Written by
Edgar Bowers |
Every month or so, Sundays, we walked the line,
The limit and the boundary. Past the sweet gum
Superb above the cabin, along the wall—
Stones gathered from the level field nearby
When first we cleared it. (Angry bumblebees
Stung the two mules. They kicked. Thirteen, I ran. )
And then the field: thread-leaf maple, deciduous
Magnolia, hybrid broom, and, further down,
In light shade, one Franklinia Alatamaha
In solstice bloom, all white, most graciously.
On the sunnier slope, the wild plums that my mother
Later would make preserves of, to give to friends
Or sell, in autumn, with the foxgrape, quince,
Elderberry, and muscadine. Around
The granite overhang, moist den of foxes;
Gradually up a long hill, high in pine,
Park-like, years of dry needles on the ground,
And dogwood, slopes the settlers terraced; pine
We cut at Christmas, berries, hollies, anise,
And cones for sale in Mister Haymore’s yard
In town, below the Courthouse Square. James Haymore,
One of the two good teachers at Boys’ High,
Ironic and demanding, chemistry;
Mary Lou Culver taught us English: essays,
Plot summaries, outlines, meters, kinds of clauses
(Noun, adjective, and adverb, five at a time),
Written each day and then revised, and she
Up half the night to read them once again
Through her pince-nez, under a single lamp.
Across the road, on a steeper hill, the settlers
Set a house, unpainted, the porch fallen in,
The road a red clay strip without a bridge,
A shallow stream that liked to overflow.
Oliver Brand’s mules pulled our station wagon
Out of the gluey mire, earth’s rust. Then, here
And there, back from the road, the specimen
Shrubs and small trees my father planted, some
Taller than we were, some in bloom, some berried,
And some we still brought water to. We always
Paused at the weed-filled hole beside the beech
That, one year, brought forth beech nuts by the thousands,
A hole still reminiscent of the man
Chewing tobacco in among his whiskers
My father happened on, who, discovered, told
Of dreaming he should dig there for the gold
And promised to give half of what he found.
During the wars with Germany and Japan,
Descendents of the settlers, of Oliver Brand
And of that man built Flying Fortresses
For Lockheed, in Atlanta; now they build
Brick mansions in the woods they left, with lawns
To paved and lighted streets, azaleas, camellias
Blooming among the pines and tulip trees—
Mercedes Benz and Cadillac Republicans.
There was another stream further along
Divided through a marsh, lined by the fence
We stretched to posts with Mister Garner’s help
The time he needed cash for his son’s bail
And offered all his place. A noble spring
Under the oak root cooled his milk and butter.
He called me “honey,” working with us there
(My father bought three acres as a gift),
His wife pale, hair a country orange, voice
Uncanny, like a ghost’s, through the open door
Behind her, chickens scratching on the floor.
Barred Rocks, our chickens; one, a rooster, splendid
Sliver and grey, red comb and long sharp spurs,
Once chased Aunt Jennie as far as the daphne bed
The two big king snakes were familiars of.
My father’s dog would challenge him sometimes
To laughter and applause. Once, in Stone Mountain,
Travelers, stopped for gas, drove off with Smokey;
Angrily, grievingly, leaving his work, my father
Traced the car and found them way far south,
Had them arrested and, bringing Smokey home,
Was proud as Sherlock Holmes, and happier.
Above the spring, my sister’s cats, black Amy,
Grey Junior, down to meet us. The rose trees,
Domestic, Asiatic, my father’s favorites.
The bridge, marauding dragonflies, the bullfrog,
Camellias cracked and blackened by the freeze,
Bay tree, mimosa, mountain laurel, apple,
Monkey pine twenty feet high, banana shrub,
The owls’ tall pine curved like a flattened S.
The pump house Mort and I built block by block,
Smooth concrete floor, roof pale aluminum
Half-covered by a clematis, the pump
Thirty feet down the mountain’s granite foot.
Mort was the hired man sent to us by Fortune,
Childlike enough to lead us. He brought home,
Although he could not even drive a tractor,
Cheated, a worthless car, which we returned.
When, at the trial to garnishee his wages,
Frank Guess, the judge, Grandmother’s longtime neighbor,
Whose children my mother taught in Cradle Roll,
Heard Mort’s examination, he broke in
As if in disbelief on the bank’s attorneys:
“Gentlemen, must we continue this charade?”
Finally, past the compost heap, the garden,
Tomatoes and sweet corn for succotash,
Okra for frying, Kentucky Wonders, limas,
Cucumbers, squashes, leeks heaped round with soil,
Lavender, dill, parsley, and rosemary,
Tithonia and zinnias between the rows;
The greenhouse by the rock wall, used for cuttings
In late spring, frames to grow them strong for planting
Through winter into summer. Early one morning
Mort called out, lying helpless by the bridge.
His ashes we let drift where the magnolia
We planted as a stem divides the path
The others lie, too young, at Silver Hill,
Except my mother. Ninety-five, she lives
Three thousand miles away, beside the bare
Pacific, in rooms that overlook the Mission,
The Riviera, and the silver range
La Cumbre east. Magnolia grandiflora
And one druidic live oak guard the view.
Proudly around the walls, she shows her paintings
Of twenty years ago: the great oak’s arm
Extended, Zeuslike, straight and strong, wisteria
Tangled among the branches, amaryllis
Around the base; her cat, UC, at ease
In marigolds; the weeping cherry, pink
And white arms like a blessing to the blue
Bird feeder Mort made; cabin, scarlet sweet gum
Superb when tribes migrated north and south.
Alert, still quick of speech, a little blind,
Active, ready for laughter, open to fear,
Pity, and wonder that such things may be,
Some Sundays, I think, she must walk the line,
Aunt Jennie, too, if she were still alive,
And Eleanor, whose story is untold,
Their presences like muses, prompting me
In my small study, all listening to the sea,
All of one mind, the true posterity.
|
Written by
Marianne Moore |
Another armored animal--scale
lapping scale with spruce-cone regularity until they
form the uninterrupted central
tail-row! This near artichoke with head and legs and grit-equipped
gizzard,
the night miniature artist engineer is,
yes, Leonardo da Vinci's replica--
impressive animal and toiler of whom we seldom hear.
Armor seems extra. But for him,
the closing ear-ridge--
or bare ear lacking even this small
eminence and similarly safe
contracting nose and eye apertures
impenetrably closable, are not; a true ant-eater,
not cockroach eater, who endures
exhausting solitary trips through unfamiliar ground at night,
returning before sunrise, stepping in the moonlight,
on the moonlight peculiarly, that the outside
edges of his hands may bear the weight and save the claws
for digging. Serpentined about
the tree, he draws
away from danger unpugnaciously,
with no sound but a harmless hiss; keeping
the fragile grace of the Thomas-
of-Leighton Buzzard Westminster Abbey wrought-iron vine, or
rolls himself into a ball that has
power to defy all effort to unroll it; strongly intailed, neat
head for core, on neck not breaking off, with curled-in-feet.
Nevertheless he has sting-proof scales; and nest
of rocks closed with earth from inside, which can thus
darken.
Sun and moon and day and night and man and beast
each with a splendor
which man in all his vileness cannot
set aside; each with an excellence!
"Fearfull yet to be feared," the armored
ant-eater met by the driver-ant does not turn back, but
engulfs what he can, the flattened sword-
edged leafpoints on the tail and artichoke set leg- and body-plates
quivering violently when it retaliates
and swarms on him. Compact like the furled fringed frill
on the hat-brim of Gargallo's hollow iron head of a
matador, he will drop and will
then walk away
unhurt, although if unintruded on,
he cautiously works down the tree, helped
by his tail. The giant-pangolin-
tail, graceful tool, as a prop or hand or broom or ax, tipped like
an elephant's trunkwith special skin,
is not lost on this ant- and stone-swallowing uninjurable
artichoke which simpletons thought a living fable
whom the stones had nourished, whereas ants had done
so. Pangolins are not aggressive animals; between
dusk and day they have not unchain-like machine-like
form and frictionless creep of a thing
made graceful by adversities, con-
versities. To explain grace requires
a curious hand. If that which is at all were not forever,
why would those who graced the spires
with animals and gathered there to rest, on cold luxurious
low stone seats--a monk and monk and monk--between the thus
ingenious roof supports, have slaved to confuse
grace with a kindly manner, time in which to pay a debt,
the cure for sins, a graceful use
of what are yet
approved stone mullions branching out across
the perpendiculars? A sailboat
was the first machine. Pangolins, made
for moving quietly also, are models of exactness,
on four legs; on hind feet plantigrade,
with certain postures of a man. Beneath sun and moon, man slaving
to make his life more sweet, leaves half the flowers worth having,
needing to choose wisely how to use his strength;
a paper-maker like the wasp; a tractor of foodstuffs,
like the ant; spidering a length
of web from bluffs
above a stream; in fighting, mechanicked
like the pangolin; capsizing in
disheartenment. Bedizened or stark
naked, man, the self, the being we call human, writing-
masters to this world, griffons a dark
"Like does not like like that is abnoxious"; and writes error with four
r's. Among animals, one has sense of humor.
Humor saves a few steps, it saves years. Unignorant,
modest and unemotional, and all emotion,
he has everlasting vigor,
power to grow,
though there are few creatures who can make one
breathe faster and make one erecter.
Not afraid of anything is he,
and then goes cowering forth, tread paced to meet an obstacle
at every step. Consistent with the
formula--warm blood, no gills, two pairs of hands and a few hairs--
that
is a mammal; there he sits on his own habitat,
serge-clad, strong-shod. The prey of fear, he, always
curtailed, extinguished, thwarted by the dusk, work partly
done,
says to the alternating blaze,
"Again the sun!
anew each day; and new and new and new,
that comes into and steadies my soul. "
|
Written by
Seamus Heaney |
The piper coming from far away is you
With a whitewash brush for a sporran
Wobbling round you, a kitchen chair
Upside down on your shoulder, your right arm
Pretending to tuck the bag beneath your elbow,
Your pop-eyes and big cheeks nearly bursting
With laughter, but keeping the drone going on
Interminably, between catches of breath.
*
The whitewash brush. An old blanched skirted thing
On the back of the byre door, biding its time
Until spring airs spelled lime in a work-bucket
And a potstick to mix it in with water.
Those smells brought tears to the eyes, we inhaled
A kind of greeny burning and thought of brimstone.
But the slop of the actual job
Of brushing walls, the watery grey
Being lashed on in broad swatches, then drying out
Whiter and whiter, all that worked like magic.
Where had we come from, what was this kingdom
We knew we'd been restored to? Our shadows
Moved on the wall and a tar border glittered
The full length of the house, a black divide
Like a freshly opened, pungent, reeking trench.
*
Piss at the gable, the dead will congregate.
But separately. The women after dark,
Hunkering there a moment before bedtime,
The only time the soul was let alone,
The only time that face and body calmed
In the eye of heaven.
Buttermilk and urine,
The pantry, the housed beasts, the listening bedroom.
We were all together there in a foretime,
In a knowledge that might not translate beyond
Those wind-heaved midnights we still cannot be sure
Happened or not. It smelled of hill-fort clay
And cattle dung. When the thorn tree was cut down
You broke your arm. I shared the dread
When a strange bird perched for days on the byre roof.
*
That scene, with Macbeth helpless and desperate
In his nightmare--when he meets the hags agains
And sees the apparitions in the pot--
I felt at home with that one all right. Hearth,
Steam and ululation, the smoky hair
Curtaining a cheek. 'Don't go near bad boys
In that college that you're bound for. Do you hear me?
Do you hear me speaking to you? Don't forget!'
And then the postick quickening the gruel,
The steam crown swirled, everything intimate
And fear-swathed brightening for a moment,
Then going dull and fatal and away.
*
Grey matter like gruel flecked with blood
In spatters on the whitewash. A clean spot
Where his head had been, other stains subsumed
In the parched wall he leant his back against
That morning like any other morning,
Part-time reservist, toting his lunch-box.
A car came slow down Castle Street, made the halt,
Crossed the Diamond, slowed again and stopped
Level with him, although it was not his lift.
And then he saw an ordinary face
For what it was and a gun in his own face.
His right leg was hooked back, his sole and heel
Against the wall, his right knee propped up steady,
So he never moved, just pushed with all his might
Against himself, then fell past the tarred strip,
Feeding the gutter with his copious blood.
*
My dear brother, you have good stamina.
You stay on where it happens. Your big tractor
Pulls up at the Diamond, you wave at people,
You shout and laugh about the revs, you keep
old roads open by driving on the new ones.
You called the piper's sporrans whitewash brushes
And then dressed up and marched us through the kitchen,
But you cannot make the dead walk or right wrong.
I see you at the end of your tether sometimes,
In the milking parlour, holding yourself up
Between two cows until your turn goes past,
Then coming to in the smell of dung again
And wondering, is this all? As it was
In the beginning, is now and shall be?
Then rubbing your eyes and seeing our old brush
Up on the byre door, and keeping going.
|
Written by
Philip Levine |
The day comes slowly in the railyard
behind the ice factory. It broods on
one cinder after another until each
glows like lead or the eye of a dog
possessed of no inner fire, the brown
and greasy pointer who raises his muzzle
a moment and sighing lets it thud
down on the loading dock. In no time
the day has crossed two sets of tracks,
a semi-trailer with no tractor, and crawled
down three stories of the bottling plant
at the end of the alley. It is now
less than five hours until mid-day
when nothing will be left in doubt,
each scrap of news, each banished carton,
each forgotten letter, its ink bled of lies,
will stare back at the one eye that sees
it all and never blinks. But for now
there is water settling in a clean glass
on the shelf beside the razor, the slap
of bare feet on the floor above. Soon
the scent of rivers borne across roof
after roof by winds without names,
the aroma of opened beds better left
closed, of mouths without teeth, of light
rustling among the mice droppings
at the back of a bin of potatoes.
*
The old man who sleeps among the cases
of empty bottles in a little nest of rags
and newspapers at the back of the plant
is not an old man. He is twenty years
younger than I am now putting this down
in permanent ink on a yellow legal pad
during a crisp morning in October.
When he fell from a high pallet, his sleeve
caught on a nail and spread his arms
like a figure out of myth. His head
tore open on a spear of wood, and he
swore in French. No, he didn't want
a doctor. He wanted toilet paper
and a drink, which were fetched. He used
the tiny bottle of whisky to straighten
out his eyes and the toilet paper to clean
his pants, fouled in the fall, and he did
both with seven teenage boys looking on
in wonder and fear. At last the blood
slowed and caked above his ear, and he
never once touched the wound. Instead,
in a voice no one could hear, he spoke
to himself, probably in French, and smoked
sitting back against a pallet, his legs
thrust out on the damp cement floor.
*
In his white coveralls, crisp and pressed,
Teddy the Polack told us a fat tit
would stop a toothache, two a headache.
He told it to anyone who asked, and grinned --
the small eyes watering at the corners --
as Alcibiades might have grinned
when at last he learned that love leads
even the body beloved to a moment
in the present when desire calms, the skin
glows, the soul takes the light of day,
even a working day in 1944.
For Baharozian at seventeen the present
was a gift. Seeing my ashen face,
the cold sweats starting, he seated me
in a corner of the boxcar and did
both our jobs, stacking the full cases
neatly row upon row and whistling
the songs of Kate Smith. In the bathroom
that night I posed naked before the mirror,
the new cross of hair staining my chest,
plunging to my groin. That was Wednesday,
for every Wednesday ended in darkness.
*
One of those teenage boys was my brother.
That night as we lay in bed, the lights
out, we spoke of Froggy, of how at first
we thought he would die and how little
he seemed to care as the blood rose
to fill and overflow his ear. Slowly
the long day came over us and our breath
quieted and eased at last, and we slept.
When I close my eyes now his bare legs
glow before me again, pure and lovely
in their perfect whiteness, the buttocks
dimpled and firm. I see again the rope
of his sex, unwrinkled, flushed and swaying,
the hard flat belly as he raises his shirt
to clean himself. He gazes at no one
or nothing, but seems instead to look off
into a darkness I hadn't seen, a pool
of shadow that forms before his eyes,
in my memory now as solid as onyx.
*
I began this poem in the present
because nothing is past. The ice factory,
the bottling plant, the cindered yard
all gave way to a low brick building
a block wide and windowless where they
designed gun mounts for personnel carriers
that never made it to Korea. My brother
rises early, and on clear days he walks
to the corner to have toast and coffee.
Seventeen winters have melted into an earth
of stone, bottle caps, and old iron to carry
off the hard remains of Froggy Frenchman
without a blessing or a stone to bear it.
A little spar of him the size of a finger,
pointed and speckled as though blood-flaked,
washed ashore from Lake Erie near Buffalo
before the rest slipped down the falls out
into the St. Lawrence. He could be at sea,
he could be part of an ocean, by now
he could even be home. This morning I
rose later than usual in a great house
full of sunlight, but I believe it came
down step by step on each wet sheet
of wooden siding before it crawled
from the ceiling and touched my pillow
to waken me. When I heave myself
out of this chair with a great groan of age
and stand shakily, the three mice still
in the wall. From across the lots
the wind brings voices I can't make out,
scraps of song or sea sounds, daylight
breaking into dust, the perfume of waiting
rain, of onions and potatoes frying.
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