Written by
Billy Collins |
This is not bad --
ambling along 44th Street
with Sonny Rollins for company,
his music flowing through the soft calipers
of these earphones,
as if he were right beside me
on this clear day in March,
the pavement sparkling with sunlight,
pigeons fluttering off the curb,
nodding over a profusion of bread crumbs.
In fact, I would say
my delight at being suffused
with phrases from his saxophone --
some like honey, some like vinegar --
is surpassed only by my gratitude
to Tommy Potter for taking the time
to join us on this breezy afternoon
with his most unwieldy bass
and to the esteemed Arthur Taylor
who is somehow managing to navigate
this crowd with his cumbersome drums.
And I bow deeply to Thelonious Monk
for figuring out a way
to motorize -- or whatever -- his huge piano
so he could be with us today.
This music is loud yet so confidential.
I cannot help feeling even more
like the center of the universe
than usual as I walk along to a rapid
little version of "The Way You Look Tonight,"
and all I can say to my fellow pedestrians,
to the woman in the white sweater,
the man in the tan raincoat and the heavy glasses,
who mistake themselves for the center of the universe --
all I can say is watch your step,
because the five of us, instruments and all,
are about to angle over
to the south side of the street
and then, in our own tightly knit way,
turn the corner at Sixth Avenue.
And if any of you are curious
about where this aggregation,
this whole battery-powered crew,
is headed, let us just say
that the real center of the universe,
the only true point of view,
is full of hope that he,
the hub of the cosmos
with his hair blown sideways,
will eventually make it all the way downtown.
|
Written by
Charles Simic |
A New Version: 1980
What is that little black thing I see there
in the white?
Walt Whitman
One
Out of poverty
To begin again:
With the color of the bride
And that of blindness,
Touch what I can
Of the quick,
Speak and then wait,
As if this light
Will continue to linger
On the threshold.
All that is near,
I no longer give it a name.
Once a stone hard of hearing,
Once sharpened into a knife.
.
.
Now only a chill
Slipping through.
Enough glow to kneel by and ask
To be tied to its tail
When it goes marrying
Its cousins, the stars.
Is it a cloud?
If it's a cloud it will move on.
The true shape of this thought,
Migrant, waning.
Something seeks someone,
It bears him a gift
Of himself, a bit
Of snow to taste,
Glimpse of his own nakedness
By which to imagine the face.
On a late afternoon of snow
In a dim badly-aired grocery,
Where a door has just rung
With a short, shrill echo,
A little boy hands the old,
Hard-faced woman
Bending low over the counter,
A shiny nickel for a cupcake.
Now only that shine, now
Only that lull abides.
That your gaze
Be merciful,
Sister, bride
Of my first hopeless insomnia.
Kind nurse, show me
The place of salves.
Teach me the song
That makes a man rise
His glass at dusk
Until a star dances in it.
Who are you? Are you anybody
A moonrock would recognize?
There are words I need.
They are not near men.
I went searching.
Is this a deathmarch?
You bend me, bend me,
Oh toward what flower!
Little-known vowel,
Noose big for us all.
As strange as a shepherd
In the Arctic Circle.
Someone like Bo-peep.
All his sheep are white
And he can't get any sleep
Over lost sheep.
And he's got a flute
Which says Bo-peep,
Which says Poor boy,
Take care of your snow-sheep.
to A.
S.
Hamilton
Then all's well and white,
And no more than white.
Illinois snowbound.
Indiana with one bare tree.
Michigan a storm-cloud.
Wisconsin empty of men.
There's a trap on the ice
Laid there centuries ago.
The bait is still fresh.
The metal glitters as the night descends.
Woe, woe, it sings from the bough.
Our Lady, etc.
.
.
You had me hoodwinked.
I see your brand new claws.
Praying, what do I betray
By desiring your purity?
There are old men and women,
All bandaged up, waiting
At the spiked, wrought-iron gate
Of the Great Eye and Ear Infirmery.
We haven't gone far.
.
.
Fear lives there too.
Five ears of my fingertips
Against the white page.
What do you hear?
We hear holy nothing
Blindfolding itself.
It touched you once, twice,
And tore like a stitch
Out of a new wound.
Two
What are you up to son of a gun?
I roast on my heart's dark side.
What do you use as a skewer sweetheart?
I use my own crooked backbone.
What do you salt yourself with loverboy?
I grind the words out of my spittle.
And how will you know when you're done chump?
When the half-moons on my fingernails set.
With what knife will you carve yourself smartass?
The one I hide in my tongue's black boot.
Well, you can't call me a wrestler
If my own dead weight has me pinned down.
Well, you can't call me a cook
If the pot's got me under its cover.
Well, you can't call me a king
if the flies hang their hats in my mouth.
Well, you can't call me smart,
When the rain's falling my cup's in the cupboard.
Nor can you call me a saint,
If I didn't err, there wouldn't be these smudges.
One has to manage as best as one can.
The poppies ate the sunset for supper.
One has to manage as best as one can.
Who stole my blue thread, the one
I tied around my pinky to remember?
One has to manage as best as one can.
The flea I was standing on, jumped.
One has to manage as best as one can.
I think my head went out for a walk.
One has to manage as best as one can.
This is breath, only breath,
Think it over midnight!
A fly weighs twice as much.
The struck match nods as it passes,
But when I shout,
Its true name sticks in my throat.
It has to be cold
So the breath turns white,
And then mother, who's fast enough
To write his life on it?
A song in prison
And for prisoners,
Made of what the condemned
Have hidden from the jailers.
White--let me step aside
So that the future may see you,
For when this sheet is blown away,
What else is left
But to set the food on the table,
To cut oneself a slice of bread?
In an unknown year
Of an algebraic century,
An obscure widow
Wrapped in the colors of widowhood,
Met a true-blue orphan
On an indeterminate street-corner.
She offered him
A tiny sugar cube
In the hand so wizened
All the lines said: fate.
Do you take this line
Stretching to infinity?
I take this chipped tooth
On which to cut it in half.
Do you take this circle
Bounded by a single curved line?
I take this breath
That it cannot capture.
Then you may kiss the spot
Where her bridal train last rustled.
Winter can come now,
The earth narrow to a ditch--
And the sky with its castles and stone lions
Above the empty plains.
The snow can fall.
.
.
What other perennials would you plant,
My prodigals, my explorers
Tossing and turning in the dark
For those remote, finely honed bees,
The December stars?
Had to get through me elsewhere.
Woe to bone
That stood in their way.
Woe to each morsel of flesh.
White ants
In a white anthill.
The rustle of their many feet
Scurrying--tiptoing too.
Gravedigger ants.
Village-idiot ants.
This is the last summoning.
Solitude--as in the beginning.
A zero burped by a bigger zero--
It's an awful licking I got.
And fear--that dead letter office.
And doubt--that Chinese shadow play.
Does anyone still say a prayer
Before going to bed?
White sleeplessness.
No one knows its weight.
What The White Had To Say
For how could anything white be distinct
from or divided from whiteness?
Meister Eckhart
Because I am the bullet
That has gone through everyone already,
I thought of you long before you thought of me.
Each one of you still keeps a blood-stained handkerchief
In which to swaddle me, but it stays empty
And even the wind won't remain in it long.
Cleverly you've invented name after name for me,
Mixed the riddles, garbled the proverbs,
Shook you loaded dice in a tin cup,
But I do not answer back even to your curses,
For I am nearer to you than your breath.
One sun shines on us both through a crack in the roof.
A spoon brings me through the window at dawn.
A plate shows me off to the four walls
While with my tail I swing at the flies.
But there's no tail and the flies are your thoughts.
Steadily, patiently I life your arms.
I arrange them in the posture of someone drowning,
And yet the sea in which you are sinking,
And even this night above it, is myself.
Because I am the bullet
That has baptized each one of your senses,
Poems are made of our lusty wedding nights.
.
.
The joy of words as they are written.
The ear that got up at four in the morning
To hear the grass grow inside a word.
Still, the most beautiful riddle has no answer.
I am the emptiness that tucks you in like a
mockingbird's nest,
The fingernail that scratched on your sleep's
blackboard.
Take a letter: From cloud to onion.
Say: There was never any real choice.
One gaunt shadowy mother wiped our asses,
The same old orphanage taught us loneliness.
Street-organ full of blue notes,
I am the monkey dancing to your grinding--
And still you are afraid-and so,
It's as if we had not budged from the beginning.
Time slopes.
We are falling head over heels
At the speed of night.
That milk tooth
You left under the pillow, it's grinning.
1970-1980
This currently out-of-print edition:
Copyright ©1980 Logbridge-Rhodes, Inc.
An earlier version of White was first published
by New Rivers Press in 1972.
|
Written by
Denise Duhamel |
At first she was sure it was just a bit of dried strawberry juice,
or a fleck of her mother's red nail polish that had flaked off
when she'd patted her daughter to sleep the night before.
But as she scrubbed, Snow felt a bump, something festering
under the surface, like a tapeworm curled up and living
in her left cheek.
Doc the Dwarf was no dermatologist
and besides Snow doesn't get to meet him in this version
because the mint leaves the tall doctor puts over her face
only make matters worse.
Snow and the Queen hope
against hope for chicken pox, measles, something
that would be gone quickly and not plague Snow's whole
adolescence.
If only freckles were red, she cried, if only
concealer really worked.
Soon came the pus, the yellow dots,
multiplying like pins in a pin cushion.
Soon came
the greasy hair.
The Queen gave her daughter a razor
for her legs and a stick of underarm deodorant.
Snow
doodled through her teenage years—"Snow + ?" in Magic
Markered hearts all over her notebooks.
She was an average
student, a daydreamer who might have been a scholar
if she'd only applied herself.
She liked sappy music
and romance novels.
She liked pies and cake
instead of fruit.
The Queen remained the fairest in the land.
It was hard on Snow, having such a glamorous mom.
She rebelled by wearing torn shawls and baggy gowns.
Her mother would sometimes say, "Snow darling,
why don't you pull back your hair? Show those pretty eyes?"
or "Come on, I'll take you shopping.
"
Snow preferred
staying in her safe room, looking out of her window
at the deer leaping across the lawn.
Or she'd practice
her dance moves with invisible princes.
And the Queen,
busy being Queen, didn't like to push it.
|
Written by
Billy Collins |
And I start wondering how they came to be blind.
If it was congenital, they could be brothers and sister,
and I think of the poor mother
brooding over her sightless young triplets.
Or was it a common accident, all three caught
in a searing explosion, a firework perhaps?
If not,
if each came to his or her blindness separately,
how did they ever manage to find one another?
Would it not be difficult for a blind mouse
to locate even one fellow mouse with vision
let alone two other blind ones?
And how, in their tiny darkness,
could they possibly have run after a farmer's wife
or anyone else's wife for that matter?
Not to mention why.
Just so she could cut off their tails
with a carving knife, is the cynic's answer,
but the thought of them without eyes
and now without tails to trail through the moist grass
or slip around the corner of a baseboard
has the cynic who always lounges within me
up off his couch and at the window
trying to hide the rising softness that he feels.
By now I am on to dicing an onion
which might account for the wet stinging
in my own eyes, though Freddie Hubbard's
mournful trumpet on "Blue Moon,"
which happens to be the next cut,
cannot be said to be making matters any better.
|
Written by
Rg Gregory |
(roundel: variation of the rondeau
consisting of three stanzas of three
lines each, linked together with but
two rhymes and a refrain at the end
of the first and third group)
1.
the blind rose
today's fullness is tomorrow's gone
(the next day after no one knows)
last year's dream now feeds upon
what blindly grows
imagine if you like a rose
on which no likely sun has shone
a darkness chokes it (just suppose)
the die though's cast - a marathon
of hopes endeavours then bestows
dawn's right to spill its colours on
what blindly grows
2.
squeaking
there are so few words left now to grow
green on - my vocabulary's stumped
for a hard-edged phrase to let you know
my truth's not been gazumped
love itself of course is blandly thumped
each time it suits you to imagine no
fruits are guilty for their being scrumped
if you can't be honest with me - better go
if dumped is what you wish then i'll be dumped
excuse me if i go on squeaking though
my truth's not been gazumped
3.
ease of mind
the world spins - today i have migraine
the peace i seek is never less than ill
striving's no answer to the bumptious pain
that is love's overspill
wanting warmth encourages the chill
relaxation breeds its bitter strain
the worst of all crimes is - i love you still
hope itself by nature is inane
i squat in a box dismembered from such will
to let me find the ease of mind again
that is love's overspill
4.
a roundel for ptolemy
the earth is not the system's centre- so ok
heliocentric - well our sun's a midget
spawning galaxies blow our minds away
space then equal to a digit
the mightiest telescope's a widget
science at best hard guessing gone astray
no genius stretch beyond a second's fidget
ptolemy discarded yet may have his say
infinity takes a hologram to bridge it
each shard of us contains the cosmos -
space then equal to a digit
5.
reflection
everything you do is my reflection
the hurts you cause are my pain inside out
blame's no matter for a close inspection
your guilt turns mine about
love itself is many hands of doubt
it cannot be without it breeds rejection
its silences result in one big shout
i am left with nothing but dejection
what's gold in me has nowhere to get out
love's pride is fatal to correction
my guilt turns yours about
6.
the round
the round understands the fluidity of order
how the thing lit up and the shadow can't compete
how the centre is that version of the border
the moment makes complete
notice each face around a space at times replete
with insights given to no one else as warder
but not condemned when those insights retreat
impermanence is eternity's recorder -
with an intricate sense of pattern power can't delete
the round honours those cracks in the divine disorder
the moment makes complete
7.
the actor
acting is not the true self's dissipation
but not its preening either - outside the role
it honours it best fights shy of reputation -
being what prometheus stole
it is a distant spark of that first live coal
a conscious glimpse of human desperation
rekindled as a longing to console
the waning spirit or the shattered dedication
actors are allies of the delphic hole
for good or ill they echo human expectation
being what prometheus stole
8.
roundels in honour of the round
(i)
when energy was born it asked this question
which way dear parents do i go from here
mum fluttered indifferently (i blame exhaustion)
dad pointed with his sexual gear
so energy thrust straight ahead and fostered fear
at once its dreaded source became a bastion
too holy to be doubted - mum flipped a gear
she sought revenge on dad for his lewd suggestion
taking too long of course - things went nuclear
the scale of the damage was too much to ingest when
dad pointed with his sexual gear
(ii)
she sat with her flowing skirt spread out on the earth
and tore the garment into strips from toe to waist
laying them to point around the wide world's girth
my way the truth flows best
dad laughed his head off at the pointless waste
and energy itself was seized by powerful mirth
perhaps mum's petalled skirt was not well placed
in time mishandled plenty breeds its dearth
dad's roisterous one-way-ism was disgraced
energy began to sense what mum was worth
her way the truth flows best
|
Written by
Mihai Eminescu |
What is love ? A lifetime spent
Of days that pain does fill,
That thousand tears can't content,
But asks for tears still.
With but a little glance coquet
Your soul it knows to tie,
That of its spell you can't forget
Until the day you die.
Upon your threshold does it stand,
In every nook conspire,
That you may whisper hand in hand
Your tale of heart's aspire.
Till fades the very earth and sky,
Your heart completely broken,
And all the world hangs on a sigh,
A word but partly spoken.
It follows you for weeks and weeks
And in your soul assembles
The memory of blushing cheeks
And eyelash fair that trembles.
It comes to you a sudden ray
As though of starlight's spending,
How many and many a time each day
And every night unending.
For of your life has fate decreed
That pain shall it enfold,
As does the clinging water-weed
About a swimmer hold.
--------
English version by Corneliu M.
Popescu
Transcribed by Alina Micu
School No.
10, Focsani, Romania
|
Written by
Mihai Eminescu |
O mother, darling mother, lost in time's formless haze
Amidst the leaves' sweet rustle you call my name always;
Amidst their fluttering murmur above your sacred grave
I hear you softly whisper whene'er the branches wave;
While o'er your tomb the willows their autumn raiment heap.
.
.
For ever wave the branches, and you for ever sleep.
When l shall die, beloved, do not beside me mourn,
But break a branch of blossom that does the lime adorn,
And take it very softly, and plant it at my head;
I'll feel its shadow growing as on the soil it's shed;
And watered by the tears that you for sorrow weep.
.
.
For ever grow that shadow, and l for ever sleep.
And should it be together that we shall die one day,
They shall not in some cemet'ry our separate bodies lay,
But let them dig a grave near where the river flows
And in a single coffin them both together close;
That l to time eternal my love beside me keep.
.
.
For ever wail the water, and we for ever sleep.
-------------
English version by Corneliu M.
Popescu
Transcribed by Alexandru Grosu
School No.
10, Focsani, Romania
|
Written by
Chris Tusa |
after Sue Owen
Born from flour anointed with oil,
from a roux dark and mean as a horse’s breath,
you remind me of some strange, mystical stew
spawned from a muddy version of Macbeth.
Only someone’s replaced the spells with spices,
the witches with a Cajun chef.
Maybe you’re a recipe torn from Satan’s Cookbook,
a kind of dumb-downed devil’s brew
where evil stirs its wicked spoon
in a swampy sacrificial hue.
Maybe God damned the okra that thickens
your soup, the muddy bones that haunt your stew.
Maybe this is why, when we smell the cayenne,
we’re struck dumb as a moth.
Maybe this is why everything that crawls or flies
seems to find its way into your swampy broth.
|
Written by
Nick Flynn |
I want to erase your footprints
from my walls.
Each pillow
is thick with your reasons.
Omens
fill the sidewalk below my window: a woman
in a party hat, clinging
to a tin-foil balloon.
Shadows
creep slowly across the tar, someone yells, "Stop!"
and I close my eyes.
I can't watch
as this town slowly empties, leaving me
strung between bon-voyages, like so many clothes
on a line, the white handkerchief
stuck in my throat.
You know the way Jesus
rips open his shirt
to show us his heart, all flaming and thorny,
the way he points to it.
I'm afraid
the way I'll miss you will be this obvious.
I have a friend who everyone warns me
is dangerous, he hides
bloody images of Jesus
around my house, for me to find
when I come home; Jesus
behind the cupboard door, Jesus tucked
into the mirror.
He wants to save me
but we disagree from what.
My version of hell
is someone ripping open his shirt
and saying, Look what I did for you.
.
.
|
Written by
Barry Tebb |
The Poetry School, The Poetry Book Society, The Poetry Business:
So much poetry about you’d think I’d want to shout, “Hurray, hurray,
Every day’s Poetry Day!” but I don’t and you don’t either-
You know its flim-flam on the ether, grants for Jack-the-lads
Of both sexes, poets who’ve never been seen in a little magazine
Then gone on to win the Oopla Prize and made baroque architecture
The subject of an O.
U.
lecture.
Seventy five pounds for a seminar on sensitivity in verse;
A hundred and fifty for an infinitely worse whole weekend of
‘Steps towards a personal fiction in post-modern diction’;
And the inevitable course anthology, eight pounds for eleven
Nameless poets Pascale Petit and Mimi Kahlvati carefully selected
From, well honestly! Who cares? God only knows how banal they’re
Bound to be.
Budding Roddy Lumsdens, (Has anyone read a Roddy
Lumsden
Poem?) “Yeah! Yeah! Yeah!” his first collection short-listed here and
there -
The sheer hype’s enough to put me off for life.
I still write at bus-stops and avoid competitions like the plague.
I’m not lucky that way, I’ve still to win a single literary prize.
Is there one for every day of the year? And as for James Kirkup,
My mentor of forty-odd years, his name evokes blank stares; but
Look him up in ‘Who’s Who’, countless OUP collections, the best-
ever
Version of Val?ry’s ‘Cimeti?re Marin’, translations from eleven
tongues
Including Vietnamese.
Is there nothing Jamie can do to please?
I help one poet to write and one to stay alive;
Please God help poor poets thrive.
|