Written by
Philip Levine |
Some days I catch a rhythm, almost a song
in my own breath.
I'm alone here
in Brooklyn Heights, late morning, the sky
above the St.
George Hotel clear, clear
for New York, that is.
The radio playing
"Bird Flight," Parker in his California
tragic voice fifty years ago, his faltering
"Lover Man" just before he crashed into chaos.
I would guess that outside the recording studio
in Burbank the sun was high above the jacarandas,
it was late March, the worst of yesterday's rain
had come and gone, the sky washed blue.
Bird
could have seen for miles if he'd looked, but what
he saw was so foreign he clenched his eyes,
shook his head, and barked like a dog--just once--
and then Howard McGhee took his arm and assured him
he'd be OK.
I know this because Howard told me
years later that he thought Bird could
lie down in the hotel room they shared, sleep
for an hour or more, and waken as himself.
The perfect sunlight angles into my little room
above Willow Street.
I listen to my breath
come and go and try to catch its curious taste,
part milk, part iron, part blood, as it passes
from me into the world.
This is not me,
this is automatic, this entering and exiting,
my body's essential occupation without which
I am a thing.
The whole process has a name,
a word I don't know, an elegant word not
in English or Yiddish or Spanish, a word
that means nothing to me.
Howard truly believed
what he said that day when he steered
Parker into a cab and drove the silent miles
beside him while the bright world
unfurled around them: filling stations, stands
of fruits and vegetables, a kiosk selling trinkets
from Mexico and the Philippines.
It was all
so actual and Western, it was a new creation
coming into being, like the music of Charlie Parker
someone later called "glad," though that day
I would have said silent, "the silent music
of Charlie Parker.
" Howard said nothing.
He paid the driver and helped Bird up two flights
to their room, got his boots off, and went out
to let him sleep as the afternoon entered
the history of darkness.
I'm not judging
Howard, he did better than I could have
now or then.
Then I was 19, working
on the loading docks at Railway Express
coming day by day into the damaged body
of a man while I sang into the filthy air
the Yiddish drinking songs my Zadie taught me
before his breath failed.
Now Howard is gone,
eleven long years gone, the sweet voice silenced.
"The subtle bridge between Eldridge and Navarro,"
they later wrote, all that rising passion
a footnote to others.
I remember in '85
walking the halls of Cass Tech, the high school
where he taught after his performing days,
when suddenly he took my left hand in his
two hands to tell me it all worked out
for the best.
Maybe he'd gotten religion,
maybe he knew how little time was left,
maybe that day he was just worn down
by my questions about Parker.
To him Bird
was truly Charlie Parker, a man, a silent note
going out forever on the breath of genius
which now I hear soaring above my own breath
as this bright morning fades into afternoon.
Music, I'll call it music.
It's what we need
as the sun staggers behind the low gray clouds
blowing relentlessly in from that nameless ocean,
the calm and endless one I've still to cross.
|
Written by
Paul Laurence Dunbar |
'Lias! 'Lias! Bless de Lawd!
Don' you know de day's erbroad?
Ef you don' git up, you scamp,
Dey 'll be trouble in dis camp.
T'ink I gwine to let you sleep
W'ile I meks yo' boa'd an' keep?
Dat's a putty howdy-do—
Don' you hyeah me, 'Lias—you?
Bet ef I come crost dis flo'
You won' fin' no time to sno'.
Daylight all a-shinin' in
Wile you sleep—w'y hit's a sin!
Ain't de can'le-light enough
To bu'n out widout a snuff,
But you go de mo'nin' thoo
Bu'nin' up de daylight too?
'Lias, don' you hyeah me call?
No use tu'nin' to'ds de wall;[Pg 191]
I kin hyeah dat mattuss squeak;
Don' you hyeah me w'en I speak?
Dis hyeah clock done struck off six—
Ca'line, bring me dem ah sticks!
Oh, you down, suh; huh, you down—
Look hyeah, don' you daih to frown.
Ma'ch yo'se'f an' wash yo' face,
Don' you splattah all de place;
I got somep'n else to do,
'Sides jes' cleanin' aftah you.
Tek dat comb ah' fix yo' haid—
Looks jes' lak a feddah baid.
Look hyeah, boy, I let you see
You sha' n't roll yo' eyes at me.
Come hyeah; bring me dat ah strap!
Boy, I'll whup you 'twell you drap;
You done felt yo'se'f too strong,
An' you sholy got me wrong.
Set down at dat table thaih;
Jes' you whimpah ef you daih!
Evah mo'nin' on dis place,
Seem lak I mus' lose my grace.
Fol' yo' han's an' bow yo' haid—
Wait ontwell de blessin' 's said;
"Lawd, have mussy on ouah souls—"
(Don' you daih to tech dem rolls—)
"Bless de food we gwine to eat—"
(You set still-I see yo' feet;
You jes' try dat trick agin!)
"Gin us peace an' joy. Amen!"
|
Written by
David Lehman |
As I sit at my desk wishing
I did not have to edit a book
on poetry and painting a
subject that fascinates me
usually, but today is not as
usual, being today, white sky,
decent amount of sunlight,
forty one degrees in Central Park,
and it makes sense to dream of
Chicago, another big city
with two major league ballclubs,
and the pleasure of seeing Paul
and you, too, Elaine, whom
I never get to see often enough
in our own city of the subway series
the champagne gallery and
the tech wreck on wall street,
and as I look out the window
almost any minute I expect
the brokers to fall from the sky
like Icarus in Brughel's painting in
Auden's "Musee des Beaux Arts"
(and so back to work)
|
Written by
Paul Laurence Dunbar |
De win' is hollahin' "Daih you" to de shuttahs an' de fiah,
De snow's a-sayin' "Got you" to de groun',
Fu' de wintah weathah 's come widout a-askin' ouah desiah,
An' he 's laughin' in his sleeve at whut he foun';
Fu' dey ain't nobody ready wid dey fuel er dey food,
An' de money bag look timid lak, fu' sho',
So we want ouah Chrismus sermon, but we 'd lak it ef you could
Leave a little Chrismus basket at de do'.
Wha 's de use o' tellin' chillen 'bout a Santy er a Nick,
An' de sto'ies dat a body allus tol'?
When de harf is gray wid ashes an' you has n't got a stick
Fu' to warm dem when dey little toes is col'?
Wha 's de use o' preachin' 'ligion to a man dat's sta'ved to def,
An' a-tellin' him de Mastah will pu'vide?
Ef you want to tech his feelin's, save yo' sermons an' yo' bref,
Tek a little Chrismus basket by yo' side.
[Pg 175]'T ain't de time to open Bibles an' to lock yo' cellah do',
'T ain't de time to talk o' bein' good to men;
Ef you want to preach a sermon ez you nevah preached befo',
Preach dat sermon wid a shoat er wid er hen;
Bein' good is heap sight bettah den a-dallyin' wid sin,
An' dey ain't nobody roun' dat knows it mo',
But I t'ink dat 'ligion 's sweeter w'en it kind o' mixes in
Wid a little Chrismus basket at de do'.
|
Written by
Paul Laurence Dunbar |
Dey is times in life when Nature
Seems to slip a cog an' go,
Jes' a-rattlin' down creation,
Lak an ocean's overflow;
When de worl' jes' stahts a-spinnin'
Lak a picaninny's top,
An' yo' cup o' joy is brimmin'
'Twell it seems about to slop,
An' you feel jes' lak a racah,
Dat is trainin' fu' to trot--
When yo' mammy says de blessin'
An' de co'n pone's hot.
When you set down at de table,
Kin' o' weary lak an' sad,
An' you 'se jes' a little tiahed
An' purhaps a little mad;
How yo' gloom tu'ns into gladness,
How yo' joy drives out de doubt
When de oven do' is opened,
An' de smell comes po'in' out;
Why, de 'lectric light o' Heaven
Seems to settle on de spot,
When yo' mammy says de blessin'
An' de co'n pone's hot.
When de cabbage pot is steamin'
An' de bacon good an' fat,
When de chittlins is a-sputter'n'
So's to show you whah dey's at;
Tek away yo' sody biscuit,
Tek away yo' cake an' pie,
Fu' de glory time is comin',
An' it's 'proachin' mighty nigh,
An' you want to jump an' hollah,
Dough you know you'd bettah not,
When yo' mammy says de blessin'
An' de co'n pone's hot.
I have hyeahd a' lots o' sermons,
An' I've hyeahd o' lots o' prayers,
An I've listened to some singin'
Dat has tuck me up de stairs
Of de Glory-Lan' an' set me
Jes' below de Mastah's th'one,
An' have lef' my hea't a-singin'
In a happy aftah tone;
But dem wu'ds so sweetly murmured
Seem to tech de softes' spot,
When my mammy says de blessin',
An' de co'n pone's hot.
|
Written by
Paul Laurence Dunbar |
Dey is times in life when Nature
Seems to slip a cog an' go,
Jes' a-rattlin' down creation,
Lak an ocean's overflow;
When de worl' jes' stahts a-spinnin'
Lak a picaninny's top,
An' yo' cup o' joy is brimmin'
'Twell it seems about to slop,
An' you feel jes' lak a racah,
Dat is trainin' fu' to trot—
When yo' mammy says de blessin'
An' de co'n pone 's hot.
When you set down at de table,
Kin' o' weary lak an' sad,
An' you 'se jes' a little tiahed
An' purhaps a little mad;
How yo' gloom tu'ns into gladness,
How yo' joy drives out de doubt
When de oven do' is opened,
An' de smell comes po'in' out;
Why, de 'lectric light o' Heaven
Seems to settle on de spot,
When yo' mammy says de blessin'
An' de co'n pone 's hot.
When de cabbage pot is steamin'
An' de bacon good an' fat,
When de chittlins is a-sputter'n'
So 's to show you whah dey's at;
Tek away yo' sody biscuit,
Tek away yo' cake an' pie,
Fu' de glory time is comin',
An' it's 'proachin' mighty nigh,
An' you want to jump an' hollah,
Dough you know you 'd bettah not,
When yo' mammy says de blessin'
[Pg 58]An' de co'n pone 's hot.
I have hyeahd o' lots o' sermons,
An' I 've hyeahd o' lots o' prayers,
An' I 've listened to some singin'
Dat has tuck me up de stairs
Of de Glory-Lan' an' set me
Jes' below de Mastah's th'one,
An' have lef my hea't a-singin'
In a happy aftah tone;
But dem wu'ds so sweetly murmured
Seem to tech de softes' spot,
When my mammy says de blessin',
An' de co'n pone's hot.
|
Written by
Paul Laurence Dunbar |
(From a Westerner's Point of View.)
No matter what you call it,
Whether genius, or art,
He sings the simple songs that come
The closest to your heart.
Fur trim an' skillful phrases,
I do not keer a jot;
'Tain't the words alone, but feelin's,
That tech the tender spot.
An' that's jest why I love him,—
Why, he's got sech human feelin',
An' in ev'ry song he gives us,
You kin see it creepin', stealin',
Through the core the tears go tricklin',
But the edge is bright an' smiley;
I never saw a poet
Like that poet Whitcomb Riley.
His heart keeps beatin' time with our'n
In measures fast or slow;
He tells us jest the same ol' things
Our souls have learned to know.
He paints our joys an' sorrers
In a way so stric'ly true,
That a body can't help knowin'
That he has felt them too.
If there's a lesson to be taught,
He never fears to teach it,
An' he puts the food so good an' low
That the humblest one kin reach it.
Now in our time, when poets rhyme
For money, fun, or fashion,
'Tis good to hear one voice so clear
That thrills with honest passion.
So let the others build their songs,
An' strive to polish highly,—
There's none of them kin tech the heart
Like our own Whitcomb Riley.
|
Written by
Paul Laurence Dunbar |
Mother 's gone a-visitin' to spend a month er two,
An', oh, the house is lonesome ez a nest whose birds has flew
To other trees to build ag'in; the rooms seem jest so bare
That the echoes run like sperrits from the kitchen to the stair.
The shetters flap more lazy-like 'n what they used to do,
Sence mother 's gone a-visitin' to spend a month er two.
We 've killed the fattest chicken an' we've cooked her to a turn;
We 've made the richest gravy, but I jest don't give a durn
Fur nothin' 'at I drink er eat, er nothin' 'at I see.
The food ain't got the pleasant taste it used to have to me.
They 's somep'n' stickin' in my throat ez tight ez hardened glue,
Sence mother's gone a-visitin' to spend a month er two.
The hollyhocks air jest ez pink, they 're double ones at that,
An' I wuz prouder of 'em than a baby of a cat.
But now I don't go near 'em, though they nod an' blush at me,
Fur they 's somep'n' seems to gall me in their keerless sort o' glee
An' all their fren'ly noddin' an' their blushin' seems to say:
"You 're purty lonesome, John, old boy, sence mother 's gone away."[Pg 80]
The neighbors ain't so fren'ly ez it seems they 'd ort to be;
They seem to be a-lookin' kinder sideways like at me,
A-kinder feared they 'd tech me off ez ef I wuz a match,
An' all because 'at mother 's gone an' I 'm a-keepin' batch!
I 'm shore I don't do nothin' worse 'n what I used to do
'Fore mother went a-visitin' to spend a month er two.
The sparrers ac's more fearsome like an' won't hop quite so near,
The cricket's chirp is sadder, an' the sky ain't ha'f so clear;
When ev'nin' comes, I set an' smoke tell my eyes begin to swim,
An' things aroun' commence to look all blurred an' faint an' dim.
Well, I guess I 'll have to own up 'at I 'm feelin' purty blue
Sence mother's gone a-visitin' to spend a month er two.
|
Written by
Paul Laurence Dunbar |
Hit 's been drizzlin' an' been sprinklin',
Kin' o' techy all day long.
I ain't wet enough fu' toddy,
I 's too damp to raise a song,
An' de case have set me t'inkin',
Dat dey 's folk des lak de rain,
Dat goes drizzlin' w'en dey's talkin',
An' won't speak out flat an' plain.
Ain't you nevah set an' listened
[Pg 181]At a body 'splain his min'?
W'en de t'oughts dey keep on drappin'
Was n't big enough to fin'?
Dem 's whut I call drizzlin' people,
Othahs call 'em mealy mouf,
But de fust name hits me bettah,
Case dey nevah tech a drouf.
Dey kin talk from hyeah to yandah,
An' f'om yandah hyeah ergain,
An' dey don' mek no mo' 'pression,
Den dis powd'ry kin' o' rain.
En yo' min' is dry ez cindahs,
Er a piece o' kindlin' wood,
'T ain't no use a-talkin' to 'em,
Fu' dey drizzle ain't no good.
Gimme folks dat speak out nachul,
Whut 'll say des whut dey mean,
Whut don't set dey wo'ds so skimpy
Dat you got to guess between.
I want talk des' lak de showahs
Whut kin wash de dust erway,
Not dat sprinklin' convusation,
Dat des drizzle all de day.
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