Written by
Mark Doty |
Today the Masons are auctioning
their discarded pomp: a trunk of turbans,
gemmed and ostrich-plumed, and operetta costumes
labeled inside the collar "Potentate"
and "Vizier.
" Here their chairs, blazoned
with the Masons' sign, huddled
like convalescents, lean against one another
on the grass.
In a casket are rhinestoned poles
the hierophants carried in parades;
here's a splendid golden staff some ranking officer waved,
topped with a golden pyramid and a tiny,
inquisitive sphinx.
No one's worn this stuff
for years, and it doesn't seem worth buying;
where would we put it? Still,
I want that staff.
I used to love
to go to the library -- the smalltown brick refuge
of those with nothing to do, really,
'Carnegie' chiseled on the pediment
above columns that dwarfed an inconsequential street.
Embarrassed to carry the same book past
the water fountain's plaster centaurs
up to the desk again, I'd take
The Wonders of the World to the Reading Room
where Art and Industry met in the mural
on the dome.
The room smelled like two decades
before I was born, when the name
carved over the door meant something.
I never read the second section,
"Wonders of the Modern World";
I loved the promise of my father's blueprints,
the unfulfilled turquoise schemes,
but in the real structures
you could hardly imagine a future.
I wanted the density of history,
which I confused with the smell of the book:
Babylon's ziggurat tropical with ferns,
engraved watercourses rippling;
the Colossus of Rhodes balanced
over the harbormouth on his immense ankles.
Athena filled one end of the Parthenon,
in an "artist's reconstruction",
like an adult in a dollhouse.
At Halicarnassus, Mausolus remembered himself
immensely, though in the book
there wasn't even a sketch,
only a picture of huge fragments.
In the pyramid's deep clockworks,
did the narrow tunnels mount toward
the eye of God? That was the year
photos were beamed back from space;
falling asleep I used to repeat a new word
to myself, telemetry, liking the way
it seemed to allude to something storied.
The earth was whorled marble,
at that distance.
Even the stuck-on porticoes
and collonades downtown were narrative,
somehow, but the buildings my father engineered
were without stories.
All I wanted
was something larger than our ordinary sadness --
greater not in scale but in context,
memorable, true to a proportioned,
subtle form.
Last year I knew a student,
a half mad boy who finally opened his arms
with a razor, not because he wanted to die
but because he wanted to design something grand
on his own body.
Once he said, When a child
realizes his parents aren't enough,
he turns to architecture.
I think I know what he meant.
Imagine the Masons parading,
one of them, in his splendid get-up,
striding forward with the golden staff,
above his head Cheops' beautiful shape --
a form we cannot separate
from the stories about the form,
even if we hardly know them,
even if it no longer signifies, if it only shines.
|
Written by
Marilyn Hacker |
for Audre Lorde and Sonny Wainwright
Twice in my quickly disappearing forties
someone called while someone I loved and I were
making love to tell me another woman had died of cancer.
Seven years apart, and two different lovers:
underneath the numbers, how lives are braided,
how those women's death and lives, lived and died, were
interleaved also.
Does lip touch on lip a memento mori?
Does the blood-thrust nipple against its eager
mate recall, through lust, a breast's transformations
sometimes are lethal?
Now or later, what's the enormous difference?
If one day is good, is a day sufficient?
Is it fear of death with which I'm so eager
to live my life out
now and in its possible permutations
with the one I love? (Only four days later,
she was on a plane headed west across the
Atlantic, work-bound.
)
Men and women, mortally wounded where we
love and nourish, dying at thirty, forty,
fifty, not on barricades, but in beds of
unfulfilled promise:
tell me, senators, what you call abnormal?
Each day's obits read as if there's a war on.
Fifty-eight-year-old poet dead of cancer:
warrior woman
laid down with the other warrior women.
Both times when the telephone rang, I answered,
wanting not to, knowing I had to answer,
go from two bodies'
infinite approach to a crest of pleasure
through the disembodied voice from a distance
saying one loved body was clay, one wave of
mind burst and broken.
Each time we went back to each other's hands and
mouths as to a requiem where the chorus
sings death with irrelevant and amazing
bodily music.
|
Written by
Robert Browning |
1 It once might have been, once only:
2 We lodged in a street together,
3 You, a sparrow on the housetop lonely,
4 I, a lone she-bird of his feather.
5 Your trade was with sticks and clay,
6 You thumbed, thrust, patted and polished,
7 Then laughed 'They will see some day
8 Smith made, and Gibson demolished.
'
9 My business was song, song, song;
10 I chirped, cheeped, trilled and twittered,
11 'Kate Brown's on the boards ere long,
12 And Grisi's existence embittered!'
13 I earned no more by a warble
14 Than you by a sketch in plaster;
15 You wanted a piece of marble,
16 I needed a music-master.
17 We studied hard in our styles,
18 Chipped each at a crust like Hindoos,
19 For air looked out on the tiles,
20 For fun watched each other's windows.
21 You lounged, like a boy of the South,
22 Cap and blouse--nay, a bit of beard too;
23 Or you got it, rubbing your mouth
24 With fingers the clay adhered to.
25 And I--soon managed to find
26 Weak points in the flower-fence facing,
27 Was forced to put up a blind
28 And be safe in my corset-lacing.
29 No harm! It was not my fault
30 If you never turned your eye's tail up
31 As I shook upon E in alt,
32 Or ran the chromatic scale up:
33 For spring bade the sparrows pair,
34 And the boys and girls gave guesses,
35 And stalls in our street looked rare
36 With bulrush and watercresses.
37 Why did not you pinch a flower
38 In a pellet of clay and fling it?
39 Why did not I put a power
40 Of thanks in a look, or sing it?
41 I did look, sharp as a lynx,
42 (And yet the memory rankles,)
43 When models arrived, some minx
44 Tripped up-stairs, she and her ankles.
45 But I think I gave you as good!
46 'That foreign fellow,--who can know
47 How she pays, in a playful mood,
48 For his tuning her that piano?'
49 Could you say so, and never say
50 'Suppose we join hands and fortunes,
51 And I fetch her from over the way,
52 Her, piano, and long tunes and short tunes?'
53 No, no: you would not be rash,
54 Nor I rasher and something over:
55 You've to settle yet Gibson's hash,
56 And Grisi yet lives in clover.
57 But you meet the Prince at the Board,
58 I'm queen myself at bals-par?,
59 I've married a rich old lord,
60 And you're dubbed knight and an R.
A.
61 Each life unfulfilled, you see;
62 It hangs still, patchy and scrappy:
63 We have not sighed deep, laughed free,
64 Starved, feasted, despaired,--been happy.
65 And nobody calls you a dunce,
66 And people suppose me clever:
67 This could but have happened once,
68 And we missed it, lost it for ever.
|
Written by
Frank Bidart |
He's still young--; thirty, but looks younger--
or does he?.
.
.
In the eyes and cheeks, tonight,
turning in the mirror, he saw his mother,--
puffy; angry; bewildered.
.
.
Many nights,
now, when he stares there, he gets angry:--
something unfulfilled there, something dead
to what he once thought he surely could be--
Now, just the glamour of habits.
.
.
Once, instead,
he thought insight would remake him, he'd reach
--what? The thrill, the exhilaration
unravelling disaster, that seemed to teach
necessary knowledge.
.
.
became just jargon.
Sick of being decent, he craves another
crash.
What reaches him except disaster?
|
Written by
Paul Laurence Dunbar |
I sit upon the old sea wall,
And watch the shimmering sea,
Where soft and white the moonbeams fall,
Till, in a fantasy,
Some pure white maiden's funeral pall
The strange light seems to me.
The waters break upon the shore
And shiver at my feet,
While I dream old dreams o'er and o'er,
And dim old scenes repeat;
Tho' all have dreamed the same before,
They still seem new and sweet.
The waves still sing the same old song
That knew an elder time;
The breakers' beat is not more strong,
Their music more sublime;
And poets thro' the ages long
Have set these notes to rhyme.
But this shall not deter my lyre,
Nor check my simple strain;
If I have not the old-time fire,
I know the ancient pain:
The hurt of unfulfilled desire,—
The ember quenched by rain.
I know the softly shining sea
That rolls this gentle swell
Has snarled and licked its tongues at me
And bared its fangs as well;
That 'neath its smile so heavenly,
[Pg 116]There lurks the scowl of hell!
But what of that? I strike my string
(For songs in youth are sweet);
I 'll wait and hear the waters bring
Their loud resounding beat;
Then, in her own bold numbers sing
The Ocean's dear deceit!
|
Written by
Emily Dickinson |
Unfulfilled to Observation --
Incomplete -- to Eye --
But to Faith -- a Revolution
In Locality --
Unto Us -- the Suns extinguish --
To our Opposite --
New Horizons -- they embellish --
Fronting Us -- with Night.
|
Written by
Amy Lowell |
Study in Whites
Wax-white --
Floor, ceiling, walls.
Ivory shadows
Over the pavement
Polished to cream surfaces
By constant sweeping.
The big room is coloured like the petals
Of a great magnolia,
And has a patina
Of flower bloom
Which makes it shine dimly
Under the electric lamps.
Chairs are ranged in rows
Like sepia seeds
Waiting fulfilment.
The chalk-white spot of a cook's cap
Moves unglossily against the vaguely bright wall --
Dull chalk-white striking the retina like a blow
Through the wavering uncertainty of steam.
Vitreous-white of glasses with green reflections,
Ice-green carboys, shifting -- greener, bluer -- with the jar of
moving water.
Jagged green-white bowls of pressed glass
Rearing snow-peaks of chipped sugar
Above the lighthouse-shaped castors
Of grey pepper and grey-white salt.
Grey-white placards: "Oyster Stew, Cornbeef Hash, Frankfurters":
Marble slabs veined with words in meandering lines.
Dropping on the white counter like horn notes
Through a web of violins,
The flat yellow lights of oranges,
The cube-red splashes of apples,
In high plated `epergnes'.
The electric clock jerks every half-minute:
"Coming! -- Past!"
"Three beef-steaks and a chicken-pie,"
Bawled through a slide while the clock jerks heavily.
A man carries a china mug of coffee to a distant chair.
Two rice puddings and a salmon salad
Are pushed over the counter;
The unfulfilled chairs open to receive them.
A spoon falls upon the floor with the impact of metal striking stone,
And the sound throws across the room
Sharp, invisible zigzags
Of silver.
|
Written by
Edwin Arlington Robinson |
(WASHINGTON SQUARE)
I met him, as one meets a ghost or two,
Between the gray Arch and the old Hotel.
“King Solomon was right, there’s nothing new,”
Said he.
“Behold a ruin who meant well.
”
He led me down familiar steps again,
Appealingly, and set me in a chair.
“My dreams have all come true to other men,”
Said he; “God lives, however, and why care?
“An hour among the ghosts will do no harm.
”
He laughed, and something glad within me sank.
I may have eyed him with a faint alarm,
For now his laugh was lost in what he drank.
“They chill things here with ice from hell,” he said;
“I might have known it.
” And he made a face
That showed again how much of him was dead,
And how much was alive and out of place.
And out of reach.
He knew as well as I
That all the words of wise men who are skilled
In using them are not much to defy
What comes when memory meets the unfulfilled.
What evil and infirm perversity
Had been at work with him to bring him back?
Never among the ghosts, assuredly,
Would he originate a new attack;
Never among the ghosts, or anywhere,
Till what was dead of him was put away,
Would he attain to his offended share
Of honor among others of his day.
“You ponder like an owl,” he said at last;
“You always did, and here you have a cause.
For I’m a confirmation of the past,
A vengeance, and a flowering of what was.
“Sorry? Of course you are, though you compress,
With even your most impenetrable fears,
A placid and a proper consciousness
Of anxious angels over my arrears.
“I see them there against me in a book
As large as hope, in ink that shines by night
Surely I see; but now I’d rather look
At you, and you are not a pleasant sight.
“Forbear, forgive.
Ten years are on my soul,
And on my conscience.
I’ve an incubus:
My one distinction, and a parlous toll
To glory; but hope lives on clamorous.
“’Twas hope, though heaven I grant you knows of what—
The kind that blinks and rises when it falls,
Whether it sees a reason why or not—
That heard Broadway’s hard-throated siren-calls;
“’Twas hope that brought me through December storms,
To shores again where I’ll not have to be
A lonely man with only foreign worms
To cheer him in his last obscurity.
“But what it was that hurried me down here
To be among the ghosts, I leave to you.
My thanks are yours, no less, for one thing clear:
Though you are silent, what you say is true.
“There may have been the devil in my feet,
For down I blundered, like a fugitive,
To find the old room in Eleventh Street.
God save us!—I came here again to live.
”
We rose at that, and all the ghosts rose then,
And followed us unseen to his old room.
No longer a good place for living men
We found it, and we shivered in the gloom.
The goods he took away from there were few,
And soon we found ourselves outside once more,
Where now the lamps along the Avenue
Bloomed white for miles above an iron floor.
“Now lead me to the newest of hotels,”
He said, “and let your spleen be undeceived:
This ruin is not myself, but some one else;
I haven’t failed; I’ve merely not achieved.
”
Whether he knew or not, he laughed and dined
With more of an immune regardlessness
Of pits before him and of sands behind
Than many a child at forty would confess;
And after, when the bells in Boris rang
Their tumult at the Metropolitan,
He rocked himself, and I believe he sang.
“God lives,” he crooned aloud, “and I’m the man!”
He was.
And even though the creature spoiled
All prophecies, I cherish his acclaim.
Three weeks he fattened; and five years he toiled
In Yonkers,—and then sauntered into fame.
And he may go now to what streets he will—
Eleventh, or the last, and little care;
But he would find the old room very still
Of evenings, and the ghosts would all be there.
I doubt if he goes after them; I doubt
If many of them ever come to him.
His memories are like lamps, and they go out;
Or if they burn, they flicker and are dim.
A light of other gleams he has to-day
And adulations of applauding hosts;
A famous danger, but a safer way
Than growing old alone among the ghosts.
But we may still be glad that we were wrong:
He fooled us, and we’d shrivel to deny it;
Though sometimes when old echoes ring too long,
I wish the bells in Boris would be quiet.
|
Written by
Edwin Arlington Robinson |
I
As long as Fame's imperious music rings
Will poets mock it with crowned words august;
And haggard men will clamber to be kings
As long as Glory weighs itself in dust.
II
Drink to the splendor of the unfulfilled,
Nor shudder for the revels that are done:
The wines that flushed Lucullus are all spilled,
The strings that Nero fingered are all gone.
III
We cannot crown ourselves with everything,
Nor can we coax the Fates for us to quarrel:
No matter what we are, or what we sing,
Time finds a withered leaf in every laurel.
|
Written by
Henry Van Dyke |
Knight-errant of the Never-ending Quest,
And Minstrel of the Unfulfilled Desire;
For ever tuning thy frail earthly lyre
To some unearthly music, and possessed
With painful passionate longing to invest
The golden dream of Love's immortal fire
In mortal robes of beautiful attire,
And fold perfection to thy throbbing breast!
What wonder, Shelley, if the restless wave
Should claim thee and the leaping flame consume
Thy drifted form on Viareggio's beach?
Fate to thy body gave a fitting grave,
And bade thy soul ride on with fiery plume,
Thy wild song ring in ocean's yearning speech!
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