Written by
Kathleen Raine |
Earth no longer
hymns the Creator,
the seven days of wonder,
the Garden is over —
all the stories are told,
the seven seals broken
all that begins
must have its ending,
our striving, desiring,
our living and dying,
for Time, the bringer
of abundant days
is Time the destroyer —
In the Iron Age
the Kali Yuga
To whom can we pray
at the end of an era
but the Lord Shiva,
the Liberator, the purifier?
Our forests are felled,
our mountains eroded,
the wild places
where the beautiful animals
found food and sanctuary
we have desolated,
a third of our seas,
a third of our rivers
we have polluted
and the sea-creatures dying.
Our civilization’s
blind progress
in wrong courses
through wrong choices
has brought us to nightmare
where what seems,
is, to the dreamer,
the collective mind
of the twentieth century —
this world of wonders
not divine creation
but a big bang
of blind chance,
purposeless accident,
mother earth’s children,
their living and loving,
their delight in being
not joy but chemistry,
stimulus, reflex,
valueless, meaningless,
while to our machines
we impute intelligence,
in computers and robots
we store information
and call it knowledge,
we seek guidance
by dialling numbers,
pressing buttons,
throwing switches,
in place of family
our companions are shadows,
cast on a screen,
bodiless voices, fleshless faces,
where was the Garden
a Disney-land
of virtual reality,
in place of angels
the human imagination
is peopled with foot-ballers
film-stars, media-men,
experts, know-all
television personalities,
animated puppets
with cartoon faces —
To whom can we pray
for release from illusion,
from the world-cave,
but Time the destroyer,
the liberator, the purifier?
The curse of Midas
has changed at a touch,
a golden handshake
earthly paradise
to lifeless matter,
where once was seed-time,
summer and winter,
food-chain, factory farming,
monocrops for supermarkets,
pesticides, weed-killers
birdless springs,
endangered species,
battery-hens, hormone injections,
artificial insemination,
implants, transplants, sterilization,
surrogate births, contraception,
cloning, genetic engineering, abortion,
and our days shall be short
in the land we have sown
with the Dragon’s teeth
where our armies arise
fully armed on our killing-fields
with land-mines and missiles,
tanks and artillery,
gas-masks and body-bags,
our air-craft rain down
fire and destruction,
our space-craft broadcast
lies and corruption,
our elected parliaments
parrot their rhetoric
of peace and democracy
while the truth we deny
returns in our dreams
of Armageddon,
the death-wish, the arms-trade,
hatred and slaughter
profitable employment
of our thriving cities,
the arms-race
to the end of the world
of our postmodern,
post-Christian,
post-human nations,
progress to the nihil
of our spent civilization.
But cause and effect,
just and inexorable
law of the universe
no fix of science,
nor amenable god
can save from ourselves
the selves we have become —
At the end of history
to whom can we pray
but to the destroyer,
the liberator, the purifier?
In the beginning
the stars sang together
the cosmic harmony,
but Time, imperceptible
taker-away
of all that has been,
all that will be,
our heart-beat your drum,
our dance of life
your dance of death
in the crematorium,
our high-rise dreams,
Valhalla, Utopia,
Xanadu, Shangri-la, world revolution
Time has taken, and soon will be gone
Cambridge, Princeton and M.I.T.,
Nalanda, Athens and Alexandria
all for the holocaust
of civilization —
To whom shall we pray
when our vision has faded
but the world-destroyer,
the liberator, the purifier?
But great is the realm
of the world-creator,
the world-sustainer
from whom we come,
in whom we move
and have our being,
about us, within us
the wonders of wisdom,
the trees and the fountains,
the stars and the mountains,
all the children of joy,
the loved and the known,
the unknowable mystery
to whom we return
through the world-destroyer, —
Holy, holy
at the end of the world
the purging fire
of the purifier, the liberator!
|
Written by
Andre Breton |
There are many cumbersome ways to kill a man.
You can make him carry a plank of wood
to the top of a hill and nail him to it. To do this
properly you require a crowd of people
wearing sandals, a cock that crows, a cloak
to dissect, a sponge, some vinegar and one
man to hammer the nails home.
Or you can take a length of steel,
shaped and chased in a traditional way,
and attempt to pierce the metal cage he wears.
But for this you need white horses,
English trees, men with bows and arrows,
at least two flags, a prince, and a
castle to hold your banquet in.
Dispensing with nobility, you may, if the wind
allows, blow gas at him. But then you need
a mile of mud sliced through with ditches,
not to mention black boots, bomb craters,
more mud, a plague of rats, a dozen songs
and some round hats made of steel.
In an age of aeroplanes, you may fly
miles above your victim and dispose of him by
pressing one small switch. All you then
require is an ocean to separate you, two
systems of government, a nation's scientists,
several factories, a psychopath and
land that no-one needs for several years.
These are, as I began, cumbersome ways
to kill a man. Simpler, direct, and much more neat
is to see that he is living somewhere in the middle
of the twentieth century, and leave him there.
|
Written by
Nazim Hikmet |
11-11-1933
Bursa Prison
My one and only!
Your last letter says:
"My head is throbbing,
my heart is stunned!"
You say:
"If they hang you,
if I lose you,
I'll die!"
You'll live, my dear--
my memory will vanish like black smoke in the wind.
Of course you'll live, red-haired lady of my heart:
in the twentieth century
grief lasts
at most a year.
Death--
a body swinging from a rope.
My heart
can't accept such a death.
But
you can bet
if some poor gypsy's hairy black
spidery hand
slips a noose
around my neck,
they'll look in vain for fear
in Nazim's
blue eyes!
In the twilight of my last morning
I
will see my friends and you,
and I'll go
to my grave
regretting nothing but an unfinished song...
My wife!
Good-hearted,
golden,
eyes sweeter than honey--my bee!
Why did I write you
they want to hang me?
The trial has hardly begun,
and they don't just pluck a man's head
like a turnip.
Look, forget all this.
If you have any money,
buy me some flannel underwear:
my sciatica is acting up again.
And don't forget,
a prisoner's wife
must always think good thoughts.
|
Written by
Yehuda Amichai |
"What kind of a person are you," I heard them say to me.
I'm a person with a complex plumbing of the soul,
Sophisticated instruments of feeling and a system
Of controlled memory at the end of the twentieth century,
But with an old body from ancient times
And with a God even older than my body.
I'm a person for the surface of the earth.
Low places, caves and wells
Frighten me. Mountain peaks
And tall buildings scare me.
I'm not like an inserted fork,
Not a cutting knife, not a stuck spoon.
I'm not flat and sly
Like a spatula creeping up from below.
At most I am a heavy and clumsy pestle
Mashing good and bad together
For a little taste
And a little fragrance.
Arrows do not direct me. I conduct
My business carefully and quietly
Like a long will that began to be written
The moment I was born.
s Now I stand at the side of the street
Weary, leaning on a parking meter.
I can stand here for nothing, free.
I'm not a car, I'm a person,
A man-god, a god-man
Whose days are numbered. Hallelujah.
|
Written by
Les Murray |
In my aunt's house, the milk jug's beaded crochet cover
tickles the ear. We've eaten boiled things with butter.
Pie spiced like islands, dissolving in cream, is now
dissolving in us. We've reached the teapot of calm.
The table we sit at is fashioned of three immense
beech boards out of England. The minute widths of the year
have been refined in the wood by daughters' daughters.
In the year of Nelson, I notice, the winter was mild.
But our talk is cattle and cricket. My quiet uncle
has spent the whole forenoon sailing a stump-ridden field
of blady-grass and Pleistocene clay never ploughed
since the world's beginning. The Georgic furrow lengthens
in ever more intimate country. But we're talking bails,
stray cattle, brands. In the village of Merchandise Creek
there's a post in a ruined blacksmith shop that bears
a charred-in black-letter script of iron characters,
hooks, bars, conjoined letters, a weird bush syllabary.
It is the language of property seared into skin
but descends beyond speech into the muscles of cattle,
the world of feed as it shimmers in cattle minds.
My uncle, nodding, identifies the owners
(I gather M-bar was mourned by thousands of head).
It has its roots in meadows deeper than Gaelic,
my uncle's knowledge. Farmers longest in heaven
share slyly with him in my aunt's grave mischievous smile
that shines out of every object in my sight
in these loved timber rooms at the threshold of grass.
The depth in this marriage will heal the twentieth century.
|
Written by
Edwin Brock |
There are many cumbersome ways to kill a man.
You can make him carry a plank of wood
to the top of a hill and nail him to it. To do this
properly you require a crowd of people
wearing sandals, a cock that crows, a cloak
to dissect, a sponge, some vinegar and one
man to hammer the nails home.
Or you can take a length of steel,
shaped and chased in a traditional way,
and attempt to pierce the metal cage he wears.
But for this you need white horses,
English trees, men with bows and arrows,
at least two flags, a prince, and a
castle to hold your banquet in.
Dispensing with nobility, you may, if the wind
allows, blow gas at him. But then you need
a mile of mud sliced through with ditches,
not to mention black boots, bomb craters,
more mud, a plague of rats, a dozen songs
and some round hats made of steel.
In an age of aeroplanes, you may fly
miles above your victim and dispose of him by
pressing one small switch. All you then
require is an ocean to separate you, two
systems of government, a nation's scientists,
several factories, a psychopath and
land that no-one needs for several years.
These are, as I began, cumbersome ways
to kill a man. Simpler, direct, and much more neat
is to see that he is living somewhere in the middle
of the twentieth century, and leave him there.
|
Written by
Rg Gregory |
(i)
absinthe makes the hurt grow fonder
the green fairy burbles what's this 'ere
when vincent (sozzled) knifes his lug off
all spirits then succumb to fear
depression takes the gloss off wonder
and people (lost) tell god to bug off
the twentieth century drowns in sheer
excuse that life is comic blunder
temporality dons its gear
forbidden thought soon rips its gag off
stained glass (you think) must be bystander
its leaded eyes seek far not near
the day's bleak dirt it learns to shrug off
(ii)
the history of the race confuses
heady spirit with bloody need
nothing can stop the sky from tingling
intrinsic hope rewords its screed
assumes it must outlive its bruises
stained glass deigns to face the mingling
of atavistic search for creed
with each desire gets what it chooses
it tries to suck out truth from greed
and calmly pacifies the wrangling
lasting spirit allows no ruses
what's bottled dreads to pay much heed
between the two meek life is dangling
(from le trianon - stained glass window by berge)
|
Written by
David Lehman |
The last Campbell's tomato soup can
of the twentieth century is going to
the Andy Warhol Museum in Pittsburgh
That is an example of a sentence
Another is this from a CEO in Fortune
"You die in either case, but this way you get
to do it proactively," where the adverb
makes the sentence I'm walking amid
the tourists on Bleecker Street the riffraff
the students with backpacks the bums and
a good old-fashioned New York feeling
hits me from head to toe a misanthropic snarl
the urge to kick a stranger in the pants,
and if you don't smoke you feel as if you do
|
Written by
Wislawa Szymborska |
Nothing has changed.
The body is susceptible to pain,
it must eat and breathe air and sleep,
it has thin skin and blood right underneath,
an adequate stock of teeth and nails,
its bones are breakable, its joints are stretchable.
In tortures all this is taken into account.
Nothing has changed.
The body shudders as it shuddered
before the founding of Rome and after,
in the twentieth century before and after Christ.
Tortures are as they were, it's just the earth that's grown smaller,
and whatever happens seems right on the other side of the wall.
Nothing has changed. It's just that there are more people,
besides the old offenses new ones have appeared,
real, imaginary, temporary, and none,
but the howl with which the body responds to them,
was, is and ever will be a howl of innocence
according to the time-honored scale and tonality.
Nothing has changed. Maybe just the manners, ceremonies, dances.
Yet the movement of the hands in protecting the head is the same.
The body writhes, jerks and tries to pull away,
its legs give out, it falls, the knees fly up,
it turns blue, swells, salivates and bleeds.
Nothing has changed. Except for the course of boundaries,
the line of forests, coasts, deserts and glaciers.
Amid these landscapes traipses the soul,
disappears, comes back, draws nearer, moves away,
alien to itself, elusive, at times certain, at others uncertain of its own existence,
while the body is and is and is
and has no place of its own.
|
Written by
Frank Bidart |
Bound, hungry to pluck again from the thousand
technologies of ecstasy
boundlessness, the world that at a drop of water
rises without boundaries,
I push the PLAY button:—
...Callas, Laurel & Hardy, Szigeti
you are alive again,—
the slow movement of K.218
once again no longer
bland, merely pretty, nearly
banal, as it is
in all but Szigeti's hands
*
Therefore you and I and Mozart
must thank the Twentieth Century, for
it made you pattern, form
whose infinite
repeatability within matter
defies matter—
Malibran. Henry Irving. The young
Joachim. They are lost, a mountain of
newspaper clippings, become words
not their own words. The art of the performer.
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