Written by
Pablo Neruda |
You've asked me what the lobster is weaving there with
his golden feet?
I reply, the ocean knows this.
You say, what is the ascidia waiting for in its transparent
bell? What is it waiting for?
I tell you it is waiting for time, like you.
You ask me whom the Macrocystis alga hugs in its arms?
Study, study it, at a certain hour, in a certain sea I know.
You question me about the wicked tusk of the narwhal,
and I reply by describing
how the sea unicorn with the harpoon in it dies.
You enquire about the kingfisher's feathers,
which tremble in the pure springs of the southern tides?
Or you've found in the cards a new question touching on
the crystal architecture
of the sea anemone, and you'll deal that to me now?
You want to understand the electric nature of the ocean
spines?
The armored stalactite that breaks as it walks?
The hook of the angler fish, the music stretched out
in the deep places like a thread in the water?
I want to tell you the ocean knows this, that life in its
jewel boxes
is endless as the sand, impossible to count, pure,
and among the blood-colored grapes time has made the
petal
hard and shiny, made the jellyfish full of light
and untied its knot, letting its musical threads fall
from a horn of plenty made of infinite mother-of-pearl.
I am nothing but the empty net which has gone on ahead
of human eyes, dead in those darknesses,
of fingers accustomed to the triangle, longitudes
on the timid globe of an orange.
I walked around as you do, investigating
the endless star,
and in my net, during the night, I woke up naked,
the only thing caught, a fish trapped inside the wind.
|
Written by
Tupac Shakur |
Before u came the triangle never broke
we were bonded and melded as one
but as the 2 pushed u away
the one got weak and embraced u
and now u are ripping us apart..
The worst feeling of helplessness
the greatest pain has rested in my heart
the vision of heaven fades
and the nightmare of loneliness has started..
My hero has been defeated by u
and now what can i do
watch as u destroy us
and our love is finally through
I know worst is here
I feel it in my heart
u got into the circle
now u are tearing us apart!
|
Written by
Marge Piercy |
In flat America, in Chicago,
Graceland cemetery on the German North Side.
Forty feet of Corinthian candle
celebrate Pullman embedded
lonely raisin in a cake of concrete.
The Potter Palmers float
in an island parthenon.
Barons of hogfat, railroads and wheat
are postmarked with angels and lambs.
But the Getty tomb: white, snow patterned
in a triangle of trees swims dappled with leaf shadow,
sketched light arch within arch
delicate as fingernail moons.
The green doors should not be locked.
Doors of fern and flower should not be shut.
Louis Sullivan, I sit on your grave.
It is not now good weather for prophets.
Sun eddies on the steelsmoke air like sinking honey.
On the inner green door of the Getty tomb
(a thighbone's throw from your stone)
a marvel of growing, blooming, thrusting into seed:
how all living wreathe and insinuate
in the circlet of repetition that never repeats:
ever new birth never rebirth.
Each tide pool microcosm spiraling from your hand.
Sullivan, you had another five years
when your society would give you work.
Thirty years with want crackling in your hands.
Thirty after years with cities
flowering and turning grey in your beard.
All poets are unemployed nowadays.
My country marches in its sleep.
The past structures a heavy mausoleum
hiding its iron frame in masonry.
Men burn like grass
while armies grow.
Thirty years in the vast rumbling gut
of this society you stormed
to be used, screamed
no louder than any other breaking voice.
The waste of a good man
bleeds the future that's come
in Chicago, in flat America,
where the poor still bleed from the teeth,
housed in sewers and filing cabinets,
where prophets may spit into the wind
till anger sleets their eyes shut,
where this house that dances the seasons
and the braid of all living
and the joy of a man making his new good thing
is strange, irrelevant as a meteor,
in Chicago, in flat America
in this year of our burning.
|
Written by
Pablo Neruda |
America, from a grain
of maize you grew
to crown
with spacious lands
the ocean foam.
A grain of maize was your geography.
From the grain
a green lance rose,
was covered with gold,
to grace the heights
of Peru with its yellow tassels.
But, poet, let
history rest in its shroud;
praise with your lyre
the grain in its granaries:
sing to the simple maize in the kitchen.
First, a fine beard
fluttered in the field
above the tender teeth
of the young ear.
Then the husks parted
and fruitfulness burst its veils
of pale papyrus
that grains of laughter
might fall upon the earth.
To the stone,
in your journey,
you returned.
Not to the terrible stone,
the bloody
triangle of Mexican death,
but to the grinding stone,
sacred
stone of your kitchens.
There, milk and matter,
strength-giving, nutritious
cornmeal pulp,
you were worked and patted
by the wondrous hands
of dark-skinned women.
Wherever you fall, maize,
whether into the
splendid pot of partridge, or among
country beans, you light up
the meal and lend it
your virginal flavor.
Oh, to bite into
the steaming ear beside the sea
of distant song and deepest waltz.
To boil you
as your aroma
spreads through
blue sierras.
But is there
no end
to your treasure?
In chalky, barren lands
bordered
by the sea, along
the rocky Chilean coast,
at times
only your radiance
reaches the empty
table of the miner.
Your light, your cornmeal, your hope
pervades America's solitudes,
and to hunger
your lances
are enemy legions.
Within your husks,
like gentle kernels,
our sober provincial
children's hearts were nurtured,
until life began
to shuck us from the ear.
|
Written by
Robert William Service |
Three Triangles
TRIANGLE ONE
My husband put some poison in my beer,
And fondly hoped that I would drink it up.
He would get rid of me - no bloody fear,
For when his back was turned I changed the cup.
He took it all, and if he did not die,
Its just because he's heartier than I.
And now I watch and watch him night and day
dreading that he will try it on again.
I'm getting like a skeleton they say,
And every time I feel the slightest pain
I think: he's got me this time. . . . Oh the beast!
He might have let me starve to death, at least.
But all he thinks of is that shell-pink nurse.
I know as well as well that they're in loe.
I'm sure they kiss, and maybe do things worse,
Although she looks as gentle as a dove.
I see their eyes with passion all aglow:
I know they only wait for me to go.
Ah well, I'll go (I have to, anyway),
But they will pay the price of lust and sin.
I've sent a letter to the police to say:
"If I should die its them have dome me in."
And now a lot of vernal I'll take,
And go to sleep, and never, never wake.
But won't I laugh! Aye, even when I'm dead,
To think of them both hanging by the head.
TRIANGLE TWO
My wife's a fancy bit of stuff it's true;
But that's no reason she should do me dirt.
Of course I know a girl is tempted to,
With mountain men a-fussin' round her skirt.
A 'andome women's bound to 'ave a 'eart,
But that's no reason she should be a tart.
I didn't oughter give me 'ome address
To sergeant when 'e last went on 'is leave;
And now the 'ole shebang's a bloody mess;
I didn't think the missis would deceive.
And 'ere was I, a-riskin' of me life,
And thee was 'e, a-sleepin' wiv me wife.
Go blimy, but this thing 'as got to stop.
Well, next time when we makes a big attack,
As soon as we gets well across the top,
I'll plug 'em (accidental) in the back.
'E'll cop a blinkin' packet in 'is spine,
And that'll be the end of 'im, the swine.
It's easy in the muck-up of a fight;
And all me mates'll think it was the foe.
And 'oo can say it doesn't serve 'im right?
And I'll go 'ome and none will ever know,
My missis didn't oughter do that sort o' thing,
Seein' as 'ow she wears my weddin' ring.
Well, we'll be just as 'appy as before,
When otherwise she might a' bin a 'ore.
TRIANGLE THREE
It's fun to see Joe fuss around that kid.
I know 'e loves 'er more than all the rest,
Because she's by a lot the prettiest.
'E wouldn't lose 'er for a 'undred quid.
I love 'er too, because she isn't his'n;
But Jim, his brother's, wot they've put in prision.
It's 'ard to 'ave a 'usband wot you 'ate;
So soft that if 'e knowed you'd 'ad a tup,
'E wouldn't 'ave the guts to beat you up.
Now Jim - 'e's wot I call a proper mate.
I daren't try no monkey tricks wiv 'im.
'E'd flay be 'ide off (quite right, too) would Jim.
I won't let on to Jim when 'e comes out;
But Joe - each time I see 'im kissin' Nell,
I 'ave to leave the room and laughlike 'ell.
"E'll 'ave the benefit (damn little) of the doubt.
So let 'im kiss our Nellie fit to smother;
There ain't no proof 'er father is 'is brother.
Well, anyway I've no remorse. You see,
I've kept my frailty in the family.
|
Written by
Barry Tebb |
Dawn’s my Mr Right, already
Cocks have crowed, birds flown from nests,
The neon lights of Leeds last night still
Sovereign in my sights, limousines and
Pink baloons, tee shirts with green stencilled
Dates of wedding days to come, the worn dance floor,
Jingling arcades where chrome fendered fruit machines
Rest on plush carpets like the ghosts of fifties Chevies,
Dreams for sale on boulevards where forget-me-nots
Are flowing through the hyaline summer air.
I stood with you in Kings Cross on Thursday night
Waiting for a bus we saw the lighthouse on top
Of a triangle of empty shops and seedy bedsits,
Some relic of a nineteenth century’s eccentric’s dream come true.
But posing now the question "What to do with a listed building
And the Channel Tunnel coming through?" Its welded slats,
Timber frame and listing broken windows blew our minds-
Like discovering a Tintoretto in a gallery of fakes.
Leeds takes away the steely glare of Sutton
Weighing down on me like breeze-blocks by the ton,
When all I want to do is run away and make a home
In Keighley, catch a bus to Haworth and walk and walk
Till human talk is silenced by the sun.
|
Written by
Philip Levine |
He made a line on the blackboard,
one bold stroke from right to left
diagonally downward and stood back
to ask, looking as always at no one
in particular, "What have I done?"
From the back of the room Freddie
shouted, "You've broken a piece
of chalk." M. Degas did not smile.
"What have I done?" he repeated.
The most intellectual students
looked down to study their desks
except for Gertrude Bimmler, who raised
her hand before she spoke. "M. Degas,
you have created the hypotenuse
of an isosceles triangle." Degas mused.
Everyone knew that Gertrude could not
be incorrect. "It is possible,"
Louis Warshowsky added precisely,
"that you have begun to represent
the roof of a barn." I remember
that it was exactly twenty minutes
past eleven, and I thought at worst
this would go on another forty
minutes. It was early April,
the snow had all but melted on
the playgrounds, the elms and maples
bordering the cracked walks shivered
in the new winds, and I believed
that before I knew it I'd be
swaggering to the candy store
for a Milky Way. M. Degas
pursed his lips, and the room
stilled until the long hand
of the clock moved to twenty one
as though in complicity with Gertrude,
who added confidently, "You've begun
to separate the dark from the dark."
I looked back for help, but now
the trees bucked and quaked, and I
knew this could go on forever.
|
Written by
Edward Taylor |
I take the long walk up the staircase to my secret room.
Today's big news: they found Amelia Earhart's shoe, size 9.
1992: Charlie Christian is bebopping at Minton's in 1941.
Today, the Presidential primaries have failed us once again.
We'll look for our excitement elsewhere, in the last snow
that is falling, in tomorrow's Gospel Concert in Springfield.
It's a good day to be a cat and just sleep.
Or to read the Confessions of Saint Augustine.
Jesus called the sons of Zebedee the Sons of Thunder.
In my secret room, plans are hatched: we'll explore the Smoky Mountains.
Then we'll walk along a beach: Hallelujah!
(A letter was just delivered by Overnight Express--
it contained nothing of importance, I slept through it.)
(I guess I'm trying to be "above the fray.")
The Russians, I know, have developed a language called "Lincos"
designed for communicating with the inhabitants of other worlds.
That's been a waste of time, not even a postcard.
But then again, there are tree-climbing fish, called anabases.
They climb the trees out of stupidity, or so it is said.
Who am I to judge? I want to break out of here.
A bee is not strong in geometry: it cannot tell
a square from a triangle or a circle.
The locker room of my skull is full of panting egrets.
I'm saying that strictly for effect.
In time I will heal, I know this, or I believe this.
The contents and furnishings of my secret room will be labeled
and organized so thoroughly it will be a little frightening.
What I thought was infinite will turn out to be just a couple
of odds and ends, a tiny miscellany, miniature stuff, fragments
of novelties, of no great moment. But it will also be enough,
maybe even more than enough, to suggest an immense ritual and tradition.
And this makes me very happy.
|
Written by
Robert Pinsky |
The back, the yoke, the yardage. Lapped seams,
The nearly invisible stitches along the collar
Turned in a sweatshop by Koreans or Malaysians
Gossiping over tea and noodles on their break
Or talking money or politics while one fitted
This armpiece with its overseam to the band
Of cuff I button at my wrist. The presser, the cutter,
The wringer, the mangle. The needle, the union,
The treadle, the bobbin. The code. The infamous blaze
At the Triangle Factory in nineteen-eleven.
One hundred and forty-six died in the flames
On the ninth floor, no hydrants, no fire escapes--
The witness in a building across the street
Who watched how a young man helped a girl to step
Up to the windowsill, then held her out
Away from the masonry wall and let her drop.
And then another. As if he were helping them up
To enter a streetcar, and not eternity.
A third before he dropped her put her arms
Around his neck and kissed him. Then he held
Her into space, and dropped her. Almost at once
He stepped up to the sill himself, his jacket flared
And fluttered up from his shirt as he came down,
Air filling up the legs of his gray trousers--
Like Hart Crane's Bedlamite, "shrill shirt ballooning."
Wonderful how the patern matches perfectly
Across the placket and over the twin bar-tacked
Corners of both pockets, like a strict rhyme
Or a major chord. Prints, plaids, checks,
Houndstooth, Tattersall, Madras. The clan tartans
Invented by mill-owners inspired by the hoax of Ossian,
To control their savage Scottish workers, tamed
By a fabricated heraldry: MacGregor,
Bailey, MacMartin. The kilt, devised for workers
to wear among the dusty clattering looms.
Weavers, carders, spinners. The loader,
The docker, the navvy. The planter, the picker, the sorter
Sweating at her machine in a litter of cotton
As slaves in calico headrags sweated in fields:
George Herbert, your descendant is a Black
Lady in South Carolina, her name is Irma
And she inspected my shirt. Its color and fit
And feel and its clean smell have satisfied
both her and me. We have culled its cost and quality
Down to the buttons of simulated bone,
The buttonholes, the sizing, the facing, the characters
Printed in black on neckband and tail. The shape,
The label, the labor, the color, the shade. The shirt.
|
Written by
Elizabeth Bishop |
Half squatter, half tenant (no rent)—
a sort of inheritance; white,
in your thirties now, and supposed
to supply me with vegetables,
but you don't; or you won't; or you can't
get the idea through your brain—
the world's worst gardener since Cain.
Titled above me, your gardens
ravish my eyes. You edge
the beds of silver cabbages
with red carnations, and lettuces
mix with alyssum. And then
umbrella ants arrive,
or it rains for a solid week
and the whole thing's ruined again
and I buy you more pounds of seeds,
imported, guaranteed,
and eventually you bring me
a mystic thee-legged carrot,
or a pumpkin "bigger than the baby."
I watch you through the rain,
trotting, light, on bare feet,
up the steep paths you have made—
or your father and grandfather made—
all over my property,
with your head and back inside
a sodden burlap bag,
and feel I can't endure it
another minute; then,
indoors, beside the stove,
keep on reading a book.
You steal my telephone wires,
or someone does. You starve
your horse and yourself
and your dogs and family.
among endless variety,
you eat boiled cabbage stalks.
And once I yelled at you
so loud to hurry up
and fetch me those potatoes
your holey hat flew off,
you jumped out of your clogs,
leaving three objects arranged
in a triangle at my feet,
as if you'd been a gardener
in a fairy tale all this time
and at the word "potatoes"
had vanished to take up your work
of fairy prince somewhere.
The strangest things happen to you.
Your cows eats a "poison grass"
and drops dead on the spot.
Nobody else's does.
And then your father dies,
a superior old man
with a black plush hat, and a moustache
like a white spread-eagled sea gull.
The family gathers, but you,
no, you "don't think he's dead!
I look at him. He's cold.
They're burying him today.
But you know, I don't think he's dead."
I give you money for the funeral
and you go and hire a bus
for the delighted mourners,
so I have to hand over some more
and then have to hear you tell me
you pray for me every night!
And then you come again,
sniffing and shivering,
hat in hand, with that wistful
face, like a child's fistful
of bluets or white violets,
improvident as the dawn,
and once more I provide
for a shot of penicillin
down at the pharmacy, or
one more bottle of
Electrical Baby Syrup.
Or, briskly, you come to settle
what we call our "accounts,"
with two old copybooks,
one with flowers on the cover,
the other with a camel.
immediate confusion.
You've left out decimal points.
Your columns stagger,
honeycombed with zeros.
You whisper conspiratorially;
the numbers mount to millions.
Account books? They are Dream Books.
in the kitchen we dream together
how the meek shall inherit the earth—
or several acres of mine.
With blue sugar bags on their heads,
carrying your lunch,
your children scuttle by me
like little moles aboveground,
or even crouch behind bushes
as if I were out to shoot them!
—Impossible to make friends,
though each will grab at once
for an orange or a piece of candy.
Twined in wisps of fog,
I see you all up there
along with Formoso, the donkey,
who brays like a pump gone dry,
then suddenly stops.
—All just standing, staring
off into fog and space.
Or coming down at night,
in silence, except for hoofs,
in dim moonlight, the horse
or Formoso stumbling after.
Between us float a few
big, soft, pale-blue,
sluggish fireflies,
the jellyfish of the air...
Patch upon patch upon patch,
your wife keeps all of you covered.
She has gone over and over
(forearmed is forewarned)
your pair of bright-blue pants
with white thread, and these days
your limbs are draped in blueprints.
You paint—heaven knows why—
the outside of the crown
and brim of your straw hat.
Perhaps to reflect the sun?
Or perhaps when you were small,
your mother said, "Manuelzinho,
one thing; be sure you always
paint your straw hat."
One was gold for a while,
but the gold wore off, like plate.
One was bright green. Unkindly,
I called you Klorophyll Kid.
My visitors thought it was funny.
I apologize here and now.
You helpless, foolish man,
I love you all I can,
I think. Or I do?
I take off my hat, unpainted
and figurative, to you.
Again I promise to try.
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