Written by
Philip Levine |
If the shoe fell from the other foot
who would hear? If the door
opened onto a pure darkness
and it was no dream? If your life
ended the way a book ends
with half a blank page and the survivors
gone off to Africa or madness?
If my life ended in late spring
of 1964 while I walked alone
back down the mountain road?
I sing an old song to myself. I study
the way the snow remains, gray
and damp, in the deep shadows of the firs.
I wonder if the bike is safe hidden
just off the highway. Up ahead
the road, black and winding, falls
away, and there is the valley where
I lived half of my life, spectral
and calm. I sigh with gratitude,
and then I feel an odd pain rising
through the back of my head,
and my eyes go dark. I bend forward
and place my palms on something rough,
the black asphalt or a field of stubble,
and the movement is that of the penitent
just before he stands to his full height
with the knowledge of his enormity.
For that moment which will survive
the burning of all the small pockets
of fat and oil that are the soul,
I am the soul stretching into
the furthest reaches of my fingers
and beyond, glowing like ten candles
in the vault of night for anyone
who could see, even though it is
12:40 in the afternoon and I
have passed from darkness into sunlight
so fierce the sweat streams down
into my eyes. I did not rise.
A wind or a stray animal or a group
of kids dragged me to the side
of the road and turned me over
so that my open eyes could flood heaven.
My clothes went skittering down
the road without me, ballooning
out into any shape, giddy
with release. My coins, my rings,
the keys to my house shattered
like ice and fell into the mountain
thorns and grasses, little bright points
that make you think there is magic
in everything you see. No, it can't
be, you say, for someone is speaking
calmly to you in a voice you know.
Someone alive and confident has put
each of these words down exactly
as he wants them on the page.
You have lived through years
of denial, of public lies, of death
falling like snow on any head
it chooses. You're not a child.
You know the real thing. I am
here, as I always was, faithful
to a need to speak even when all
you hear is a light current of air
tickling your ear. Perhaps.
But what if that dried bundle
of leaves and dirt were not dirt
and leaves but the spent wafer
of a desire to be human? Stop the car,
turn off the engine, and stand
in the silence above your life. See
how the grass mirrors fire, how
a wind rides up the hillside
steadily toward you until it surges
into your ears like breath coming
and going, released from its bondage
to blood or speech and denying nothing.
|
Written by
Linda Pastan |
After Adam Zagajewski
I am child to no one, mother to a few,
wife for the long haul.
On fall days I am happy
with my dying brethren, the leaves,
but in spring my head aches
from the flowery scents.
My husband fills a room with Mozart
which I turn off, embracing
the silence as if it were an empty page
waiting for me alone to fill it.
He digs in the black earth
with his bare hands. I scrub it
from the creases of his skin, longing
for the kind of perfection
that happens in books.
My house is my only heaven.
A red dog sleeps at my feet, dreaming
of the manic wings of flushed birds.
As the road shortens ahead of me
I look over my shoulder
to where it curves back
to childhood, its white line
bisecting the real and the imagined
the way the ridgepole of the spine
divides the two parts of the body, leaving
the soft belly in the center
vulnerable to anything.
As for my country, it blunders along
as well intentioned as Eve choosing
cider and windfalls, oblivious
to the famine soon to come.
I stir pots, bury my face in books, or hold
a telephone to my ear as if its cord
were the umbilicus of the world
whose voices still whisper to me
even after they have left their bodies.
|
Written by
Anne Sexton |
The end of the affair is always death.
She's my workshop. Slippery eye,
out of the tribe of myself my breath
finds you gone. I horrify
those who stand by. I am fed.
At night, alone, I marry the bed.
Finger to finger, now she's mine.
She's not too far. She's my encounter.
I beat her like a bell. I recline
in the bower where you used to mount her.
You borrowed me on the flowered spread.
At night, alone, I marry the bed.
Take for instance this night, my love,
that every single couple puts together
with a joint overturning, beneath, above,
the abundant two on sponge and feather,
kneeling and pushing, head to head.
At night, alone, I marry the bed.
I break out of my body this way,
an annoying miracle. Could I
put the dream market on display?
I am spread out. I crucify.
My little plum is what you said.
At night, alone, I marry the bed.
Then my black-eyed rival came.
The lady of water, rising on the beach,
a piano at her fingertips, shame
on her lips and a flute's speech.
And I was the knock-kneed broom instead.
At night, alone, I marry the bed.
She took you the way a women takes
a bargain dress off the rack
and I broke the way a stone breaks.
I give back your books and fishing tack.
Today's paper says that you are wed.
At night, alone, I marry the bed.
The boys and girls are one tonight.
They unbutton blouses. They unzip flies.
They take off shoes. They turn off the light.
The glimmering creatures are full of lies.
They are eating each other. They are overfed.
At night, alone, I marry the bed.
|
Written by
Derek Walcott |
So much rain, so much life like the swollen sky
of this black August. My sister, the sun,
broods in her yellow room and won't come out.
Everything goes to hell; the mountains fume
like a kettle, rivers overrun; still,
she will not rise and turn off the rain.
She is in her room, fondling old things,
my poems, turning her album. Even if thunder falls
like a crash of plates from the sky,
she does not come out.
Don't you know I love you but am hopeless
at fixing the rain ? But I am learning slowly
to love the dark days, the steaming hills,
the air with gossiping mosquitoes,
and to sip the medicine of bitterness,
so that when you emerge, my sister,
parting the beads of the rain,
with your forehead of flowers and eyes of forgiveness,
all with not be as it was, but it will be true
(you see they will not let me love
as I want), because, my sister, then
I would have learnt to love black days like bright ones,
The black rain, the white hills, when once
I loved only my happiness and you.
|
Written by
Ruth Padel |
He's gone. She can't believe it, can't go on. She's going to give up painting. So she paints Her final canvas, total-turn-off
Black. One long
Obsidian goodbye. A charcoal-burner's Smirnoff, The mirror of Loch Ness Reflecting the monster back to its own eye.
But something's wrong. Those mad Black-body particles don't sing Her story of despair, the steel and
Garnet spindle
Of the storm.
This black has everything its own sweet way, Where's the I'd-like-to-kill-You conflict? Try once more, but this time add
A curve to all that straight. And opposition White. She paints black first. A grindstone belly Hammering a smaller shape
Beneath a snake
Of in-betweening light. "I feel like this. I hope that you do, too, Black crater. Screw you. Kiss" And sees a voodoo flicker, where two worlds nearly touch
And miss. That flash, where white
Lets black get close, that dagger of not-quite contact,
Catspaw panic, quiver on the wheat
Field before thunder -
There. That's it. That's her own self, in paint, Splitting what she was from what she is. As if everything that separates, unites.
Copyright
from Voodoo Shop (Chatto, 2002), copyright © Ruth Padel 2002, used by permission of the author and the publisher
|
Written by
Charles Bukowski |
sometimes you climb out of bed in the morning and you think,
I'm not going to make it, but you laugh inside
remembering all the times you've felt that way, and
you walk to the bathroom, do your toilet, see that face
in the mirror, oh my oh my oh my, but you comb your hair anyway,
get into your street clothes, feed the cats, fetch the
newspaper of horror, place it on the coffee table, kiss your
wife goodbye, and then you are backing the car out into life itself,
like millions of others you enter the arena once more.
you are on the freeway threading through traffic now,
moving both towards something and towards nothing at all as you punch
the radio on and get Mozart, which is something, and you will somehow
get through the slow days and the busy days and the dull
days and the hateful days and the rare days, all both so delightful
and so disappointing because
we are all so alike and so different.
you find the turn-off, drive through the most dangerous
part of town, feel momentarily wonderful as Mozart works
his way into your brain and slides down along your bones and
out through your shoes.
it's been a tough fight worth fighting
as we all drive along
betting on another day.
|
Written by
Yehuda Amichai |
Forgetting someone is like forgetting to turn off the light
in the backyard so it stays lit all the next day
But then it is the light that makes you remember.
|
Written by
Rg Gregory |
when they look into his mind they find a hill town
somewhat surprised they go off to their learned books
outside (architecturally) he’d seems a little wind-blown
not special – a common sort of shackman by his looks
not the sure kind to want the sun to get its hooks
into his self-containment (his bunched-up notions)
thoughts crammed like the heads of ripened corn in stooks
who has a well-stocked feel – runs deep but no commotions
cool as a many-crypted church at its devotions
the learned books do say something about deception
how when you pass him in the street his back is turned
as if (of who you are) he harbours no conception
so you (of him) though wary cannot be that concerned
appearances appearances (its kudos earned)
the book crows - being too aware of inside-outs
knowing full well the volte-face nature of the scorned
the dullest horses may best play havoc with the touts
nor hillside towns dispel the speeding tourist’s doubts
you have to turn off - want to know what’s their attraction
to nose into narrow ways (climb through streaks of sun
and deep sharp shadow - such a lung’s exaction)
to catch a sense of busy life close to the bone
worn tracks between doors (waft of voices) eyes in stone
smells of food (enticing) splashes of unleashed wine
water rills carrying old bridges (a faint drone
descending like a bee-swarm) courtyards – a cool shrine
a sudden market’s noise (a local-produce mine)
and then the topmost square with church or water towers
a dance of bustling shops and sparkling language banter
and every crevice cranny bosoming out with flowers
a busy-ness of purpose and a heart’s enchanter
(the sun distributes gold – allows the blood to saunter)
the bricks of buildings glow with centuries of nous
as though the wisest grape best pours from this decanter
both tempered peace and passion welter in its throes
and fountain sprays refract what such life knows
so with the man – whose innerness the world at large
shuts out or rushes past (its own deep rifts demanding)
but to himself (in that dark realm where he’s in charge)
with all his senses geared to sapience longstanding
there’s not a day goes by without his flairs expanding
in every passageway his mind has set up stalls
and diverse thoughts and voices do their blending
so what that he (from outside rush and guff) withdraws
he and the hilltown share each other’s stilled applause
|
Written by
Isaac Watts |
Prayer for quickening grace.
ver. 25,37
My soul lies cleaving to the dust;
Lord, give me life divine;
From vain desires and every lust
Turn off these eyes of mine.
I need the influence of thy grace
To speed me in thy way,
Lest I should loiter in my race,
Or turn my feet astray.
ver. 107
When sore afflictions press me down,
I need thy quick'ning powers;
Thy word that I have rested on
Shall help my heaviest hours.
ver. 156,40
Are not thy mercies sovereign still,
And thou a faithful God?
Wilt thou not grant me warmer zeal
To run the heav'nly road?
ver. 159,40
Does not my heart thy precepts love,
And long to see thy face?
And yet how slow my spirits move
Without enliv'ning grace!
ver. 93
Then shall I love thy gospel more,
And ne'er forget thy word,
When I have felt its quick'ning power,
To draw me near the Lord.
|
Written by
Isaac Watts |
Breathing after holiness.
ver. 5,33
O that the Lord would guide my ways
To keep his statutes still!
O that my God would grant me grace
To know and do his will!
ver. 29
O send thy Spirit down to write
Thy law upon my heart!
Nor let my tongue indulge deceit,
Nor act the liar's part.
ver. 37,36
From vanity turn off my eyes;
Let no corrupt design,
Nor covetous desires, arise
Within this soul of mine.
ver. 133
Order my footsteps by thy word,
And make my heart sincere;
Let sin have no dominion, Lord,
But keep my conscience clear.
ver. 176
My soul hath gone too far astray,
My feet too often slip;
Yet since I've not forgot thy way,
Restore thy wand'ring sheep.
ver. 35
Make me to walk in thy commands,
'Tis a delightful road;
Nor let my head, or heart, or hands,
Offend against my God.
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