Written by
Billy Collins |
Remember the 1340's? We were doing a dance called the Catapult.
You always wore brown, the color craze of the decade,
and I was draped in one of those capes that were popular,
the ones with unicorns and pomegranates in needlework.
Everyone would pause for beer and onions in the afternoon,
and at night we would play a game called "Find the Cow.
"
Everything was hand-lettered then, not like today.
Where has the summer of 1572 gone? Brocade and sonnet
marathons were the rage.
We used to dress up in the flags
of rival baronies and conquer one another in cold rooms of stone.
Out on the dance floor we were all doing the Struggle
while your sister practiced the Daphne all alone in her room.
We borrowed the jargon of farriers for our slang.
These days language seems transparent a badly broken code.
The 1790's will never come again.
Childhood was big.
People would take walks to the very tops of hills
and write down what they saw in their journals without speaking.
Our collars were high and our hats were extremely soft.
We would surprise each other with alphabets made of twigs.
It was a wonderful time to be alive, or even dead.
I am very fond of the period between 1815 and 1821.
Europe trembled while we sat still for our portraits.
And I would love to return to 1901 if only for a moment,
time enough to wind up a music box and do a few dance steps,
or shoot me back to 1922 or 1941, or at least let me
recapture the serenity of last month when we picked
berries and glided through afternoons in a canoe.
Even this morning would be an improvement over the present.
I was in the garden then, surrounded by the hum of bees
and the Latin names of flowers, watching the early light
flash off the slanted windows of the greenhouse
and silver the limbs on the rows of dark hemlocks.
As usual, I was thinking about the moments of the past,
letting my memory rush over them like water
rushing over the stones on the bottom of a stream.
I was even thinking a little about the future, that place
where people are doing a dance we cannot imagine,
a dance whose name we can only guess.
|
Written by
Vernon Scannell |
THE SENTENCE
Perhaps I can make it plain by analogy.
Imagine a machine, not yet assembled,
Each part being quite necessary
To the functioning of the whole: if the job is fumbled
And a vital piece mislaid
The machine is quite valueless,
The workers will not be paid.
It is just the same when constructing a sentence
But here we must be very careful
And lay stress on the extreme importance
Of defining our terms: nothing is as simple
As it seems at first regard.
"Sentence" might well mean to you
The amorous rope or twelve years" hard.
No, by "sentence" we mean, quite simply, words
Put together like the parts of a machine.
Now remember we must have a verb: verbs
Are words of action like Murder, Love, or Sin.
But these might be nouns, depending
On how you use them –
Already the plot is thickening.
Except when the mood is imperative; that is to say
A command is given like Pray, Repent, or Forgive
(Dear me, these lessons get gloomier every day)
Except, as I was saying, when the mood is gloomy –
I mean imperative
We need nouns, or else of course
Pronouns; words like Maid,
Man, Wedding or Divorce.
A sentence must make sense.
Sometimes I believe
Our lives are ungrammatical.
I guess that some of
you
Have misplaced the direct object: the longer I live
The less certain I feel of anything I do.
But now I begin
To digress.
Write down these simple sentences:--
I am sentenced: I love: I murder: I sin.
|
Written by
Elizabeth Bishop |
For John Malcolm Brinnin and Bill Read: Duxbury
It was cold and windy, scarcely the day
to take a walk on that long beach
Everything was withdrawn as far as possible,
indrawn: the tide far out, the ocean shrunken,
seabirds in ones or twos.
The rackety, icy, offshore wind
numbed our faces on one side;
disrupted the formation
of a lone flight of Canada geese;
and blew back the low, inaudible rollers
in upright, steely mist.
The sky was darker than the water
--it was the color of mutton-fat jade.
Along the wet sand, in rubber boots, we followed
a track of big dog-prints (so big
they were more like lion-prints).
Then we came on
lengths and lengths, endless, of wet white string,
looping up to the tide-line, down to the water,
over and over.
Finally, they did end:
a thick white snarl, man-size, awash,
rising on every wave, a sodden ghost,
falling back, sodden, giving up the ghost.
.
.
A kite string?--But no kite.
I wanted to get as far as my proto-dream-house,
my crypto-dream-house, that crooked box
set up on pilings, shingled green,
a sort of artichoke of a house, but greener
(boiled with bicarbonate of soda?),
protected from spring tides by a palisade
of--are they railroad ties?
(Many things about this place are dubious.
)
I'd like to retire there and do nothing,
or nothing much, forever, in two bare rooms:
look through binoculars, read boring books,
old, long, long books, and write down useless notes,
talk to myself, and, foggy days,
watch the droplets slipping, heavy with light.
At night, a grog a l'américaine.
I'd blaze it with a kitchen match
and lovely diaphanous blue flame
would waver, doubled in the window.
There must be a stove; there is a chimney,
askew, but braced with wires,
and electricity, possibly
--at least, at the back another wire
limply leashes the whole affair
to something off behind the dunes.
A light to read by--perfect! But--impossible.
And that day the wind was much too cold
even to get that far,
and of course the house was boarded up.
On the way back our faces froze on the other side.
The sun came out for just a minute.
For just a minute, set in their bezels of sand,
the drab, damp, scattered stones
were multi-colored,
and all those high enough threw out long shadows,
individual shadows, then pulled them in again.
They could have been teasing the lion sun,
except that now he was behind them
--a sun who'd walked the beach the last low tide,
making those big, majestic paw-prints,
who perhaps had batted a kite out of the sky to play with.
|
Written by
Anne Sexton |
Child, the current of your breath is six days long.
You lie, a small knuckle on my white bed;
lie, fisted like a snail, so small and strong
at my breast.
Your lips are animals; you are fed
with love.
At first hunger is not wrong.
The nurses nod their caps; you are shepherded
down starch halls with the other unnested throng
in wheeling baskets.
You tip like a cup; your head
moving to my touch.
You sense the way we belong.
But this is an institution bed.
You will not know me very long.
The doctors are enamel.
They want to know
the facts.
They guess about the man who left me,
some pendulum soul, going the way men go
and leave you full of child.
But our case history
stays blank.
All I did was let you grow.
Now we are here for all the ward to see.
They thought I was strange, although
I never spoke a word.
I burst empty of you,
letting you see how the air is so.
The doctors chart the riddle they ask of me
and I turn my head away.
I do not know.
Yours is the only face I recognize.
Bone at my bone, you drink my answers in.
Six times a day I prize
your need, the animals of your lips, your skin
growing warm and plump.
I see your eyes
lifting their tents.
They are blue stones, they begin
to outgrow their moss.
You blink in surprise
and I wonder what you can see, my funny kin,
as you trouble my silence.
I am a shelter of lies.
Should I learn to speak again, or hopeless in
such sanity will I touch some face I recognize?
Down the hall the baskets start back.
My arms
fit you like a sleeve, they hold
catkins of your willows, the wild bee farms
of your nerves, each muscle and fold
of your first days.
Your old man's face disarms
the nurses.
But the doctors return to scold
me.
I speak.
It is you my silence harms.
I should have known; I should have told
them something to write down.
My voice alarms
my throat.
"Name of father—none.
" I hold
you and name you bastard in my arms.
And now that's that.
There is nothing more
that I can say or lose.
Others have traded life before
and could not speak.
I tighten to refuse
your owling eyes, my fragile visitor.
I touch your cheeks, like flowers.
You bruise
against me.
We unlearn.
I am a shore
rocking off you.
You break from me.
I choose
your only way, my small inheritor
and hand you off, trembling the selves we lose.
Go child, who is my sin and nothing more.
|
Written by
John Keats |
Give me a golden pen, and let me lean
On heaped-up flowers, in regions clear, and far;
Bring me a tablet whiter than a star,
Or hand of hymning angel, when 'tis seen
The silver strings of heavenly harp atween:
And let there glide by many a pearly car
Pink robes, and wavy hair, and diamond jar,
And half-discovered wings, and glances keen.
The while let music wander round my ears,
And as it reaches each delicious ending,
Let me write down a line of glorious tone,
And full of many wonders of the spheres:
For what a height my spirit is contending!
'Tis not content so soon to be alone.
|
Written by
David Lehman |
If you could write down the words
moving through a man's mind as
he masturbates you'd have a quick
bonus bonk read, I used to think.
But words were never adequate
or the point in the bar where the girl
is a boy the boy is a girl the two girls
exchange underpants the one with
the ***** is the boy each needs to know
what the other is feeling, so the thrill
of humiliation is visited on one and
the other is disbelieved, perennial virgin,
with teeth marks on her buttocks
hiding in the closet and the power
between them is distributed unequally
the other on her knees in ecstasy
|
Written by
Francesco Petrarch |
[Pg 317] SONNET LXXXIX.
Deh porgi mano all' affannato ingegno.
HE BEGS LOVE TO ASSIST HIM, THAT HE MAY WORTHILY CELEBRATE HER.
Ah, Love! some succour to my weak mind deign,
Lend to my frail and weary style thine aid,
To sing of her who is immortal made,
A citizen of the celestial reign.
And grant, Lord, that my verse the height may gain
Of her great praises, else in vain essay'd,
Whose peer in worth or beauty never stay'd
In this our world, unworthy to retain.
Love answers: "In myself and Heaven what lay,
By conversation pure and counsel wise,
All was in her whom death has snatch'd away.
Since the first morn when Adam oped his eyes,
Like form was ne'er—suffice it this to say,
Write down with tears what scarce I tell for sighs.
"
Macgregor.
|