the strong earth, each person in himself helpless, on all
dependent.
The circle is closed, and the net
Is being hauled in.
They hardly feel the cords drawing, yet
they shine already.
The inevitable mass-disasters
Will not come in our time nor in our children's, but we
and our children
Must watch the net draw narrower, government take all
powers--or revolution, and the new government
Take more than all, add to kept bodies kept souls--or anarchy,
the mass-disasters.
These things are Progress;
Do you marvel our verse is troubled or frowning, while it keeps
its reason? Or it lets go, lets the mood flow
In the manner of the recent young men into mere hysteria,
splintered gleams, crackled laughter.
But they are
quite wrong.
There is no reason for amazement: surely one always knew
that cultures decay, and life's end is death.
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Written by
Barry Tebb |
Why our son, why?
Every morning the same dark chorus wakes me
And I wonder how I am still alive.
"Balance the forces of life and death"
Is the Kleinian recipe for survival.
"It is God’s will, life is meant to test us"
My Christian heritage tells me.
"Life is a vale of soul making"
Keats reminds us.
Insistently the morning traffic hums
As I sip my tea, list calls to make,
Sigh in frustration at unread books.
For solace I look at cards of Haworth
Moorland vistas of unending paths
Cloudscapes only a Constable could paint
High Withens in a gale, the sloping village street.
How? When? Why?
‘The truth’ - if such an entity exists -
Is that I want to run away.
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Written by
Lisel Mueller |
For Lucy, who called them "ghost houses.
"
Someone was always leaving
and never coming back.
The wooden houses wait like old wives
along this road; they are everywhere,
abandoned, leaning, turning gray.
Someone always traded
the lonely beauty
of hemlock and stony lakeshore
for survival, packed up his life
and drove off to the city.
In the yards the apple trees
keep hanging on, but the fruit
grows smaller year by year.
When we come this way again
the trees will have gone wild,
the houses collapsed, not even worth
the human act of breaking in.
Fields will have taken over.
What we will recognize
is the wind, the same fierce wind,
which has no history.
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Written by
William Matthews |
So here the great man stood,
fermenting malice and poems
we have to be nearly as fierce
against ourselves as he
not to misread by their disguises.
Blue in dawn haze, the tamarack
across the road is new since Frost
and thirty feet tall already.
No doubt he liked to scorch off
morning fog by simply staring through it
long enough so that what he saw
grew visible.
"Watching the dragon
come out of the Notch," his children
used to call it.
And no wonder
he chose a climate whose winter
and house whose isolation could be
stern enough to his wrath and pity
as to make them seem survival skills
he'd learned on the job, farming
fifty acres of pasture and woods.
For cash crops he had sweat and doubt
and moralizing rage, those staples
of the barter system.
And these swift
and aching summers, like the blackberries
I've been poaching down the road
from the house where no one's home --
acid at first and each little globe
of the berry too taut and distinct
from the others, then they swell to hold
the riot of their juices and briefly
the fat berries are perfected to my taste,
and then they begin to leak and blob
and under their crescendo of sugar
I can taste how they make it through winter.
.
.
.
By the time I'm back from a last,
six-berry raid, it's almost dusk,
and more and more mosquitos
will race around my ear their tiny engines,
the speedboats of the insect world.
I won't be longer on the porch
than it takes to look out once
and see what I've taught myself
in two months here to discern:
night restoring its opacities,
though for an instant as intense
and evanescent as waking from a dream
of eating blackberries and almost
being able to remember it, I think
I see the parts -- haze, dusk, light
broken into grains, fatigue,
the mineral dark of the White Mountains,
the wavering shadows steadying themselves --
separate, then joined, then seamless:
the way, in fact, Frost's great poems,
like all great poems, conceal
what they merely know, to be
predicaments.
However long
it took to watch what I thought
I saw, it was dark when I was done,
everywhere and on the porch,
and since nothing stopped
my sight, I let it go.
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Written by
Emile Verhaeren |
In such a spot, with radiant flowers for halo,
I saw the Guardian Angel sit her down;
Vine-branches fashioned a green shrine above her
And sun-flowers rose behind her like a crown.
Her fingers, their white slenderness encircled
With humble, fragile rings of coral round.
Held, ranged in couples, sprays of faithful roses.
Sealed with a clasp, with threads of woollen bound.
A shimmering air the golden calm was weaving,
All filigree'd with dawn, that like a braid
Surmounted her pure brow, which still was hidden
Half in the shade.
Woven of linen were her veil and sandals.
But, twined 'mid boughs of foliage, on their hem
The theologic Virtues Three were painted;
Hearts set about with gold encompassed them.
Her silken hair, slow rippling, from her shoulder
Down to the mosses of the sward did reach;
The childhood of her eyes disclosed a silence
More sweet than speech.
My arms outstretched, and all my soul upstraining.
Then did I rise,
With haggard yearning, toward the soul suspended
There in her eyes.
Those eyes, they shone so vivid with remembrance,
That they confessed days lived alike with me:
Oh, in the grave inviolate can it change, then,
The Long Ago, and live in the To Be?
Sure, she was one who, being dead, yet brought me.
Miraculous, a strength that comforteth,
And the Viaticum of her survival
Guiding me from the further side of Death.
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