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SEVEN PORTALS OF POETRY
A Lyrical Excursion Through Western Culture
VOLUME V:
A Selection of Twentieth Century Anglo-American Poetry
Translated and Edited by:
Arieh Stav
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ISBN:
965=504=028=3 :C"\SP
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P"TC ZGBN FBXGF HGP\
61213 CKCB=N\ ,21337 E"\
[email protected]
www.tammuzbr.co.il
Tammuz Publishers Ltd
POB 21337, Tel-Aviv 61213
Printed in Israel 2005 NBZ[KC SVER
Le belle donne della mia mente
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If ± 45
Lady Geraldine's Hardship ± 47
The Doorkeepers of Zion ± 49
The Prodigal Son ± 51
52
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48 { QGKX KZTG[
50 { FCG[\C ZHGIF ZZGSF QCF
{ "GKZCKB I"PZ NMC ZZG[P" { SJKK ZNJC OBKNKGG .2
When You Are Old ± 57
A Poet to His Beloved ± 57
What Then ± 59
Sailing to Byzantium ± 61
Adam's Curse ± 63
64
Spoon River Anthology ± 67
1. The Hill ± 67
2. Hod Putt ± 71
3. Ollie McGee ± 71
4. Fletcher Mcgee ± 73
6. Cassius Hueffer ± 75
7. Serepta Mason ± 77
8. Amanda Barker ± 77
9. Constance Hately ± 79
56 { L\CKs
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58 { FP HB
60 { OGKJRHKCN JG[P
62 { OEB N[ G\NNY
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10. Chase Henry ± 79
12. Judge Somers ± 81
14. Benjamin Pantier ± 81
15. Mrs. Benjamin Pantier ± 83
84
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{ QMG\N FZGXF QKC FYKHF NT \GZTF { JSGZV JZCGZ .4
Fire and Ice ± 91
The Masque of Reason ± 91
On a Tree Fallen Across the Road ± 93
Acquainted with the Night ± 95
Escapist Never ± 95
96
90 { [BG ZGVM
90 { CGKBN OKFGNB ZCE
92 { LZE N[ FCIGZN NJGP WT NT
94 { L[IPG NKN TGEK KRB
94 { GFGPM [KB IZGC
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10 Poems ± 99-103
104
78 { KZRF& SKK'+X
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Dream Girl ± 107
Fog ± 107
The Child of the Romans ± 109
Lost ± 109
At a Window ± 111
Excerpt from The People Yes -- 113
114
106 { \GPGNI \ZTR
106 { NVZT
108 { BPGZ QC
108 { EGCB
110 { QGNIC
112 { QGPFF QM LG\P
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Danse Russe ± 117
Berket and the Stars ± 117
This is Just to Say ± 119
A Sort of a Song ± 119
Landscape with the Fall of Icarus ± 121
The Red Wheelbarrow ± 121
Portrait of a Lady ± 123
124
116 { Danse Russe
116 { OKCMGMFG JYZC
118 { ZPGN YZ K\KXZ
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122 { F[B QYGKE
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Snake ± 127
The Elephant is Slow to Mate ± 133
What Would You Fight For? ± 135
126 { [IR
132 { DGGEHFN WB BN NKVF#
134 { ?OINR \KKF FP NT
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134 { \GKPKJRKB
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136 { FKKRTGX
Intimates ± 135
All I Ask ± 137
Gipsy ± 137
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138 { "Z[VBF NGCD
Canto LXXXI (
Excerpt) ± 143
Cantico del Sole ± 149
A Pact ± 151
Portrait d'une Femme ± 151
The Garden ± 153
Homage to Sextus Propertius ± 155
A Girl ± 157
The Encounter ± 157
158
{ \GKP[KJRBG KGPKE ,OGDZ\ NT { JGKNB .S.\ .10
Burbank with a Baedeker:
Bleistein with a Cigar ± 163
Portrait of a Lady ± 171
Journey of the Magi ± 183
Preludes 1-4 ± 185
190
The Secret ± 193
The Man with the Wooden Leg ± 195
Butterfly Laughter ± 195
The Candle ± 197
Across the Red Sky ± 199
There Was a Child Once ± 199
202
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182 { OK[GDPF TSP
184 { 4=1 OKEGNZV
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Countrywomen ± 193
To God the Father ± 201
142 { 81 GJRY (LG\P)
148 { Cantico del Sole
150 { OKIB \KZC
150 { F[B QYGKE
152 { QDF
154 { SGKJZoGZo SGJSYSN FGGIP
156 { FZTR
156 { [DVP
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192 { EGSF
194 { WTP NDZF OT [KBF
194 { ZVZV N[ GYGIX
196 { ZRF
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198 { ENK OTV FKF FKF
200 { CGJF KNB
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The Quarrel ± 205
Chance Meetings ± 207
The House of Dust ± 209
204 { CKZF
206 { \KZYP F[KDV
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210 { ZYGC OT QKNRS N[ GZK[
214 { CZT OT QKNRS N[ GZK[
Morning Song of Senlin ± 211
Evening Song of Senlin ± 215
218
{ "?KN OKDTGN OF TGEP ,QM NTG" { DZCRHGZ YIXK .13
Break of Day in the Trenches ± 221
The Jew ± 223
Returning, We Hear the Larks ± 223
The Immortals ± 225
Louse Hunting ± 225
228
{ "GKE]X KR[P YNGE KZR" { KKNKP JRSRKG FRET .14
Only Until This Cigarette is Ended ± 231
The Plaid Dress ± 231
Lament ± 233
Alms ± 233
Ebb ± 237
Sonnet XLIII ± 237
238
220 { \GZKVIC FNGT OGKF
222 { KEGFK
222 { KRGZVT \ZK[ GRTP[ GRCG[C
224 { \GGPNBF KRC
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232 { FYEX
236 { NV[C
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Ars Poetica ± 241
The Snowflake Which is Now
and Hence Forever ± 243
Family Group ± 243
In and Come In ± 245
An Eternity ± 247
248
{ "USMC FZK[ QKBG FZK[C USM QKB" { SCKKZD JZCGZ .16
A Dead Boche ± 251
Reflected in Your Shaving Mirror ± 251
The Siren's Welcome to Cronos ± 253
Powers Unconfessed ± 255
Child with Veteran ± 257
258
250 { \P [GC
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254 { OKZ\SR \GIGM
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Voyages III ± 263
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260 { CHGMF ,FBZRF
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My Grandmother's Love Letters ± 263
Forgetfulness ± 265
Exile ± 267
Interior ± 267
268
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270 { WKY KFN[
270 { QYGKEF
272 { LEK KN KR\
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278 { CKZF
End of Summer ± 271
The Portrait ± 271
Touch Me ± 273
Halley's Comet ± 275
The Quarrel ± 279
280
262 { K\CS N[ FCFB KC\MP
264 { FIM[
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266 { OKR^o
{ "OGDZ\N \R\KR BN ,OKKJZV \GP[N FPGEC ,FCGJ FZK[" { QEGB .F.G .19
The Shield of Achilles ± 283
September 1, 1939 ± 287
Epitaph on a Tyrant ± 289
MuseÂe des Beaux Arts ± 291
In Memory of W.B. Yeats ± 293
Three Short Poems ± 295
296
282 { SNKMB N[ GRKDP
286 { 1939 ZCPJVSC 1
288 { QEGZN EVSF
290 { \GRPBN QGBKHGP
292 { SJKK .C.G N[ GZMHN
294 { OKZXY OKZK[ F[GN[
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Dolor ± 299
The Geranium ± 299
The Bat ± 301
Journey into the Interior ± 303
Snake ± 303
The Lost Son (Flight) ± 305
298 { QGDK
298 { OGKRZD
300 { UNJTF
302 { LG\F NB TSPF
302 { [IR
304 { (FIKZCF) ECGBF QCF
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308 { "OKRGPB TC[RF
The Progress of Faust ± 313
The Olive Tree ± 317
The Bourgeois Poet ± 319
California Winter ± 321
312 { JSGBV N[ GPGEKY
316 { \KHF
318 { KRDZGCF QJKKVF
320 { FKRZGVKNYC UZGI
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322
{ "G\TE FNGNX QM KV NT UBG G\TE FVZJR" { SBPG\ QNKE .22
And Death Shall Have No Dominion ± 325
Especially When the October Wind ± 327
This Side of the Truth ± 329
Twenty-Four Years ± 331
Was There a Time... ± 331
332
{ "KNGP \ZFGE \CMZ KM G[GZKV FZFRPC ZGB" { NBGN JZCGZ .23
Epilogue ± 335
History ± 335
``To Speak of Woe That is in Marriage'' ± 337
The Withdrawal (1-4) ± 339
Ezra Pound ± 343
Robert Frost ± 343
Dolphin ± 345
346 {
324 { KF\ BN FZZ[ \GGPNG
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328 { \PBF N[ FH EX
330 { OKR[ TCZBG OKZ[T
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336 { "QKBG[KRF \ZX \B ZPGN"
338 { (4=1) GK\SF \SGRP
342 { ERGBV BZHT
342 { JSGZV JZCGZ
344 { QKVNGE
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Cause and Effect ± 349
A Challenge to the Dark ± 349
So You Want to Be a Writer? ± 351
A Following ± 355
Eating the Father ± 357
Sweet Music ± 359
348 { FBXG\G FCKS
348 { FNVBN ZD\B
350 { ?ZZG[P \GKFN LN BC HB
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360 { "KN[ ZPXF [IR
Allen Ginsberg, ``Is About'' ± 363
A Supermarket in California ± 365
Carl Solomon! ± 369
Homework ± 371
372
362 { "NT" BGF DZCSRKD QNB
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368 { !QGPGNGS NZY
370 { \KC KZGTK[
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My Philosophy of Life ± 377
When Half the Time
They Don't Know Themselves... ± 381
376 { KN[ OKKIF \PMGI
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380 { O[VR \B OKTEGK
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At North Farm ± 383
What is Poetry ± 383
Paradoxes and Oxymorons ± 385
386
{ "YIXG ZHI CZGTF .OEZRG ZHI OKFGNB" { HGK EJ .27
Dream Life ± 391
Hawk Roosting ± 393
There Came a Day ± 395
The Bat ± 399
A Childish Prank ± 401
Crow and the Sea ± 403
Apple Tragedy ± 405
406
408 { FRPNB
410 { KBZ
412 { GNNF \GZRF
414 { OKZKK[
416 { ENK
416 { \EPTGPF
Mirror ± 411
Candles ± 413
Aftermath ± 415
Child ± 417
The Applicant ± 417
420
The Cave ± 423
After Whom? ± 425
Joseph ± 425
David's Harp ± 427
Samson's Silence ± 429
Song ± 431
The Haw Lantern ± 437
Song ± 439
{ "LCSC HIBRF NKKBF BGF KRB" { SKENH OKKI .29
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Sunlight ± 435
Lightenings ± 439
390 { OGNI KKI
392 { WRF \IGRP
394 { OGKF BC HB
398 { UNJTF
400 { SERGY F[TP
402 { OKFG CZGTF
404 { IGV\ N[ FKEDZJ
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Widow ± 409
432
382 { QGVXF \GGI
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384 { OKRGZGPKSYGBG OKSYGEZV
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438 { ZK[
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440
{ "\GRJYF OGKG FZD[F QJKKV" { YKPKS SNZ'X .31
Clouds Gathering ± 443
Errata ± 445
A Book Full of Pictures ± 447
Against Winter ± 447
Mummy's Curse ± 449
The Wooden Toy ± 451
Song Without Words ± 451
442 { TZ KZ[#CP \G\GB
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448 { JGRIF \NNY
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.FH LZMC OKDXGPF OKZZG[PF 31 N[ OFK\GZKXK \B OKPKEYPF \GBGCPC
N[ QPH YZVC \KNDRBF FZK[C [IZ\F Z[B \B ,FZXYC GNG ,OMSPF KSKSC OKRG\R ESP
BXPK BZGYF .GH \PXPGXP \ZDSPC KZ[VBF QP FCZFC NGED UYKF [ZGE ,OKR[ FBPN CGZY
,QM NT .JRZJRKBC LMN OK[EYGPF OKCZF OKZ\BCG \GZVSN \K[GPK[ FKEVGNYKXRB NMC G\GB
[YCB ,GRKRVN[ BGCPN BGZYN K\ZIC[ KVM "\KRYKZPB=GNDRBF FZK[F ZICPN \GZTF"C
KMZTF NECFN JZVCG ,\KNDRB \C\MRF FZK[F \B \GEIKKPF \GTVG\F QP FPMN SIKK\FN
QG[BZ YNI :OKKR[N BGVB YNI\P ZPBPF .\KRYKZPBF FZK[N \KJKZCF FZK[F QKC[ KNGDSFG
KFN[C \KNDRBF FZK[F N[ YFCGPF DXKKPF ,DRKNVKY EZBKEZ QKC[ \KJKZCF FZK[F NT
;\PEGYF FBPF N[ FVGS \BZYN C\GMF HGK EJ ETG ,OKZ[TF FBPF \K[BZG 19=F FBPF
FZK[C NGEDF WZVF N[ JNGCF GDKXR ,JSfZV JZCGZP NIF ,C"FZBC LMN NKCYP KR[ YNIG
,"YZGK GKR \NGMSB" \B FRPBR DXKKPF ,KZ&a[B QG'DC FNMG ,LNKBG OKZ[TF \GR[P \KRYKZPBF
.\PEGYF FBPF N[ FKKR[F \KXIPC \KRYKZPBF FZK[C Z\GKC Y\ZPF YZVF FBZRF NMM
HGK EJN DRKNVKY EZBKEZ QKC \KJKZCF FZK[F .B
GRKNT FN]YP ,1901 \R[C BYGGE BZGCN F\P[R \B CK[FN FZIC FKZGJYKG FMNPF KM FECGTF
N[ G\K[BZM FH ETGP TGCYNG ,\KNDRBF \GZVSC KRBKZGJYKGGF QEKTF \B F\GPC OKKSN
FZK[ KZT[ FTC[
20
GTKCXF FKDGNGRMJF KD[KF .OKCZGTP \G[DZC NCY\F [EIF QEKTF .KJKZCF OHKRZEGPF
.\G[GRBF \GENG\ NMC FGPM F\KKF BN[ FDZEP \XKVY BKF OKZ[TF FBPF KM \G[ZGVP
GRr
# K FKDGNGRMJFG TEPF KM GRGKDFC TRM[ ,(1905) A Modern Utopia ,SNG&G .D.F N[ GZGCKI
JZVN GYKRTKG ,OKKIF \NIG\ \B GMKZBK ,FKXHKJZYGPEF KMKNF\ \B GYKPTK ,\G[GRBF KRV \B
,KJKZCF OHKNBKZVPKBC OKYES GTC]R OD \TC FC ONGB .QMN OEGY GTEGR BN[ FIGGZ KBR\
KZGCKXF OGKF ZES NT \GNTN FNIF [EIF KPNGTF ZESC FKRJKZC N[ FPGYP \NB[G
.GZCDG GMNF[ FDBECG \GZKE\C
GKFK[ \GKDGNGBEKBG \GESGP N[ OVGS BGCK KM FKF KGVX FKDGNGRMJF KD[KF EXN
,ZYKTC KJPZEFG K\GZVSF ,EYGPF NT GNTGF ,LM[ QGGK+j .F[EIF FKVGJGBC OKKJSKRGZMRB
ZYKTC) OHKJGKZJV N[ GMZTC ,KEPTPF EGCKZC NIF :\KJKZCF \[ZGPF N[ \G[GEYF \GZVF
B\C[ QGKDKFF NT ZGTZTCG F[BF ZGZI[C FNMG ,(1902=1899) OKZGCF \PINP ZGBN
,G[ EZRZC 'DZG'D N[ GK\GHIPC KJSKZGPGF QGGD NTC KGJKC FKRJKZCC GNCKY FNB .K\IV[PF
.KZGCKX IGMKG \PKCN KRBKEZBGEBF QGZJBK\F \B LVF[
OHKXKJ\SBF FKF ,KJKZCF OHKCKJKHGVF \PKC NT NNI NVR[ QG[BZF QCZGYF ,KGVXM
\GRPB \GKFN \GRPBN FN NB[ ECNC GH BN .ENKKGG ZYSGBG (Pater) ZJBV ZJNGG \NGMSBP
,FBPF \K[BZ N[ KJKZCF ZVGSF FKF FH QCGPC .LRING ZYCN ,TKYGFN FKNT[ BNB ,FP[N
FDBSF .19=F FBPF KFN[P K\ZCIF QPGZF N[ GMK[PP ,(Galsworthy) K\ZGGSND QG'D \PDGE
TXCF \VKEZ \B FTKYGPG \ZB\PF (1906=C ZGB FBZ FN[ QG[BZ LZM) JKKSZGV \KCN
GB ,SRYKEG BNGH ,CKKRDZGJ ,YHNC N[ OKRPGZC NYRC CN\[FN FNGMK F\KKF ,\KRDZGCF
-\C \ZIB \TEGR FZKXK OD LM .NCGR SZVC K\ZGGSND FMH LM NT ,QMBG .QSCKB N[ GK\GHIPC
GIGZ \GSD \B ZYCPF ZJSZGV QDZGP EZBGEB N[ ,(1907) Longest Journey=F ,FVGY\F
,KEZF SPG\ UB \PKGSP FEKPCG ZJSZGV ,K\ZGGSND .KJKZCF OKKRKCF EPTP N[ G\GTKCXG
,KJKZCF Q@oF BGVB OF ,OKRBKEZBGEB OKZVGS N[ ,\GIV \TEGR[ ODF ,FMGZB FZG[ OFGPMG
.KVGZKBF QPGZF \GPDP N[ ,OKR[C \GZ[T GNB-KBC ZIB\PF
,OKZGCF \PINP N[ FBK[C ,\KJKZCF FKZVPKBF NPS ,FKZGJYKG N[ F\GP ,EDRP
OFK\G\GB \B \\N GNIF F\SKZY KRPKS[ FKZVPKBF \KKDGS \B \GVKZI FR[PC FNTF
\SKZY OT F\FGH FKZVPKBF N[ FKGVXF F\NKVR ."Z\MC[ OGNFKF" ,GEGFC ZYKTC
FEZIFG ,FKNBP F[YC\F \KPGZF FKZVPKBF N[ F\SKZYN FBGG[FF .FNGM FKXHKNKGGKXF
KFN[C ZCT[ ,KEZF SPG\ .\K\GZVSF FZKXKC JB JB NININ FNIF CZTPF \GCZ\ WYN
,KJKZCF OHKNBKZVPKBF N[ OKKZSGPF OKJCKFF NT ZTZT ,FZK[N FHGZV \CK\MP FBPF
LVF ,[PBP FKZVPKBF N[ OKYFCGPF FKNNFPP ,GPXT DRKNVKY .GK\GCYTC GMNF OKCZG
\B ZB\N CKJKF[ KRYKZPBF SPKK'D KZRF BYGGE FH FKF ONGB .ZYCPNG QYVSN BGF UB
\GIKN[FG \KZSGPF \GCKGIPF \TEG\ \B WKZTF[ ,SPKK'D .KJKZCF OHKNBKZVPKBF \TKY[
\GK[GB \GZZGV\F \B ZTX N[ F[GI\C ZBK\ ,\KNDRBF FNGXBF N[ \K\GCZ\F
UHG'D OD LM .(1903) The Ambassadors GB Portrait of a Lady \PDGE OKRPGZC ,FMNPPF
QGYKJRPGZ BGF[ ,(1900) OK'D EZGN \PDGE YFCGP KJKZC KM QKPBF BN[ KP ,EBZRGY
.[EIF ONGTC EGZ[N IKNXK ,GEGSKC
\KRYKZPB=GNDRBF FZK[F ZICPN \GZTF
21
KJKZCF OHKRZEGPF
FKF FKRJKZC N[ KNBKZVPKBF QEKTF \TKY[ N[ Z\GKC YFCGPF ZVGSF[ FZYP FH QKB[ O[M
QP \KJKZCF FZK[F \GY\R\F EYGPC OKEPGTF OKZZG[PF KR[[ FZYP FH QKB LM ,KRYKZPB
.JGKNB .S.\G ERGBV BZHT ,C"FZB KEKNK OF UB GKF ,(FH NNMC KRBKZGJYKGGFG) KJRPGZF QEKTF
EGT ZCEN F[Y ,FRG[BZF ONGTF \PINP \B OKEYPF ZG[TC GEYPN Q\KR[ ,FH CN[P NIF
FZXY FZKYSC QFKRKC K\EZVF \BH NMC OB) .LVFNG \KRYKZPBF GHP \EZVRF \KNDRB FZK[ NT
(.K\GFP BYGGE GBNG KDGNGEG\P NGYK[P ZCEF F[TR GH
FTGR\F \B QPSPF ,GHMZPC ERGBV BZHT OT KJSK'HBPKBF OZHF BGF LMN \YFCGP FPDGE
KESKKP OT OKRPR ERGBVN USGRC .OKKJKZCF OKKBC FRG[BZF \K\GTP[PF \KJRPGZ-JSGVF
.(Lowell) NBGN KPKK+BG NJKNGE FENKF] \PDGE FYKZPB KEKNK OKZZG[P ,OKJNGCF FTGR\F
FRG[BZG [BZCG \[CKF QP OKKJSKRGKSZVSYBF OKPZHF \TV[FC ,OKJSK'HBPKBF
.\KJKZCF FZK[F \[ZGPC QMG\FG FZGXF \GRGZYT NT ZTZTN G[YKC ,K\VZXF OHKNGCPKSF
OKKGPKE LZTPCG ZGCKE QG[NC ,K[VGI HGZIC [GPK[F ,\K\ZGSPF FKEGHGZVF \ZKC[
\B F\ZK[[ \KJGKVF \[ZGPF KNCMP ZGZI[F \PDP \B O\TEN G[PK[ ,ZMGRPG KCKJYKKCGS
A Lume KZK[P ,Cino LG\P ERGBV N[ \GZG[ FRF .KJRPGZFG KJSKNBKZVPKBF NGP\BF ONGT
:GN[ \KJSK'HBPKBF FVGY\F KZK[ \B ZZG[PF SRKM GC LZM ,(1917) Spento
I have sung women in three cities.
But it is all one.
I will sing of the sun.
... eh? ... They mostly had grey eyes.
But it is all one, I will sing of the sun.
NT QGPBF BZGYF KRKTC QKJGNIN \GPKP\ \GBZRF ,FNB \GZG[C[ FHGT\F NT EGPTN \RP NT
\KNDRBF FZK[F QGRDS NB \DSN [K ,FPDGE O[N FPZBNP QVJS N[ FHM ,K\VZXF OHKNGCPKSF
,\T F\GBC FZK[F N[ FEGEPF FZD[F \PGTN .ZK[F \B ERGBV C\M FC FR[F ,1908 \R[C
N[ TJGYPF KRMG\F UXZF QMG NY[P ZETF ,ZGCKE QG[NCG ZKCI\C KJRN[RGRF [GPK[F
GJ+TP QKRRGX N[ QG\KYC ZZG[PF FMH LM N[C[ QKKXN Z\GPN .[PP N[ [GEKI QMB OF ,ERGBV
.C\GMF N[ KRYKZPBF GBXGP \B [KDEFN FBZ[ ,BKFF \TC KGXPF ZYCPF N[
\NIG\G ,FKRJKZCC OKPK LKZBF BN ,FKFK[ NMM TGRX ,KJSK'HBPKBF QGKSKRF GNKVB ONGB
YZV FH FKF BNPNB ,GHP FZ\K .(1912=1911) OKPK OKK\R[ BNB FM[PR BN \K[PPF GKKI
\KJKZCF FZK[N FKGXP FKDGNG\RBC GF[NM ZGMHBN FMGH FKF OB YVS ,ERGBV N[ G\ZKXKC
.OKZ[TF FBPC
Z\GKC NGEDF ICJF N[ OHKNYJYF .FRG[BZF ONGTF \PINP OT TKDF NGEDF FRVPF
-KEGFK SG\BC \IC\[PF \KCZTPF FKXHKNKGGKXF N[ FCNC \BHG ,FM ET \G[GRBF \GENG\C
KZK[ FN GZ[ QMN OEGY \GZGVS OKR[ Z[B FKDGNGRMJ F\GB \GTXPBC NNGI\R[ ICJ ,KZXGR
FZK[ KZT[ FTC[
22
"FNGEDF FPINPF" ,LMC KE BN GPM .LZE KJGCKIG [GBK ,FCHMB N[ ND KGVXM ZZGT ,NNF
[BZC .FRZEGPF QP FCHMBFG [GBKF \[GI\ NT GVKSGF[ \GKGRTZGV N[ FZG[C F\GeN
OGZEC OHK[VF \KKNT ,OK[GN[FG OKZ[TF \GR[ KFN[ N[ KNMNMF NV[F QEKT FRG[BZG
FNGEDF \GRTZGVF OZJC \BH NMG .EZVS \PINPG OHKXBRF ,ZBPKKG \YKNCGVZ \SKZY ,FVGZKB
.FKKR[F ONGTF \PINP { \G[GRBF \GENG\ NMC
FZG[ NNGI ,\TEF NT OKNCY\P FRTPG ZCSF FN YKRTFNG \GBKXPF OT EEGP\FN LZGXF
KR[C ,FZK[C QKCG FHGZVC QKC ,\GZVSF N[ UZGDF FZYKT BGFG ,\GKGR[ZVG \GCGD\ N[ FMGZB
.ONGTF \GPINP K\[ QKC[ OKZG[TF
"EDCRF ZGEF"G "\GZKVIF KZZG[P"
OFK\GZKXKC KGJKC KEKN FBC ,FBPF \K[BZP KJKZCF OHKCKJKHGVF N[ FZGPDF OKNMF \ZKC[
FKZERNVC FPINPF KPKB \B OZ[C NT GTEK[ ,BCXF KSKGDP QKCP OKZZG[P \XGCY N[
OKRPR FXGCYF N[ \ZPXF JBZKGGPGKZJ OT ."\GZKVIF KZZG[P" KGRKMF QBMP .\VZXCG
LG\P OKKR[ KM FECGTF[ IKRFN ZKCS .DZCRHGZ YIXKG QG[[ EKZVDKH ,(Owen) QGGB EZ&VNKGG
LM .KEGFKF Q@oN ZMH QKBG JTPM \GZKVIF QP O\ZK[C KM UB ,KR[ZE \ZPGB OKEGFK OF F[GN[F
KRZEGPF OEBF N[ GVGZKJ \B FDKXPF ,\KZHMBG \KJSYZS ,\KPKSV FZK[ GH ,KGVXMG ,\ZIB GB
FKNM GKNT BKC\ KM QKEF QP Z[B ,F[EIF FKDGNGRMJF \GTXPBC OKRGKNKP ICJN FGGB\F[
GKZK[P EIBC CJKF \BH DKXP ,"\GZKVIF KZZG[P" OT BGF UB FRPRF ,SCKKZD JZCGZ .CGZYC
:EXKM GRN ZVSN ,ZXY FTGGH ZGBK\ \GTXPBC ,ZZG[PF [YCP GC ,\P [fC OKTEGRF
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FXGCY FPY ,GKZCIG DZCRHGZ GB KNSYF N[ OKK[GRB NNMF OKKJVKNYGVBF OKJCKFF IGZC
FXGCYF OT .KJKZCF K\ZCIF FRCPF N[ GX]YC ZYKTC FHMZ\F[ ,"EDCRF ZGEF" FRGMPF
,GN[ FKVZDGKCGJGBF Z[B ,SCKKZD JZCGZG EZGV SYGEP EZGV ,ZJSZGV QDZGP EZBGEB GRPR
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23
QPGZC ,ZJSZGV .FRPHC OKNGEDF OKJKFNF EIBN F\KKF ,(1929) Goodbye to All That
EZGVG ,\GKXHKNKGGKX K\[ QKC K\GCZ\F TS[F \B ZB\N CKJKF ,A Passage to India ,UKYPF
\PDGE OKRPGZG OKZGVKS N[ FZe[C ,FPINPC GXZB \NGXB \SKZY \B DKXF EZGV SYGEP
.The Good Soldier \TEGRF FNCGRF
SG\KPF NB FCK[FG ,SJKK ,JGKNB ,ERGBV { "ZKFHPF JBZKGGPGKZJF"
OG[P \Y\ZP { FKRJKZC NT ZCT[ KBKEKBFG K\ZCIF ZC[N Z\GKC \GY\ZPF \GCGD\F \IB
.SJKKG JGKNB ,ERGBV N[ O\ZK[ BKF { FVY\ K\NC UB FZGBMNG FKGVX K\NC FM F\GKF
JGKNB .S.\ .EKZ JZCZF KEK NT GRGM[ KVM ,(Illustrious Triumvirate) ZKFHPF JBZKGGPGKZJF
FKXHKNKGGKXF N[ \GGPF KGGKB KM BXP ,(1922) FPP[F WZB C \B[ Z\KCG (1917) YfZVeZoC
.KRZEGPF OGKYF N[ FHKIBF ZSI KRIGZF YKZ]F QBMPG ,FK[ZG[P \GY\R\FC GZGYP \KRZEGPF
ZCI\FN [YKC FRG[BZG [BZC LB ,\KNDRBF FZK[F N[ \KJGKVF FNIRF NB ORPB C[ JGKNB
QGYKSBNY"M GPXT ZKEDF[ ,JGKNB .FNPF N[ CIZF QCGPC CZTPF \GCZ\ \[ZGP OT
[BZC BKF G\ZKXK .OKKY FBRG [ZE FBR ,"G\EC KNG\Y=GNDRBG \GKRKEPC KRMGNP ,\GZVSC
ZD\B N[ ,ZKCT K\NC OK\TN ,FGCD US BZGYF KRVC FCKXPF \KJSKJKNB FZK[ FRG[BZG
Z[B BZGYF KM IKRF ,QYKJZGBK\FG ZYCPF JGKNB \B[ Z\KCG ,ZZG[PF JGKNB .KNBGJYNJRKB
,"QXPIF ZGRKX" NB ZCI\KG CG[K ,FK\GKGYE NB EZKG G\ZK[ N[ OHKXKJ\SBF \B TKPJK
EK IGN[NP NEIKG GPGKY OTJ \B FNDKG ZGHIK LM .YGPTF FRCGPC \GCZ\F N[ ,GRG[NC
OK\CF KR[ QNFN .ZDKS OT QKKJ[KKNC :ZY&E&&aF OT YR+aZ+a ZK[F BGF LMN KRKKVGB .G[VRC
:ZK[F \B OKP\GIF
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FIRFC .JGKNB N[ GK\GHKPZ LGCP \B IRTVN NDGSP BZGYF Z[BM YZ GKGJKC BGNPN BGCN
GKNDZ \BG GKEK \B BXP BN (JGKNB \ZK[ N[ YFCGP ZYGI BGF QM OB BNB) KGXPF BZGYF[
.QF FRFG ,\GZBFG \GZTFC GNKM[FN [K ,NKTN[ FEKIF C\MC
FZK[ KZT[ FTC[
24
NGMK F\B QKB[ "QIZJ" FNB[FCG IPX N[ YKCE NKPZ\ BGF[ ,Bur=C GZGYP Burbank
UGZKXC ,OKZ[C \GDGRT\ :KZY ,Voluptas=P ZHDR FP[ ZGYP[ ,QKVGNGG .G\GPM[P ZJVKFN
,FBPF \K[BZ N[ OKBJIF KZTP ,FKXRGGN TNGY KGPKE BKF ,FNB[FC '\KRBXK' BKF[ FSXRKZV
U[ /KZB KVRM WXGY KP" :ZFZFPF YRCZC .FKXRG N[ FNPS BGF KZzBF .SKZVN YZ FKKR[F
\NGIM ,FVGI[ EK") FNCF FRYHF FKXRG NB G\CFB \KKN[BP ZZI\[F ,"\ZGM GKZVJ ,GKZGIB
CGZY OF "OKYGIF \TCr
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FR[K "\TF QGKNKM"C .FKXRG NT GZGCKIC QKYSZ QG'D [CKD[ FZGJYJKMZBF KYGI \TC[ KBEGGN
FMH \KPGZF FKZVPKBF N[ F\TKY[G F\KKNT GZGCKI[ ,QGCKD EZBGEB NB \KRKX \GSIKK\F
\GZKK\F QGNKP ,"ZYEC"C FCIZFC JJGXPFG) FKNJKBN \GZKK\F ND QEKTC \[EGIP FKKI\N
N[ \KJZV FIKEC GRRKB OB) QKKNY ERRKEZV EKYV\N EPTGPF .(20=F FBPF \K[BZP TEGRF
,KJZYGJSKZB NKNX KNTC \GP[N GKPKC OKEGFKF N[ \GP[F KGRK[ \RVGB QGC[I NT ZZG[PF
TEGR ,GCKKZSC 1914 KRGKC 28=C IXZR[ ,ERRKEZV .KZJSGBF ZXGTF BGF (ZIB GB K\VZX ,KJKZC
FHIPF \RGP\P ,JNPF P FIGYN "ZGB ,ZGB" FBKZYF .FZKTHF G\PGY \GMHC 'QKKNY' KGRKMC
OKHPZFG OKKGPKEF ZB[ ."Lights, Lights" YTGX FEZI UY\RF SGKEGBNY Z[BM ,QGPZBC
QBJSGZP ,(KTKCZF KZRF ,FZJVGBKNYG KRGJRB ,FKXRGGP ZI GSF ) ZKVSY[P OKIGYN OKKRG[NF
,(\GPGNIF Z[V ) EKGZVP ,[GEYF QBKJSCS N[ GKZGSKK ZGVKSP ,(Cyrano de Bergerac)
,(Variations sur le Carnaval de Venise) FKKJGD NKVGBK\P ,(\GKIB GZK[C) QGSKRJ EZVNBP
YZVF GBZ ,ZK[F N[ KSZBF KP[KJRBF QVF NT) .OKZIBG (The Aspern Papers) SPKK'D KZRFP
.(FH LZMC JGKNB NT
K\C \RGP[ NM N[ O\GTP[P IGRTVN .ECNC ZK[F \B OKP\GIF OK\CF KR[ NT QBM ET
OGNC ZXGB QMB .FZG[G FZG[ NMN OGYP KBZP F[GN[ QF[ \GZTF FBP \GIVN \G[GZE ZK[F
.\GZVSN KGXPF FXZPN YFCGP ZD\BG ,ZYCPF KEKC
,KGJKC KEKN QM OD FBC ,FVGY\F N[ \KJVKNYGVBF FEZIN ERGBV BZHT N[ G\CGD\
KRKJNF ,GN[ FZYPC KM UB ,ZCTF NB FDKSRC ,JGKNB .S.\ GEKPN\G GEKEK N[ GHN FPGEC
N[ NGEDF NGNMPC FRG[BZG [BZC ERGBV [CKD GPNGT \VY[F \B .ZYKTC KYNJKBFG
FRF .1959 ET 1917 QKC ,OKR[C \GZ[T LNFPC [JKNG C\Mr
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\KRYKZPB=GNDRBF FZK[F ZICPN \GZTF
25
N[ FMGZB FZG[N \EZN BZGYF N[ G\NGMKC FR\GP ERGBV N[ GJRBYF OD ,JGKNBN FPGEC
ZKMFN ,F\GR[ZVG \KRGGKF FKDGNG\KPF N[ OKSRBGKRC JGN[N GKNT Z\KF QKC .\GHKPZG \GKGYE
N[ OIGZ CXP NT EGPTNG ,\KRBKNKJSYF FDTC JGN[N ,ERGBV N[ GKKI \[ZV \B CGZYP
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27
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28
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Against the eagled
Hemisphere
I lean my eager
Editorial ear
And what the devil
You think I hear?
I hear the Beat
No not of the heart
But the dull palpitation
Of the New Art.
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29
NGGZGB 'DZG'D N[ GZVS OF FH CKJGPN \GYFCGP \GBPDGE .KZJKNJGJF JGKSF N[ FPXGT KCZ
The Prime of Miss Jean Brodie GB ,DRKENGD OBKNKGGN Lord of the Flies ,(1949) 1984
BN ,FNKCYP BGXPN NMGR BNG JTPM FZK[C .FHGZVC LM { (Spark) YZBVS NBKZGKPN
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:Simple Poem GZK[C CJKF \BH BJKC JKKGG\ ."FNeED" NMP QGZYKTM \YIZ\PF
I shall make it simple so you understand.
Making it simple will make it clear for me.
When you have read it, take me by the hand.
As children do, loving simplicity.
This is the simple poem I have made.
Tell me you understand. But when you do.
Don't ask me in return if I have said.
All that I meant, or whether it is true.
:The School in August N[ QG[BZF \KCF ,N[PN ,FRF .GPXT QKYZN OD LM
The cloakroom pegs are empty now,
And locked the classroom door,
The hollow desks are lined with dust,
And slow across the floor
FZK[ KZT[ FTC[
30
A sunbeam creeps between the chairs
Till the sun shines no more.
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:Flesh
Lying apart now, each in a separate bed
He with a book, keeping the light on late,
She like a girl dreaming of childhood,
All men elsewhere ± It is as if they wait
Some new event: the book he holds unread,
Her eyes fixed on the shadows overhead.
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NMN GXZBC ZZG[PF \B DKXK ,'WKCYXKP GB QKY[GV ,ZNK[ ,FDG FE FVGN ,ZBSRGZ ,FJRE N[
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31
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.YZGK-GKRN QGERGN QKC FBGG[FN OGYP NM QKB FH QCGPC ."FTGR\F" N[ FX]Y HBP OKRGZIBF
,KYSEGZC USGK \PDGE OKZZG[P N[ FMGZB FZG[C ONGDPF FNGEDF \KRYKZPBF FZK[F WZV
OB ...CGZPR EZBGGF ,ERZJS YZP ,CGJZCN SKRE ,YKPKS SNZ'X ,KYSRKV JZCGZ ,'WKZ QBKZEB
FCKJYVSZV ZETFP .OKKJKZCF OKKBC FNKCYP GN QKB ,OFKRKC OKTEGRF \B YZ QKKXN
BNB GH QKB BP[ GB ,\K\GCZ\ FTKY[ N[ YGPT LKNF\C ZCGEP OB \TEN F[Y ,\KZGJSKF
YKVBC OGZHN \KJKZCF FZK[F N[ TVG[F ZFRF CG[K FK\GCYTC Z[B \VNGI \ZGXC \RGT
.\YFCGP FZK[ \GR[ UNBC GRTPN Z[MGF[ IJGCF
W W W
FZK[ KZT[ FTC[
32
YKPKS SNZ'XN JSGZV JZCGZ QKC \KRYKZPBF FZK[F .C
KNGDS NNI N[ NCGK \GR[
FZK[C ZTVR ,(1892) QPJKGG JNGG ,(1886) QGSRKYKE KNKPB ,(1882) GNVDRGN KZRF N[ O\GP OT
KGBZF QP ZDSGP ZPBPC .OKR[C \GZ[T WYP BNB BNP\FN NIF BN[ KNGDS NNI \KRYKZPBF
\ZMHRF FKDGNG\RBF N[ FPGSZVN OEGY FR[ .EGBP KSIK BGF "KNGDS NNI" KGJKCF[ QKKXN
Modern=F \B ZKKPZJRGB SKBGN OSZV ,(1920) Modern British Poetry ,FH ZPBP I\VC
N[ GXZB KRC OT ESI F[GT FRKB \GKDGNG\RBF K\[ QKC FBGG[FF ONGB .American Poetry
KN EZBGEB \B \KDGNGRGZM OKPKEYPG FKDGNG\RBC OKBCGPF OKRYKZPBF OKZZG[PF .ZKKPZJRGB
N[ G\NIR OFG FKK[RF OGF\ NB ZCMP FH GNNX ,"GDYK[ \NGMSB" [KB ,(Masters) SZJSBP
\GP[ NKCYPF QPHF YZVC FRGPF ,\KJKZCF FKDGNG\RBC LM BN .ECNC \GZVSF QGKZGJSKF
.ENKKGG ZYSGBG QGSRCKJS SKBGN JZCGZ ,S'&DKZC JZCGZ ,KEZF SPG\ \PDGE OKZKFHP
GC KNGDSF NNIF[ KZF ,G\ZKXK N[ F\GPN IZMFC UVGI GRRKB ZZG[P N[ G\GP[ ZIBP
FBPF N[ OK[KPIF \GR[C KJGKVF OBK[N GTKDF GNVDRGNG QPJKGG .Z\GK OEYGP NKI\P ZCGEP
Q\KR[ FZK[ OKKR[F GZXK BN LNKBG FH ETGPP .(1855 F\BGGKF ,1852 C[T KNT ) 19=F
BN .\KJGKV \ZGXC N[ CGZKYC OKR[ OK[KPIC ZCGEP ,QM KM FRF .GNB \GZKXK K\[N F\GG[FN
FZK[F N[ \ZPXF JJZGGY KPGSZVC[ OKRPHF IGN ZIB CGYTR OB GH FTKCY IKMGFN F[YK
JZCGZ ,JGKNB .S.\ ,ERGBV BZHT { \PEGYF FBPF N[ OKPEYGPF OKZG[TC \KRYKZPBF
.DZGCERS NZYG JSGZV
\R[P BGF ,(KGCMF ZGBF ) A Lume Spento ,ERGBV N[ Z\GKC OEYGPF GPGSZV ,ORPB
\MNN GP[ NIF ,1919 \R[C SeKJZ&ofZo G 1916 \R[C Lustra OGSZV OT YZ ONGB ,1908
.GZGEC FZK[F \ZPX OT \GRPKFN KGBZF Z[MGP ZZG[PM GKRVN
WZB G 1917 \R[C YGZVGZV OGSZV OT ZMGP ZZG[P N[ EPTPC CXKK\F JGKNB .S.\
.1922 \R[C FPP[F
NKDC ,CDB \BH .1914 \R[P North Boston OKZK[F WCGY OT FZMFN FMH JSGZV JZCGZ
.KGXPF ZZG[PN \KSIK ZIGBP ,41
\TEG\N GZEI ,"GDYK[ \NGMSB" N[ OKZKMCF FKZZG[P ,DZGCERS NZYG SZJSBP KN ZDEB
Chicago=G SZJSBPN Spoon River Anthology OGSZV OT ,1916=G 1915 OKR[C OKBZGYF
.DZGCERSN Poems
,'WKReY KNRJS ,[KNYP& ENCK'XZB ,FY&\Z& ZGEGBK\ ,VG[KC \CHKNB ,SBPKNKGG SGNZY OBKNKGG
GNIF BN ,20=F FBPF \K[BZ GB 19=F FBPF UGS KEKNK ,GZKV[ NZYG KYSCGYGC SNZ'X
.OK[GN[F \GR[C BNB OSZV\FN
FBPF N[ FRG[BZF \KXIPC GV QNB ZDEB OT NIF[ \KRYKZPBF FZK[F WZV ,QM KM FRF
YZ ZGB F\BZ QGSRKYKE KNKPB N[ F\ZK[) FBPF N[ OK[K[F \GR[C O[-KB LTEG LNF ,19=F
N[ QG[BZF ZG[TCG 19=F FBPF KFN[C \KRYKZPBF FZK[C ZCE OG[ QKB .(F\GP ZIBN OKR[
NY ,FKRJKZCC \KRBKZGJYKGGF FZK[F N[ FVYKFG F\NGDS OT G\GG[FN Q\KR[ ,OKZ[TF FBPF
\KRYKZPB=GNDRBF FZK[F ZICPN \GZTF
33
KZZG[P ,KJHGZ ,DRKRGBZC NGP .OKRPHF IGNC FN NKCYPF K\VZXF OHKNGCPKSF OT BN[ ZPGIG
,FPZBNP ,GCPZ ,QNZG ,ZNEGC ,FHP DRKNVKYG ENKKGG ZYSGB ,\KEZP ,KJKNBVZ=FZVF OZHF
FZK[F ,GHP FZ\K .\GYKZ OKKEKC \KRYKZPBF FZK[F \EPGT ,FHP F'HZeP KZRBG FKKJGD NKVGBK\
OKJSKNCGRF KNGEDP KBEGGC BGF SPKK'D KZRF .FHGZVF OT EKC EK \MNGF FRRKB QGEKRF FZYPC
.ZIGBPF NKGGNP QPZF LMG QKGGJ YZP LM ,OKZ[TF FBPF \K[BZG 19=F FBPF KFN[ N[
JGKNB ,ERGBV ,NKTN OKZMHRF OKZXGKF \TCZB LG\P F[GN[ KM BGVB FZYP FH QKB
ORPB C[ JSGZV .OMZE \K[BZC OGSZVN GMH FCG ,FKRJKZCN O\ENGPP GZYT ,JSGZVG
FKRJKZCC JGKNB { OXZB \GNGCDN WGIP OFKKI CGZ GZXK OKRG[BZF KR[ LB ,G\ENGPN
FNB[F \NB[R ,OKKR[F \ZK[C ZMH F[TPN QKB C"FZBN[ ZIBP .ZYKTC FKNJKBC ERGBVG
{ OKZ[TF FBPC \KNDRB OKC\GMF FZK[F KNGED O\SF QP { OFC \GBZN Q\KR NNMC OB
,SKBGN JRSC KR[FG GFEKKBC EIBF ,FZYP LZEC GENGR[ OG[P YZ ,OKRYKZPB OKZZG[P
JNGC EGDKRCG ,KKCPGCC ENGR KM UB KEGF ZZG[P GRRKB ,NMF \GNMM ,DRKNVKY OD KZF .KZGHKP
.\KEGFF \[CKF-\\C [IZ\P G\ZKXK NNMP ZMKR YNI ,JGKNBNG ERGBVN
\B BKF UB FZZGT BN ,(1917=C FPINPN FVZJXF C"FZB) FRG[BZF ONGTF \PINP
.ONGM OKJKZC OF "\GZKVIF KZZG[P"G ,G\PEZ\P KRYKZPBF ZZG[PF
,\GZVSC WZVR QGKHKI OF ,FH NNMC KRYKZPBF "ZGI[F ZGI"FG ,FZK[F \GENG\C "OKNNI"
,\KVGZKBF \GCZ\F KEYGP NMN FVKF ,FH NNM[ BNB .GRKRVN[ FKDGNG\RBC \IB BN QKGX[ KVM
NNIF ,FH QCGPC .\KNDRB FCG\MF FZK[F N[ CGZKYC OKR[F UNB QC UXZF NT QKKET NI BN
NCGKF GC ,ZKKPZJRGB N[ GJGPF QP TVG[F ZFRF N[ QG[BZF QPHF YZV BGF KRYKZPBF
.OKK\NXTC INGY G\GB QKHPF K[BZF
ZCD\PF QKKTPM
KFN[ ETG 19=F FBPF KFN[ HBP L[PRF QPHF YZVC \KRYKZPBF FZK[C (KSIKF) ONBF
QKKTPN YE IGNKYP FZK[F ZFR FBGD LNKBG QBMPG ,\IBC NEI ,FRG[BZF ONGTF \PINP
FH FKFK BN QKKET ,JGKNBG ERGBV N[ "\GKRYKZPB"F NT FNB[ QPKS CKXR OB OD .ZCD\PF
OKJKZCF OKKBF QP \EEGR ,FPZECG FHGZVC OD GPM ,\KNDRBF FZK[C FZGMCF[ ZPGN HZVGP
GKR ,ERNDRKB GKR \PDGE OKYFCGP \GCZ\ KEYGPC FZGV NGEKD TYZY \BXGPG ,[EIF ONGTF NB
.KCZTPF UGIFG GDYK[ ,YZGK
,C"GKMG "CKJGP" ,"FNGMSB" ,"OZH"C \KRYKZPBF FZK[F (ZED QG[NP) \ZEDFN QGKSKR NM
\PXGT N[ FYEXF ZSI EGPKD LMC FKFK[ BNB ,[BZP QGN[KMN QGER B+FK[ ECNC GH BN
FZYPF BGF C"FZB FReMPF LG\KFF ZGM .ZED WZGV FRG[BZG [BZC BGF[ ,KRYKZPBF EGIKKF
OT EKC EK \ETGX \KRG[N FKRGPDF GC ,\KCZTPF FKXHKNKGGKXF N[ FKZGJSKFC QG[BZF
\NCDGPF ,[PBP "FYRZV FBGDRKNF" FRRKB OGKF \KNDRBF .NT \PXTP N[ \KRKEP FKRGPDF
CGZKYC OEB KRC EZBKNKP KVC \ZCGEPF OB-\V[ BKF .FKJPGNVKEG FNGXB N[ \KNKTN
HBP \K\KK[T\-JSGVF FZCIF N[ EZDRGGBF \B (TZN GB CGJN OB BKF \IBG) OKNKCGPF
\KNDRBC OKZK[ WCGY .\G[GRBF N[ FCGZ NT O\V[ \B OKVGMG ,OKZ[TF FBPF \KXIP
FZK[ KZT[ FTC[
34
ZCIPF \B FMHP GB ,SPKKJ YZGK GKRF N[ \GZVSN USGPC ZYSR { \ZPXN WGZVN FMGHF
QKBP ZD\B FGGFPF FECGT ,FE]XC QGFG FNKF\ GZCIPN BKCFN NDGSP { ZXKNGV SZVC
FZK[F EGTC ,ZFRF N[ GZYKTN KRYKZPBF NCGKF LVGF ,LNKBG FH CN[P ,QM KM FRF .G\GPM
.FR[P]F NCGK YKVBN FDGSR \KJKZCF
\GKRGD=CZF BGF ,KNCGNDF ZVMC \GNGCDF \YKIP \GZPN ,OKK\[F QKC KZYKTF NECFF
\C\MRF FZK[F N[ ,FNGDSCG UYKFC ,OGXPXF \PGTN \KRYKZPBF FZK[F N[ FNGEDF
FKRK'DZKGGN KGBZF EGCMF NM OT .\IBM FZK[CG FHGZVC QGMR ZCEF .OKKJKZCF OKKBC
EEGP\FN FNGMK \KJKZCF FHGZVF QKB ,KNSYF SGENBG NGGZGB 'DZG'D ,SKG'D SPKK'D ,UNGG
QG'D ,ZRYGV OBKNKGG ,SKBGN ZNYRKS ,ENZ'DXKV JGYS :SGRKKYGBN ZCTP UZGDF NG[IRF OT
KSRJ ,K\ZB'YP KZP ,ZJZGV QB QKZ\Y ,YCRKKJS QG'D ,KGGDRKPF JSRZB ,SGSV SGE
YZ BNF \BHG ...ZNF UHG'D ,ZNKP ZG\ZB ,ZNKP KZRF ,NBEKG ZGD ,FJGVY QPGZJ ,SPBKNKGG
YIXK ,\GZ KZRF N[ KEGFKF FH ,\KRYKZPBF FHGZVF N[ ECNC EIB URT .FPK[ZF \NKI\
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NNMC \KNDRBF FZK[N JGKNBG ERGBV N[ \TZMPF FPGZ\N ZCTP .FZK[C LMG FHGZVC LM
,QEGB .F.G \B NKTN GRKGX[ OKJKZCF OKZZG[PF \PK[Z NB UKSGFN Q\KR ,JZVC \KJKZCF GHNG
,\GKRGD=CZF N[ FEKPF-\PBC ZYKTCG ,JGYRR[ FEKP=FRY NMC ONGB .KRKF+ SGPK[G SPG\ QNKE
NIF ,FKRGGDN \KRYKZPBF FZK[F NG[IR OT ,FKF\[ NMM \ECGMP ,GH FPK[Z \GG[FN QKB
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OZH N[ GMZE NT UDR QCB ZEDC BKF \KJKZCF \KPGBNF \GCZ\F \PXGT BYGGE FKVN
OHKNBKZGSF KZZG[P \B K\KRKM GH FKDGNG\RB N[ 'G LZMC .FZK[F { \GRPBC ZKMC
ZKCT K\NC ,FGCD FM KNGDS UZ GTCY ,QNZG ,GCPZ ,ZNEGC ."FNeEDF KZKSB" K\VZXF
:ECNC \GVGNI K\[ GCXKR OKZ[TF FBPF \K[BZP K\VZXF ZZG[PF KRVC KM ET ,F[TPN
BN[ TGEKM GZIC OK\VZXF .NKNM OKNMF \B ZGC[N GB ,QGDKVB N[ EKYV\C YV\SFN
OK\TN ,FRXYF BGF OHKNBKZGSF .OKNTG[ K[BZ OT \GRPKFN GVKETFG ,\GKZBN CRH \GKFN
,JZVC K\GRPBF FHG ,OHKNYKEZ NMM .19=F FBPF KFN[P OHKNGCPKSF N[ ,EZGSCB ET
.QPXT ETC \GZCEP \GBXG\FG ,OK\TF QICPC EPGT GRRKB LB GRPHN FVK Z\GKF NMN BGF
\GBZYPC CDB \ZTF BGF FZBX QBJSKZJ ,[EIF QEKTC \VZX KZZG[P NGED BGF ZNEGC
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Q\GB OKTRGP ,WGZVN \GPKKBP QF OBG .QGKCNB N[ \GKPGBNF FK\GRGM\ OT ,TGEKM ,\GRPR
\B KJKZCF ZZG[PF ZIC ,OGYP NMP OKK\RKC ."B[EF NT LGZEN BN BR" JN[ \GTXPBC
N[ F\GGBDN FNV[F FGGFP ZCEF[ NMM { BGF N[PC FKZBF Z[BM ,\GKZBN CRHF \VGNI
FRGMP[ FP NT FDNKE OKZ[TF FBPF NB FMZEC[ \KJKZCF FC[GPF ,FYKZPB" { QGKCNB
.G[ EZRZC N[ \KSZBF G\ZTFC ZMHKFN OB ,"\GCZ\
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35
JGKNB .S.\ GB QPJKGG JNGG { FTV[FF
\ZK[ NT G\TV[F KV=NT FCZ FEKPC OKTCYR ZZG[P N[ KNGDSF GMZTG G\NGED[ QKKXN Z\GPN
N[ \GDSVF K\[ \B JGKNB .S.\CG QPJKGG JNGGC \GBZN NCGYP FH QCGPC .FKZIBNG FVGY\F
QGEKRC GBZG) .GH FZK[ N[ FCGXKT NT OKTKV[PF KNGED \B FNBM[ ZG\CG ,\KRYKZPBF FZK[F
,OGNC ENGZF ,QZGE QBG YZP ,ZKKPZJRGB SKBGN :OFKRKC ,OKRYKZPBF OKZYCPF KZKMC N[ FZG[
QICPC EGPT\ JGKNBN Z[BC FPMSGPF OB YVS ,CGZYP FYKECC ONGB (.DRKNKZJ NRGKN
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KEGHGZVF ,QPJKGGN JSGZV N[ GCGI .OKZ[TF FBPC FYKZPB KZZG[P NGED BGF JSGZV JZCGZ
OFKR[ ,GK[MTFG QBMF NT OKC\GM OKZZG[PF KR[ .FIMGF LKZX GRKB[ FPGE ,EIBM KRMG\FG
OKNNFPG \ENGPF TYZYN O[VR KPKR NMC OK\eVM OFKR[ ,TCJN OEBF N[ GSIKN OKY\GZP
ONGB .KGXPF BZGYF N[ G\CFBN GMH OFKR[ ,QM NTG ZKFCG [KDR QGRDSC OKC\GM OFKR[ ,F\GB
.ECMG YGPT OHKXKJGZB \VEGR G\ZK[G TC[GP JSKPKJVGB BGF QPJKGG .CZ OFKRKC KRG[F
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FRPR JSGZV" KM C\GM QZGE QBG YZP[ FZYP FH QKBG ,EKZVPF NT ZGTK[ QKBN FNGT OKKR[F
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YKVBN \K\ZCIF G\ZK[ \B ORPB FJF] DZGCERS .QPJKGG N[ OKK\ZCIF GKRM\ \B OKMK[PPF
UY[R DZGCERS N[ FZG[ NMP" ONGB ,GKPKC FRVGBC FKF[ KJSKNBKXGS QGGD NTC KJKNGV
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N[ NHZC QBX KSMRP EIBN FKF[ ,GDYK[ GZK[ .GKRKT \GBGZ[ \B ZVSPG FYKZPB KRV NT GKNDZ
:ZGPBN ,(QZGE QBG YZP LM) "QPJKGG N[ FZeJZ&CfB"C I\GV ,\KRYKZPBF FZK[F
Chicago
"
Hog
Butcher for the World,
Tool Maker, Stacker of Wheat,
Player with Railroads and the Nation's Freight Handler;
Stormy, husky, brawling.
City of the Big Shoulders:
They tell me you are wicked and I believe them,
FZK[ KZT[ FTC[
36
for I have seen your painted women under the gas lamps
luring the farm boys.
QG'D OT ,"YZGK GKR \NGMSB" N[ FNGEDF OKZZG[PF \XGCY OD LMG "GDYK[ \NGMSB" LM
KRCZGBF QVF \B OD ORPB FNJR "YZGK GKR \NGMSB" .O[BZC 'WGY \RYG ,FZF'GB YRZV ,KZC[B
NT "\KJGKV K\NC"F ,FZKFCF ,FCIZF ZK[F \VGR\ \B GRPP FNB[ ZYKTC LB ,QPJKGG N[
\KXIP Z [BM GZK[C KZC[B N[ FIK\VF \GZG[ FRF .FZK[KF FKKRVFG ZGCKEF QG[N \B ,FKRV
:O[VR \B OKTEGK OF QKB QPHF
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N[ GMZE \B NNS[ BGF .QPJKGGN GRGRDS \B [KB [KB OKCKKI ,40=FG 30=F \GR[C \KRYKZPBF
[GIN NYR .TCJF OT OEBF \GEEGP\F GNGM NM BGF[ ,Z[DF ,GN[ SGVGB OGRDPC QKKZY
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37
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KC\M QKKVBPF KJGKV QGRDSC FKNT WZTRF QPJKGGN FCGI \B \PN[P ,FZK[N QDRKNGCG ZXKNGV
:Baseball and Writing FZK[C ,JZGVS
Fanaticism? No. Writing is exciting
and baseball is like writing.
You can never tell with either
how it will go
or what you will do;
generating excitement;
a fever in the victim ±
pitcher, catcher, fielder, batter.
Victim in what category?
Owlman watching from the press box?
To whom does it apply?
Who is excited? Might it be I?
\GR[ N[ 'JKC'F ZGE KZZG[P OF QPJKGG JNGGN ONGMP OKNGEDF CGIF KNTC[ YVS QKB ONGB
\BG (Kerouac) YB&fZY& Y'D \B Z\KF QKC \NNGMF ,G\ZGCIG DZCHRKD QNB \NGMSBP ,OK[K[F
:FKRZGVKNYC NGMZP C CJKF \BH TKCP DZCHRKD QNB .(Snyder) ZEKKRS KZD
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38
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,NGEDF QCGZC ,QF[ \KRYKZPBF FZK[C \GPDPF NT TKV[FN JGKNB N[ G\NGMKN Z[BC FNB[
NT JGKNB N[ G\TV[F ,\BH OT .FZK[N Z[BC JGKNB N[ \KJ\SBF EGSKF \IRFN \GEDGRP
OKZXGKF EIB KM QM\KK BN KZF[ ,FKNBP \RCGPM ,NKTN ZGPBM ,\SV\R \KRYKZPBF FZK[F
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.\GYVS N[ FZG[ FNTP ,FZK[F \ZGYKCC FPGKSYBN ZCMP FH FMVF[ ,GH FTKCY N[ CGZYP
\KRC\ BGF OEBF' KM ZZG[PF N[ G\ZPB IGZC ,FZYKTP \KZJRXGR\B BKF \KRYKZPBF FZK[F
[ZTP \KRIGZG \KVZDGBKD FYGIZ ,WZBF-ZGEM N[ ZIBF GEXP \RMG[ C"FZB .'G\ENGP UGR
NB \KZGJSKF FYKH GB FTKDR NM \ZETRG ,KPGZ=GRNFF OHKXKSBNYF QP ,QGMK\F-IZHPC \GCZ\F
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,KJZYGJSKZBF OGZEF KZZG[PP FXGCY NT JGKNB N[ G\TV[F \ZMKR ,NKTN GRMZT[ KVM
ONY[P ,ORPB .OKIZHBF \PINP KPKC EGT QGVXF N[ \KYRKF FRZEGPF QP ORXGI \B GZTKR[
\BH OT ,("Fugitives" ,"OKYKZTF" BZYKFN GZIC QM NTG) KR[P BGF \KRYKZPBF FZK[F NNMC
New=F KCXTPP ,(Ransome) OGSRBZ GBZY QG'D \PDGE OKRKGXP OKZZG[P OFKNT OKRPR
OF[M OKJSYJ BGZYN [K KM ,FZYPC BNG ,\TCGYF "FEGPXF FBKZYF" \GRGZYTG Criticism
GB QPH KRC ,OKK[KB ,OKKZGJSKF" :GRG[NC ,KZY "OKKCKJYKKCGS" OKZ[YFP NKNM OKY\GRP
:Prometheus in Straits GZK[N OGSRBZ N[ FIK\VF \GZG[ QNFN ."OGYP
\KRYKZPB=GNDRBF FZK[F ZICPN \GZTF
39
Garrulous gentlemen on a verandah,
Bibbers or non-bibbers of illicit potations,
Rehearsing the acta and the agenda
Of Republican or Democratic administrations,
I am not committed to taking memoranda
Culled from the lacunae of your cerebrations.
ZYKTG ,YEF ZGPGFF LM ,FKEGHGZVF LM .FZG[ NMC ZMKR JGKNB N[ GRGRDS KM QKKXN Z\GPN
GNKBM KNBGJYNJRKB YZCG OKKRKJN OK[ZG[ F[GEDF \KRG[NF \GKHGBGJZKGGF LM ,OKZYKTF
.YGZVGZV KVEP FBXK
BGF UB DKNVPF ,(Tate) JKKJ QNB BGF OGSRBZ N[ "OKYKZTF" \ZGCIP ZIB TEGR ZZG[P
The Mediterranean GZK[ .FKDGNG\KPF KMCRC NNGXG ,G\ENGP KVGIP OKYGIZ \GPNGT NB
:\GZG[C I\GVF
Where we went in the boat was a long bay
A slingshot wide, walled in by towering stone ±
Peaked margin of antiquity's delay,
And we went there out of time's monotone...
.C"GKMG SBKRB N[ GNZGD ,SNGYZF KZT[ N[ OKKGPKEC ZK[F \Z\GMC ZPBRM [GED
CZYC QKKET \ZMKR ,OK[KPIF \GR[C ZCM \MTGEG \MNGF[ ODF ,JGKNB N[ G\TV[F
SPEB KRGBN ,WZGG[ ZGPNE \PDGE ,FKZIBNG FKKR[F ONGTF \PINP LNFPC GC\M[ OKZZG[P
N[ OHKXKJRPGZF NB ,ECNC ZXY QPH YZVN[ UB ,JGKNB \GTXPBC ,ZHI[ ,GZKV[ NZY ZYKTCG
:OGNI K\PNI C FPDGEN LM .19=F FBPF
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:(OGKS B[P ) Baccalaureate GZK[N QG[BZF \KCF
A year or two, and grey Euripides,
And Horace and a Lydia or so,
And Euclid and the brush of Angelo,
Darwin on man, Vergilius on bees,
FZK[ KZT[ FTC[
40
The nose and Dialogues of Socrates,
Don Quixote, Hudibras and Trinculo,
How worlds are spawned and where the dead gods go ±
All shall be shard of broken memories.
GN'DRB ,SGKJZGF ,SEKVKZGB ,[KNYP N[ FZYPC[ BNB ,\KRGZKB FZG[C ORPB OKK\SP \KCF
LNFPC ZZG[PF \B GGKN BNB ,CG\MM "OKX\GRP \GRGZMH N[ OKSZI"N GMVF BN JG[KY QGEG
N[ \KJ\SB FHZMF BKF ,Ars Poetica ,[KNYP N[ Z\GKC \TEGRF G\ZKXK .G\ZK[P ZMKR YNI
.JGKNB N[ \GKJ\SBF GK\GD[FN HMGZP KGJKC FGGFPG ,New Criticism=F
\KRYKZPBF "KGEKGGF \ZK[" NT JGKNB N[ G\TV[F \B NKIFN QKB[ QKKXN Z\GPN
N[ OKKJ\SBF \GRGZYTN EGDKRF \KNM\ \EDGRPF ,VG[KC \CHKNB GB NBGN JZCGZ \NGMSBP
\B UKETP FZF'GB .F[BZC FZF'GB YRZVG KZC[B QG'D OT "YZGK GKR \NGMSB" OD LM .NC=F
ZMCP KZC[BG ,FKXRG N[ FEPIF \GKM[ KRV NT 42 'IZ N[ OKCBVF KZGIBP FV[BF KIV
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.(FH LZMC KN[ OKKIF
EDR FJGC FSZ\F BGF ,FCeZ UB KNGB ,\KRYKZPBF FZK[C ZMKR INV[ BNB ,ECNC GH BN
,\GZVSC QGYKSBNY" :NKTN QKGXPM ,GPXT ZKEDF JGKNB .S.\ .G\CK\MC DXKKP JGKNB[ FP NM
IGZN Z\GK UKZI EGDKR FGGFK[ EDKF ZB\N F[Y ."G\EC KNG\Y=GNDRBG \GKRKEPC KRMGNP
OKKRIGZF FK\GCB NXB FJGC FM KGJKC KEKN FBCF GH ,KRYKZPBF LG\KFF ZGM N[ FKJZYGPEF
GKZCIG DZGCHRKD N[ O\ZK[C ,KYSCGYGCG SPBKNKGG NGZY OBKNKGG \PDGE 'JKC'F \ZK[ N[
.FBPF KFN[P OFKXNI KBXGK NXBG
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FZK[F QKCN FZK[F \ZGYKC QKC NGEDF ZTVF NT TKCXFN Z\GKF NMN BNB ,(FH LZMC GKZK[ \B
ZYCPN CFH FZMP QF (FH LZGXN ERGBV N[ GB) JGKNB N[ GK\GZKXK[ DKNVE QBP \KN .FPXT
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41
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LM N[C OBF .FHP Z\GK GMG\P JGISN IKNXK BN Z\GKC OMIG\PF ZYCPF ODG ,JG[VF ZK[F
OKXC[\ ,OKKDGNG\KP OKMGCP ,QBMNG QBMN OKTP\[PF ,OKSGPM OKRM\ \GRGTJF \GZG[ \GNGT
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,ZGTK[ QKBN NGED JGKNB NT \ZGYKC \CK\MC ZD\BF[ BNB .BN[ KBEGGC ?KKNKP N[ ZKFCFG
JRSRKG FRET NT \C\MRF GHP OKRGP \GZ[T FNGED JGKNB .S.\ FRKKRT[ FKVZDGKNCKCF[ QBMPG
.KGXPF BZGYF N[ GRKKRT \B UY[P GRKB FH SIK OB OD ,KKNKP
ZCE UGS
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KB GPGKS NB BC ,SKZVNG QGERGNN OKZ[TF \GR[C FKZZG[PG FKZVGS N[ \KRGPFF FEKERC KGJKC
\B FVM QGSNKGG fZEeG[ ,KBSZGGC ,1919 KRGKC FH FKF .\PEGYF FBPF N[ OK[KPIF \GR[C O[
BN .(QPVKN ZJNGG) "O[VRC EK OKING[F FVGZKBC OKVZGJPF \ZGCI" NT Pax Americana=F
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FKKZJPF \BH F\KKF FZYF FPINPF KPKC .FKNMP "\KCZTPF \GCZ\F [ZT" \B NKXFN
.FKRPGZG FKZDRGF ,FKM'XG QKNGV N[ QNZGDP \KCZTPF FVGZKB \B FNKXF[ \KRYKZPBF
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JNGG ISGR "OHKRYKZPBF" N[ FTV[FF \PXGT QBMPG ,\KPXT LZT \ZMFN GPGYP \B FRKV
.ERGBV BZHT GB JGKNB .S.\ \NGMSBP OHKXKSBNYF N[ \ZCGDG \MNGF FMKTE NGP ,QPJKGG
FH LZMC \KRYKZPB=GNDRBF FZK[F ETRP[ QBMP .\KZGJSKF FCKJYVSZVN FYGYH \GRPB
QGKSKR NM .C"FZBC YKPKS SNZ'XG FKRJKZCC KRKF SGPK[ OT ,\GPEYGPF 80=F \GR[C OKK\SP
OT .EGT BNG ZGPKF \RKICC FKFK ,QMP ZIBN OKC\GMF OKZZG[P N[ KNGDSF OMZT \B LKZTFN
FKF\ ,OKCGZYF OKZG[TC \GZVSF ZYCP KRVC FREGPT\[ Z\GKC \GY\ZPF \GKDGSF \IB ,\BH
KV\M NT OK[EI OKBK[N OPGZ\FN IKNX\ OBF .OKJKZCF OKKBC \C\MRF FZK[F FRV\ QBN
\G[K EGT ,\[CKF QP Y\GRP KB F\GKF UYG\P JB JB LTE\[ GB ,ZCTF QP FZK[F KYRT
ZDVPG QJY KB ?...FKRJKZC" :EZVS LNP KR[F VKNKV GRPHC TCJ[ ISGRC ,\KVGZKBF FNKFYC
IN[ ,ZGMHM ,VKNKV "...\R[GKP FKDGNGRMJ ,QJY BCX ,FZKTH FKKSGNMGB ,QGVX K\MZKC O[ KB
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42
DRKNVKY EZBKEZ
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The Elephant Child LG\P
KGRKM ,"\KJKZCF FKZVPKBF ZVGS" ,(Rudyard Joseph Kipling, 1865-1936) DRKNVKY EZBKEZ
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CZYC \GZKMC \GKGPEN \GBG[R GKF ,SKNB ,O+BF N[ FK\GKIB [GN[ QKCP OKK\[ .ZGFBNC
.TEGRF ZKKXF ,(Burne-Jones) SRG'D=QZC EZBGEB FKF OFP EIB { OKJKNBVZ=FZVF \ZGCI
FKRJKZC \N[PP [BZ \TF BGCC FKFK[ KP QKGGENGC KNRJS N[ GPB F\KKF \K[KN[F \GIBF
.EK\TN ZZG[PG ZVGSN KEPN FIGR FIKPX TYZY ,QMB .OK[GN[FG OKZ[TF \GR[C
ENKM ONGB ,\K\ZYGK FKKPKRVC EGPNN IN[R EZBKEZ .FKNDRBN FIV[PF FBXK 1872=C
\PZ ,IG[YF LGRKIF .NCSG \GNNPGB N[ FVGY\ GZGCT GH F\KKF ,[KDZG KBGZ ZXY ,GVGDC [NI
,FPGYF QJY ENKN YKXFN GCZF[ GKZCI N[ \GNNT\FF TSP NMP Z\GKG ,FEGZKF OKEGPKNF
.Baa Baa, Black Sheep GZGVKSC IKXRF G\GB OGDT QGZMKHN DRKNVKY KKIC FH YZV GMVF
FZK[ OSZVG ,\GRG\KTN CG\MN NIF DRKNVKY .GEGFN DRKNVKY \IV[P FC[ 1882=C
Departmental \Z\GMF \I\ QG[BZF GKZK[ WCGY ZGB FBZ 1886 \R[C .OKZXY OKZGVKSG
DRKNVKY EZBKEZ
43
.FKRJKZCC BKFF \TC TKZMPF ,KJKNBVZ=FZVF OZHF \TV[F QKKET \ZMKR OKZK[C .Ditties
ZZG[P N[ FZK[ KZGMKCC ZCGEPF[ FECGTN SIKC FPI OKRV \NCYN ORPB FMH WCGYF
\PDGE OKTEGR OKZK[ GCG ,Barrack Room Ballads OKZK[F LZM FH FKF ONGB ,KRGPNB
HBP Z\GKC FNGEDF ,FKGVX K\NC FINXFC ZZG[PF \B FMKH[ ,Gunga Din QMG Mandalay
.1889=C G\ENGPN C[ DRKNVKYG ;SRYKE N[ G[ZGK \B GC GBZ[ KP GKF F\T .QGZKKC
C\MG ,ZBJS QKKNGZY \KRYKZPBF \ZVGSN DRKNVKY B[KR (1901=1891) ZG[TF LNFPC
:BKFF \TF QP GK\GZKXK K\[ ,ZGPD QGN[KM GKF[ QKBG[KRF \PGTN .FHGZVC \GZKXK N[ FZG[
FH ETGPP .1907=C NCGR SZVC ZVGSF \B GMKHG FZKFHP FINXF GKF ,(Kim) OKY G NDRG'DF ZVS
FKF 1925=1922 OKR[F QKC .GKPK UGS ET G\GB FGGN\[ FNKVR DRKNVKY N[ G\ZKXKC FNI LNKBG
.1936 ZBGRKC 18=C GPNGTN LNF DRKNVKY EZBKEZ .SGKZERB JRS \JKSZCKRGB N[ ZGJYZ
BN FEKPC FPTGF ,OKZ[TF FBPF \K[BZC EGT FBK[C FEPT[ ,DRKNVKY N[ G\NKF\
\GRTHDF US NT OK\TN OKCXKRF ,KJKZCF OHKNBKZVPKBN YNIP BGF[ OKIC[F N[C FJTP
\ZG[C B[GR \B JZVC KNDRBCG NNMC QCNF OEBC FBZ DRKNVKY .(GH FPK[ZN \Z\GMF GBZG)
FN F\RY[ ,\KJKZCF \GREBF \GPND\FM DRKNVKY \B DKXFN FPDPF ,\BH OT .FKXHKNKGGKXF
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45
IF
"
If
you can keep your head when all about you
Are losing theirs and blaming it on you,
If you can trust yourself when all men doubt you
But make allowance for their doubting too,
If you can wait and not be tired by waiting,
Or being lied about, don't deal in lies,
Or being hated, don't give way to hating,
And yet don't look too good, nor talk too wise.
If you can dream ± and not make dreams your master,
If you can think ± and not make thoughts your aim;
If you can meet with Triumph and Disaster
And treat those two impostors just the same;
If you can bear to hear the truth you've spoken
Twisted by knaves to make a trap for fools,
Or watch the things you gave your life to, broken,
And stoop and build `em up with worn-out tools.
If you can make one heap of all your winnings
And risk it all on one turn of pitch-and-toss,
And lose, and start again at your beginnings
And never breath a word about your loss;
If you can force your heart and nerve and sinew
To serve your turn long after they are gone,
And so hold on when there is nothing in you
Except the Will which says to them: ``Hold on!''
If you can talk with crowds and keep your virtue,
Or walk with kings ± nor lose the common touch,
If neither foes nor loving friends can hurt you;
If all men count with you, but none too much,
FZK[ KZT[ FTC[
46
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47
If you can fill the unforgiving minute
With sixty seconds' worth of distance run,
Yours is the Earth and everything that's in it,
And ± which is more ± you'll be a Man, my son!
Lady Geraldine's Hardship
From:
"
The Muse Among the Motors
E.B. Browning
I
turned ± Heaven knows we women turn too much
To broken reeds, mistaken so for pine
That shame forbids confession ± a handle I turned
(The wrong one, said the agent afterwards)
And so flung clean across your English street
Through the shrill-tinkling glass of the shop-front-paused,
Artemis mazed `mid gauds to catch a man,
And piteous baby-caps and christening-gowns,
The worse for being worn on the radiator.
My cousin Romney judged me from the bench.
Propounding one sleek forty-shillinged law
That takes no count of the Woman's oversoul.
I should have entered, purred he, by the door ±
The man's retort ± the open obvious door ±
And since I chose not, he ± not he ± could change
The man's rule, not the Woman's, for the case.
Ten pounds or seven days... Just that... I paid!
FZK[ KZT[ FTC[
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49
The Doorkeepers of Zion
"
They
do not always stand
In helmet and whole armour,
With halberds in their hand;
But, being sure of Zion,
And all her mysteries,
They rest awhile in Zion,
Sit down and smile in Zion;
Ay, even jest in Zion;
In Zion, at their ease.
The Gatekeepers of Baal,
They dare not sit or lean,
But fume and fret and posture
And foam and curse between;
For being bound to Baal,
Whose sacrifice is vain,
Their rest is scant with Baal,
They glare and pant for Baal,
They mouth and rant for Baal,
For Baal in their pain!
But we will go to Zion,
By choice and not through dread,
With these our present comrades
And those our present dead;
And, being free of Zion
In both her fellowships,
Sit down and sup in Zion ±
Stand up and drink in Zion
Whatever cup in Zion
Is offered to our lips!
FZK[ KZT[ FTC[
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51
The Prodigal Son
"
Here
come I to my own again,
Fed, forgiven and known again,
Claimed by bone of my bone again
And cheered by flesh of my flesh.
The fatted calf is dressed for me,
But the husks have greater rest for me,
I think my pigs will be best for me,
So I'm off to the Yards afresh.
I never was very refined, you see,
(And it weighs on my brother's mind, you see)
But there's no reproach among swine, d'you see,
For being a bit of a swine.
So I'm off with wallet and staff to eat
The bread that is three parts chaff to wheat,
But glory be! ± there's a laugh to it,
Which isn't the case when we dine.
My father glooms and advises me,
My brother sulks and despises me,
And Mother catechises me
Till I want to go out and swear.
And, in spite of the butler's gravity,
I know that the servants have it I
Am a monster of moral depravity,
And I'm damned if I think it's fair!
FZK[ KZT[ FTC[
52
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57
When You Are Old
"
When
you are old and gray and full of sleep
And nodding by the fire, take down this book,
And slowly read, and dream of the soft look
Your eyes had once, and of their shadows deep;
How many loved your moments of glad grace,
And loved your beauty with love false or true;
But one man loved the pilgrim soul in you,
And loved the sorrows of your changing face.
And bending down beside the glowing bars,
Murmur, a little sadly, how love fled
And paced upon the mountains overhead,
And hid his face amid a crowd of stars.
A Poet to His Beloved
"
I
bring you with reverent hands
The books of my numberless dreams,
White woman that passion has worn
As the tide wears the dove-grey sands
And with heart more old than the horn
That is brimmed from the pale fire of time:
White woman with numberless dreams,
I bring you my passionate rhyme.
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SJKK ZNJC OBKNKGG
59
What Then
"
His
chosen comrades thought at school
He must grow a famous man;
He thought the same and lived by rule,
All his twenties crammed with toil;
``What then?'' sang Plato's ghost. ``What then?''
Everything he wrote was read,
After certain years he won
Sufficient money for his need,
Friends that have been friends indeed;
``What then?'' sang Plato's ghost. ``What then?''
All his happier dreams came true ±
A small old house, wife, daughter, son,
Grounds where plum and cabbage grew,
poets and Wits about him drew;
``What then?'' sang Plato's ghost. ``What then?''
``The work is done, grown old'' he thought,
``According to my boyish plan;
Let the fools rage, I swerved in naught,
Something to perfection brought'';
But louder sang that ghost, "What then?''
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61
Sailing to Byzantium
"
That
is no country for old men. The young
In one another's arms, birds in the trees
± Those dying generations ± at their song,
The salmon-falls, the mackerel-crowded seas,
Fish, flesh, or fowl, commend all summer long
Whatever is begotten, born, and dies.
Caught in that sensual music all neglect
Monuments of unageing intellect.
An aged man is but a paltry thing,
A tattered coat upon a stick, unless
Soul clap its hands and sing, and louder sing
For every tatter in its mortal dress,
Nor is there singing school but studying
Monuments of its own magnificence;
And therefore I have sailed the seas and come
To the holy city of Byzantium.
O sages standing in God's holy fire
As in the gold mosaic of a wall,
Come from the holy fire, perne in a gyre,
And be the singing-masters of my soul.
Consume my heart away; sick with desire
And fastened to a dying animal
It knows not what it is; and gather me
Into the artifice of eternity.
Once out of nature I shall never take
My bodily form from any natural thing
But such a form as Grecian goldsmiths make
Of hammered gold and gold enamelling
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63
To keep a drowsy Emperor awake
Or set upon a golden bough to sing
To lords and ladies of Byzantium
Of what is past, or passing, or to come.
Adam's Curse
"
We
sat together at one summer's end,
That beautiful mild woman, your close friend,
And you and I, and talked of poetry.
I said, ``A line will take us hours maybe;
Yet if it does not seem a moment's thought,
Our stitching and unstitching has been naught.
Better go down upon your marrow-bones
And scrub a kitchen pavement, or break stones
Like an old pauper, in all kinds of weather;
For to articulate sweet sounds together
Is to work harder than all these, and yet
Be thought an idler by the noisy set
Of bankers, schoolmasters, and clergymen
The martyrs call the world''
And thereupon
That beautiful mild woman for whose sake
There's many a one shall find out all heartache
On finding that her voice is sweet and low
Replied, ``To be born woman is to know ±
Although they do not talk of it at school ±
That we must labour to be beautiful.''
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64
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67
Spoon River Anthology
1. The Hill
"
Where
are Elmer, Herman, Bert, Tom and Charley,
The weak of will, the strong of arm, the clown, the boozer, the fighter?
All, all, are sleeping on the hill.
One passed in a fever,
One was burned in a mine,
One was killed in a brawl,
One died in a jail,
One fell from a bridge toiling for children and wife ±
All, all are sleeping, sleeping, sleeping on the hill.
Where are Ella, Kate, Mag, Lizzie and Edith,
The tender heart, the simple soul, the loud, the proud, the happy one? ±
All, all, are sleeping on the hill.
One died in shameful child-birth,
One of a thwarted love,
One at the hands of a brute in a brothel,
One of a broken pride, in the search for heart's desire,
One after life in far-away London and Paris
Was brought to her little space by Ella and Kate and Mag ±
All, all are sleeping, sleeping, sleeping on the hill.
Where are Uncle Isaac and Aunt Emily,
And old Towny Kincaid and Sevigne Houghton,
And Major Walker who had talked
With venerable men of the revolution? ±
All, all, are sleeping on the hill.
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They brought them dead sons from the war,
And daughters whom life had crushed,
And their children fatherless, crying ±
All, all are sleeping, sleeping, sleeping on the hill.
Where is Old Fiddler Jones
Who played with life all his ninety years,
Braving the sleet with bared breast,
Drinking, rioting, thinking neither of wife nor kin,
Nor gold, nor love, nor heaven?
Lo! he babbles of the fish-frys of long ago,
Of the horse-races of long ago at Clary's Grove,
Of what Abe Lincoln said
One time at Springfield.
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2. Hod Putt
"
Here
I lie close to the grave
Of Old Bill Piersol,
Who grew rich trading with the Indians, and who
Afterwards took the bankrupt law
And emerged from it richer than ever.
Myself grown tired of toil and poverty
And beholding how Old Bill and others grew in wealth,
Robbed a traveler one night near Proctor's Grove,
Killing him unwittingly while doing so,
For the which I was tried and hanged.
That was my way of going into bankruptcy.
Now we who took the bankrupt law in our respective ways
Sleep peacefully side by side.
3. Ollie McGee
"
Have
you seen walking through the village
A man with downcast eyes and haggard face?
That is my husband who, by secret cruelty
Never to be told, robbed me of my youth and my beauty;
Till at last, wrinkled and with yellow teeth,
And with broken pride and shameful humility,
I sank into the grave.
But what think you gnaws at my husband's heart?
The face of what I was, the face of what he made me!
These are driving him to the place where I lie.
In death, therefore, I am avenged.
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4. Fletcher Mcgee
"
She
took my strength by minutes,
She took my life by hours,
She drained me like a fevered moon
That saps the spinning world.
The days went by like shadows,
The minutes wheeled like stars.
She took the pity from my heart,
And made it into smiles.
She was a hunk of sculptor's clay,
My secret thoughts were fingers:
They flew behind her pensive brow
And lined it deep with pain.
They set the lips, and sagged the cheeks,
And drooped the eyes with sorrow.
My soul had entered in the clay,
Fighting like seven devils.
It was not mine, it was not hers;
She held it, but its struggles
Modeled a face she hated,
And a face I feared to see.
I beat the windows, shook the bolts.
I hid me in a corner ±
And then she died and haunted me,
And hunted me for life.
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75
6. Cassius Hueffer
"
They
have chiseled on my stone the words:
``His life was gentle, and the elements so mixed in him
That nature might stand up and say to all the world,
This was a man.''
Those who knew me smile
As they read this empty rhetoric.
My epitaph should have been:
``Life was not gentle to him,
And the elements so mixed in him
That he made warfare on life,
In the which he was slain.''
While I lived I could not cope with slanderous tongues,
Now that I am dead I must submit to an epitaph
Graven by a fool!
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77
7. Serepta Mason
"
My
life's blossom might have bloomed on all sides
Save for a bitter wind which stunted my petals
On the side of me which you in the village could see.
From the dust I lift a voice of protest:
My flowering side you never saw!
Ye living ones, ye are fools indeed
Who do not know the ways of the wind
And the unseen forces
That govern the processes of life.
8. Amanda Barker
"
Henry
got me with child,
Knowing that I could not bring forth life
Without losing my own.
In my youth therefore I entered the portals of dust.
Traveler, it is believed in the village where I lived
That Henry loved me with a husband's love,
But I proclaim from the dust
That he slew me to gratify his hatred.
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79
9. Constance Hately
"
You
praise my self-sacrifice, Spoon River,
In rearing Irene and Mary,
Orphans of my older sister!
And you censure Irene and Mary
For their contempt for me!
But praise not my self-sacrifice,
And censure not their contempt;
I reared them, I cared for them, true enough! ±
But I poisoned my benefactions
With constant reminders of their dependence.
10. Chase Henry
"
In
life I was the town drunkard;
When I died the priest denied me burial
In holy ground.
The which redounded to my good fortune.
For the Protestants bought this lot,
And buried my body here,
Close to the grave of the banker Nicholas,
And of his wife Priscilla.
Take note, ye prudent and pious souls,
Of the cross-currents in life
Which bring honor to the dead, who lived in shame.
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81
12. Judge Somers
"
How
does it happen, tell me,
That I who was most erudite of lawyers,
Who knew Blackstone and Coke
Almost by heart, who made the greatest speech
The court-house ever heard, and wrote
A brief that won the praise of Justice Breese ±
How does it happen, tell me,
That I lie here unmarked, forgotten,
While Chase Henry, the town drunkard,
Has a marble block, topped by an urn,
Wherein Nature, in a mood ironical,
Has sown a flowering weed?
14. Benjamin Pantier
"
Together
in this grave lie Benjamin Pantier, attorney at law,
And Nig, his dog, constant companion, solace and friend.
Down the gray road, friends, children, men and women,
Passing one by one out of life, left me till I was alone
With Nig for partner, bed-fellow, comrade in drink.
In the morning of life I knew aspiration and saw glory.
Then she, who survives me, snared my soul
With a snare which bled me to death,
Till I, once strong of will, lay broken, indifferent,
Living with Nig in a room back of a dingy office.
Under my jaw-bone is snuggled the bony nose of Nig ±
Our story is lost in silence. Go by, mad world!
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15. Mrs. Benjamin Pantier
"
I
know that he told that I snared his soul
With a snare which bled him to death.
And all the men loved him,
And most of the women pitied him.
But suppose you are really a lady, and have delicate tastes,
And loathe the smell of whiskey and onions.
And the rhythm of Wordsworth's ``Ode'' runs in your ears,
While he goes about from morning till night
Repeating bits of that common thing;
``Oh, why should the spirit of mortal be proud?''
And then, suppose:
You are a woman well endowed,
And the only man with whom the law and morality
Permit you to have the marital relation
Is the very man that fills you with disgust
Every time you think of it ± while you think of it
Every time you see him?
That's why I drove him away from home
To live with his dog in a dingy room
Back of his office.
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FZG[ .'SJRPGZJSRKB SSYJ' N[ FTEGP BKF "Take the road less travelled" LM .OKC[IP
BJCPF YFCGP OHKZGVB BKF ,"The utmost reward of daring / should be still to dare" \PDGE
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Earth's the right place for love: I don't" :\PDGE FZG[ ,QMBG ."G\KKGGF N[ \TNGY FZEDF
TDZC ONGB .FHGZVC FC\MR GN \GKNBRCF \GPND\F BKF ."know where it's likely to go better
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JSGZV KN JZCGZ
87
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KEZGD GNKVB ,ZPF KDGNGBKEKBF YCBPFG FZYF FPINPF ,NT-\PXTPN C"FZB N[ F\MKVF
\[KJR" OBF .G\ZK[ NT OP\GI \B GTKCJF BN ,GKPKC GRCR[ YZGK GKR N[ OKYI[F
,(ZKKPZJRGB SKBGN N[ BKF FZEDFF) "ERNDRKB GKR \GZTK N[ OKRCGBPF \CGJN FKZGJSKFF
ESC JSGZV \B FEMN \KEGHGZVF OGESF \JKP OBF ?ZZG[PF N[ KNGDSF GMZTC \TDGV
BP[ GB ?FKZGJSKFF KPTV N[ FTKZKF CIGZ \B GRPP FTRPG CXYPG HGZI N[ [JGNPF
QRKB[ \GKIXR \G\KPB N[ OKFCDN JSGZV OPGZ\F QPHF \GZGP\P \GPNT\FF \GMHC BYGGE
N[ GKZYCP \GRGKDN O\TE \B GR\R LM NT ?GK[MTFG QBMF N[ KNBKGGKZJF UXZC \GR\GP
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Fire and Ice
"
Some
say the world will end in fire,
Some say in ice.
From what I've tasted of desire
I hold with those who favour fire.
But if it had to perish twice,
I think I know enough of hate
To say that for destruction ice
Is also great
And would suffice.
The Masque of Reason
"
God:
Yes, by and by. But first a larger matter.
I've had you on my mind a thousand years
To thank you someday for the way you helped me
Establish once for all the principle
There's no connection human can reason out
Between their just deserts and what they get.
Virtue may fail and wickedness succeed.
Twas a great demonstration we put on.
I should have spoken sooner had I found
The word I wanted. You would have supposed
One who in the beginning was the Word
Would be in a position to command it.
I have to wait for words like anyone.
Too long I've owed you this apology
For the apparently unmeaning sorrow
You were afflicted with in those old days.
But it was of the essence of the trial
You shouldn't understand it at the time.
It had to seem unmeaning to have meaning.
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93
And it came out all right. I have no doubt
You realize by now the part you played
To stultify the Deuteronomist
And change the tenor of religious thought.
My thanks are to you for releasing me
From moral bondage to the human race.
The only free will there at first was humans
Who could do good or evil as they chose.
I had no choice but I must follow them
With forfeits and rewards they understood
Unless I liked to suffer loss of worship.
I had to prosper good and punish evil.
You changed all that. You set me free to reign.
You are the Emancipator of your God,
And as such I promote you to a saint.
On a Tree Fallen Across the Road
"
The
tree the tempest with a crash of wood
Throws down in front of us is not bar
Our passage to our journey's end for good,
But just to ask us who we think we are
Insisting always on our own way so.
She likes to halt us in our runner tracks
And make us get down in a foot of snow
Debating what to do without an ax.
And yet she knows obstruction is in vain
We will not be put off the final goal
We have it hidden in us to attain
Not though we have to seize earth by the pole
And, tired of aimless circling in one place,
Steer straight off after something into space.
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95
Acquainted with the Night
"
I
have been one acquainted with the night.
I have walked out in rain ± and back in rain.
I have outwalked the furthest city light.
I have looked down the saddest city lane.
I have passed by the watchman on his beat
And dropped my eyes, unwilling to explain.
I have stood still and stopped the sound of feet
When far away an interrupted cry
Came over houses from another street,
But not to call me back or say good-bye;
And further still at an unearthly height
One luminary clock against the sky
Proclaimed the time was neither wrong nor right.
I have been one acquainted with the night.
Escapist Never
"
``He
is no fugitive ± escaped, escaping.
No one has seen him stumble looking back.
His fear is not behind him but beside him
On either hand to make his course perhaps
A crooked straightness yet no less a straightness.
He runs face forward. He is a pursuer.
He seeks a seeker who in turn seeks
Another still, lost far into the distance.
Any who seek him seek in him the seeker.
His life is a pursuit of a pursuit forever.
It is the future that creates his present.
All is an interminable chain of longing''.
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99
November Night
"
Listen
With faint dry sound,
Like steps of passing ghosts,
The leaves, frost-crisp'd, break from
the trees and fall
Amaze
"
I
know
Not these my hands
And yet I think there was
A woman like me once had hands
Like these.
The Guarded Wound
"
If
it
Were lighter touch
Than petal of flower resting
On grass, oh still too heavy it were,
Too heavy!
The Pledge
"
White
doves of Cytherea, by your quest
Across the blue Heaven's bluest highest air,
And by your certain homing to Love's breast,
Still to be true and ever true ± I swear.
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KSoZ+Y EKK+NEB
101
Expenses
"
Little
my lacking fortunes show
For this to eat and that to wear;
Yet laughing, Soul, and gaily go!
An obol pays the Stygian fare.
Night Winds
"
The
old
Old winds that blew
When chaos was, what do
They tell the clattered trees that I
should weep?
The Lonely Death
"
In
the cold I will rise, I will bathe
In waters of ice; myself
Will shiver, and shrive myself,
Alone in the dawn, and anoint
Forehead and feet and hands
I will shutter the windows from light,
I will place in their sockets the four
Tall candles and set them a-flame
In the grey of the dawn; and myself
Will lay myself straight in my bed,
And draw the sheet under my chin.
FZK[ KZT[ FTC[
102
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KSoZ+Y EKK+NEB
103
Suzana and the Elders
"
Why
do
You thus devise
Evil against her? ``For that
She is beautiful, delicate,
Therefore''
Triad
"
These
be
three silent things:
The falling snow... the hour
Before the dawn... the mouth of one
Just dead
The Warning
"
Just
now,
Out of the strange
Still dusk... as strange, as still...
A white moth flew... Why am I grown
so cold?
FZK[ KZT[ FTC[
104
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DZGCERS NZY
107
Dream Girl
"
You
will come one day in a waver of love,
Tender as dew, impetuous as rain,
The tan of the sun will be on your skin,
The purr of the breeze in your murmuring speech,
You will pose with a hill-flower grace.
You will come, with your slim, expressive arms,
A poise of the head no sculptor has caught
And nuances spoken with shoulder and neck,
Your face in a pass-and-repass of moods
As many as skies in delicate change
Of cloud and blue and flimmering sun.
Yet,
You may not come, O girl of a dream,
We may but pass as the world goes by
And take from a look of eyes into eyes,
A film of hope and a memoried day.
Fog
"
The
fog comes
on little cat feet.
It sits looking
over harbor and city
on silent haunches
and then moves.
FZK[ KZT[ FTC[
108
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DZGCERS NZY
109
The Child of the Romans
"
The
Dago shovelman sits by the railroad track
Eating a noon meal of bread and bologna.
A train whirls by, and men and women at tables
Alive with red roses and yellow jonquils,
Eat steaks running with brown gravy,
Strawberries and cream, eclaires and coffee.
The Dago shovelman finishes the dry bread and bologna,
Washes it down with a dipper from the water-boy,
And goes back to the second half of a ten-hour day's work
Keeping the road-bed so the roses and jonquils
Shake hardly at all in the cut glass vases
Standing slender on the tables in the dining cars.
Lost
"
Desolate
and lone
All night long on the lake
Where fog trails and mist creeps,
The whistle of a boat
Calls and cries unendingly,
Like some lost child
In tears and trouble
Hunting the harbor's breast
And the harbor's eyes.
FZK[ KZT[ FTC[
110
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DZGCERS NZY
111
At a Window
"
Give
me hunger,
O you gods that sit and give
The world its orders.
Give me hunger, pain and want,
Shut me out with shame and failure
From your doors of gold and fame,
Give me your shabbiest, weariest hunger!
But leave me a little love,
A voice to speak to me in the day end,
A hand to touch me in the dark room
Breaking the long loneliness.
In the dusk of day-shapes
Blurring the sunset,
One little wandering, western star
Thrust out from the changing shores of shadow.
Let me go to the window,
Watch there the day-shapes of dusk
And wait and know the coming
Of a little love.
FZK[ KZT[ FTC[
112
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DZGCERS NZY
113
excerpt from
"
The
The People Yes
people yes
The people will live on.
The learning and blundering people will live on.
They will be tricked and sold and again sold
And go back to the nourishing earth for rootholds,
The people so peculiar in renewal and comeback,
You can't laugh off their capacity to take it.
The mammoth rests between his cyclonic dramas.
The people so often sleepy, weary, enigmatic;
is a vast huddle with many units saying:
``I earn my living.
I make enough to get by
and it takes all my time.
If I had more time
I could do more for myself
and maybe for others.
I could read and study
and talk things over
and find out about things.
It takes time.
I wish I had the time.''
The people is a tragic and comic two-face: hero and hoodlum:
phantom and gorilla twisting to moan with a gargoyle mouth.
[...]
FZK[ KZT[ FTC[
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N[ F[GI\N GMHK[ \RP NT GKZK[ \B [JNPG ZHGIG [JNPF QEVY ZZG[P BXPK ,\BHC
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The Collected Poems of William Carlos LG\P OKIGYN FHC OKPDZG\PF OKZK[F \TC[ NM
.1986 \R[C ZGB GBZ[ OKMZM KR[ ,Williams
W W W
FZK[ KZT[ FTC[
116
Danse Russe
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SPBKNKGG SGNZY OBKNKGG
117
Danse Russe
"
If
I when my wife is sleeping
and the baby and Kathleen
are sleeping
and the sun is a flame-white disc
in silken mists
above shining trees ±
if I in my north room
dance naked, grotesquely
before my mirror
waving my shirt round my head
and singing softly to myself:
``I am lonely, lonely.
I was born to be lonely,
I am best so!''
If I admire my arms, my face,
my shoulders, flanks, buttocks
again the yellow drawn shades ±
Who shall say I am not
the happy genius of my household?
Berket and the Stars
"
A
day on the boulevards chosen out of ten years of
student poverty! One best day out of ten good ones.
Berket in high spirits ± ``Ha, oranges! Let's have one!''
And he made to snatch an orange from the vender's cart.
Now so clever was the deception, so nicely timed
to the full sweep of certain wave summits,
that the rumor of the thing has come down through
three generations ± which is relatively forever!
FZK[ KZT[ FTC[
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SPBKNKGG SGNZY OBKNKGG
119
This Is Just to Say
"
I
have eaten
the plums
that were in
the icebox
and which
you were probably
saving
for breakfast
Forgive me
they were delicious
so sweet
and so cold
A Sort of a Song
"
Let
the snake wait under
his weed
and the writing
be of words, slow and quick, sharp
to strike, quiet to wait,
sleepless.
± through metaphor to reconcile
the people and the stones.
Compose. (No ideas
but in things) Invent!
Saxifrage is my flower that splits
the rocks
FZK[ KZT[ FTC[
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SPBKNKGG SGNZY OBKNKGG
121
Landscape with the Fall of Icarus
"
According
to Brueghel
when Icarus fell
it was spring
a farmer was ploughing
his field
the whole pageantry
of the year was
awake tingling
near
the edge of the sea
concerned
with itself
sweating in the sun
that melted the wing's wax
unsignificantly
off the coast
there was
a splash quite unnoticed
this was
Icarus drowning
The Red Wheelbarrow
"
so
much depends
upon
a red wheel
barrow
glazed with rain
water
beside the white
chickens.
FZK[ KZT[ FTC[
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SPBKNKGG SGNZY OBKNKGG
123
Portrait of a Lady
"
Your
thighs are appletrees
whose blossoms touch the sky.
Which sky? The sky
where Watteau hung a lady's
slipper. Your knees
are a southern breeze ± or
a gust of snow. Agh! what
sort of man was Fragonard?
± As if that answered
anything. ± Ah, yes. Below
the knees, since the tune
drops that way, it is
one of those white summer days,
the tall grass of your ankles
flickers upon the shore ±
Which shore? ±
the sand clings to my lips ±
Which shore?
Agh, petals maybe. How
should I know?
Which shore? Which shore?
± the petals from some hidden
appletree ± Which shore?
I said petals from an appletree.
FZK[ KZT[ FTC[
124
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SRZGN .F.E
125
HMZPC OKZGM \ZKKTC ENGR (David Herbert Lawrence, 1885-1930) SRZGN JZCZF EKGGKKE
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and believes, and says, is always true".
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.The Complete Poems
W W W
FZK[ KZT[ FTC[
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127
Snake
"
A
snake came to my water-trough
On a hot, hot day, and I in pyjamas for the heat,
To drink there.
In the deep, strange-scented shade of the great dark carob-tree
I came down the steps with my pitcher
And must wait, must stand and wait, for there he was at the trough
before me.
He reached down from a fissure in the earth-wall in the gloom
And trailed his yellow-brown slackness soft-bellied down,
over the edge of the stone trough
And rested his throat upon the stone bottom,
And where the water had dripped from the tap, in a small clearness,
He sipped with his straight mouth,
Softly drank through his straight gums, into his slack long body,
Silently.
Someone was before me at my water-trough
And I, like a second comer, waiting
He lifted his head from his drinking, as cattle do,
And looked at me vaguely, as drinking cattle do,
And flickered his two-forked tongue from his lips, and mused a moment,
And stooped and drank a little more,
Being earth-brown, earth-golden from the burning bowels of the earth
On the day of Sicilian July, with Etna smoking.
The voice of my education said to me
He must be killed,
FZK[ KZT[ FTC[
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SRZGN .F.E
129
For in Sicily the black, black snakes are innocent, the gold are venomous.
And voices in me said, If you were a man
You would take a stick and break him now, and finish him off.
But must I confess how I liked him,
How glad I was he had come like a guest in quiet, to drink at my watertrough
And depart peaceful, pacified, and thankless,
Into the burning bowels of this earth?
Was it cowardice, that I dared not kill him?
Was it perversity, that I longed to talk to him?
Was it humility, to feel so honoured?
I felt so honoured.
And yet those voices:
If you were not afraid, you would kill him!
And truly I was afraid, I was most afraid, But even so, honoured still
more
That he should seek my hospitality
From out the dark door of the secret earth.
He drank enough
And lifted his head, dreamily, as one who has drunken,
And flickered his tongue like a forked night on the air, so black,
Seeming to lick his lips,
And looked around like a god, unseeing, into the air,
And slowly turned his head,
And slowly, very slowly, as if thrice adream,
Proceeded to draw his slow length curving round
And climb again the broken bank of my wall-face.
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SRZGN .F.E
131
And as he put his head into that dreadful hole,
And as he slowly drew up, snake-easing his shoulders, and entered
farther,
A sort of horror, a sort of protest against his withdrawing into that horrid
black hole,
Deliberately going into the blackness, and slowly drawing himself after,
Overcame me now his back was turned.
I looked round, I put down my pitcher,
I picked up a clumsy log
And threw it at the water-trough with a clatter.
I think it did not hit him,
But suddenly that part of him that was left behind convulsed in
undignified haste.
Writhed like lightning, and was gone
Into the black hole, the earth-lipped fissure in the wall-front,
At which, in the intense still noon, I stared with fascination.
And immediately I regretted it.
I thought how paltry, how vulgar, what a mean act!
I despised myself and the voices of my accursed human education.
And I thought of the albatross
And I wished he would come back, my snake.
For he seemed to me again like a king,
Like a king in exile, uncrowned in the underworld,
Now due to be crowned again.
And so, I missed my chance with one of the lords
Of life.
And I have something to expiate:
A pettiness.
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SRZGN .F.E
133
The Elephant Is Slow to Mate
"
The
elephant, the huge old beast,
is slow to mate;
he finds a female, they show no haste
they wait
for the sympathy in their vast shy hearts
slowly, slowly to rouse
as they loiter along the river-beds
and drink and browse
and dash in panic through the brake
of forest with the herd,
and sleep in massive silence, and wake
together, without a word.
So slowly the great hot elephant hearts
grow full of desire,
and the great beasts mate in secret at last,
hiding their fire.
Oldest they are and the wisest of beasts
so they know at last
how to wait for the loneliest of feasts
for the full repast.
They do not snatch, they do not tear;
their massive blood
moves as the moon-tides, near, more near
till they touch in flood.
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135
What Would You Fight For?
"
I
am not sure I would always fight for my life.
Life might not be worth fighting for.
I am not sure I would always fight for my wife.
A wife isn't always worth fighting for.
Nor my children, nor my country, nor my fellow-men.
It all depends whether I found them worth fighting for.
The only thing men invariably fight for
Is their money. But I doubt if I'd fight for mine, anyhow
not to shed a lot of blood over it.
Yet one thing I do fight for, tooth and nail, all the time.
And that is my bit of inward peace, where I am at one
with myself.
And I must say, I am often worsted.
Intimates
"
Don't
you care for my love? she said bitterly.
I handed her the mirror, and said:
Please address these questions to the proper person!
Please make all request to headquarters!
In all matters of emotional importance
please approach the supreme authority direct!
So I handed her the mirror.
And she would have broken it over my head,
but she caught sight of her own refection
and that held her spellbound for two seconds
while I fled.
FZK[ KZT[ FTC[
136
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SRZGN .F.E
137
All I Ask
"
All
I ask of a woman is that she shall feel gently towards me
when my heart feels kindly towards her,
and there shall be the soft, soft tremor as of unheard bells between us.
It is all I ask.
I am so tired of violent women lashing out and insisting
on being loved, when there is no love in them.
Gipsy
"
I,
the man with the red scarf,
Will give thee what I have, this last week's earnings.
Take them, and buy thee a silver ring
And wed me, to ease my yearnings.
For the rest, when thou art wedded
I'll wet my brow for thee
With sweat, I'll enter a house for thy sake,
Thou shalt shut doors on me.
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ERGBV SKPGN BZHT
141
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BGF ,"QGRDS"N GNB OKCKMZP KR[ UGZKX .FHP KPGZ=GRNFF ONGTF QP IGYNF OKNPS LZTPG
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:ERGBV
fE^RfHK]N&B F&HfI FZ&E^@o F&H F@KF@
xZ&+T^a fB 1917=G 1906=C
"Come pan, ninÄo" :SZ&fNfE FZ@P^B@
"ZeI@a ,K]kr
& OI&&N N` M<B&N"
YK]S^VF]r
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(N@N^M]a YK]S^VF] OB] :KZ]^Y)
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FZK[ KZT[ FTC[
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"yo creo que los reyes desaparecen" :UK]SfF^G
(eP^N@T+K ,K]N FP
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( \P
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ERGBV SKPGN BZHT
143
Canto LXXXI (Excerpt)
"
Zeus
lies in Ceres' bosom
Taishan is attended of loves
under Cythera, before sunrise
and he said: ``Hay aquõÂ mucho
catolicismo ± (sounded catolithismo)
 n''
y muy poco religio
and he said: ``Yo creo que los reyes desaparecen''
(Kings will, I think, disappear)
 Elizondo
That was Padre Jose
in 1906 and 1917
or about 1917
and Dolores said ``Come pan, nin
Ä o,'' ``eat bread, me lad''
Sargent had painted her
before he descended
(i.e., if he descended)
but in those days he did thumb sketches,
 squez in the Museo del Prado
impressions of the Vela
and books cost a peseta,
brass candlesticks in proportion,
hot wind came from the marshes
and death-chill from the mountains.
And later Bowers wrote: ``but such hatred,
I had never conceived such''
and the London reds wouldn't show up his friends
(i.e., friends of Franco
working in London)
 zar
and in Alca
forty years gone, they said: ``Go back to the station to eat,
you can sleep here for a peseta''
goat bells tinkled all night
and the hostess grinned: ``Eso es luto,
mi marido es muerto''
(it is mourning, my husband is dead)
haw!
FZK[ KZT[ FTC[
144
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Dolmetsch ever be thy guest,
EeT@F W+T \B& x+jZ] OB
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Lawes and Jenkins guard thy rest
Dolmetsch ever be thy guest,
|...~
ERGBV SKPGN BZHT
145
when she gave me paper of the locanda to write on
with a black border half an inch or more deep, say 5/8ths,
``We call all foreigners frenchies''
[...]
Basil says
they beat drums for three days
till all the drumheads were busted
(simple village fiesta)
and as for his life in the Canaries...
Possum observed that the local portagoose folk dance
was danced by the same dancers in divers localities
in political welcome...
the technique of demonstration
Libretto
Yet
Ere the season died a-cold
Borne upon a zephyr's shoulder
I rose through the aureate sky
Lawes and Jenkins guard thy rest
Dolmetsch ever be thy guest,
Has he tempered the viol's wood
To enforce both the grave and the acute?
Has he curved us the bowl of the lute?
Lawes and Jenkins guard thy rest
Dolmetsch ever be thy guest,
[...]
FZK[ KZT[ FTC[
146
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ERGBV SKPGN BZHT
147
What thou lovest well remains,
the rest is dross
What thou lov'st well shall not be reft from thee
What thou lov'st well is thy true heritage
Whose world, or mine or theirs
or is it of none?
First came the seen, then thus the palpable
Elysium, though it were in the halls of hell,
What thou lovest well is thy true heritage
What thou lov'st well shall not be reft from thee
The ant's a centaur in his dragon world.
Pull down thy vanity, it is not man
Made courage, or made order, or made grace,
Pull down thy vanity, I say pull down.
Learn of the green world what can be thy place
In scaled invention or true artistry,
Pull down thy vanity, Paquin pull down!
The green casque has outdone your elegance.
``Master thyself, then others shall thee beare''
Pull down thy vanity
Thou art a beaten dog beneath the hail,
A swollen magpie in a fitful sun,
Half black half white
Nor knowst'ou wing from tail
Pull down thy vanity
How mean thy hates
Fostered in falsity,
Pull down thy vanity,
Rathe to destroy, niggard in charity,
Pull down thy vanity,
I say pull down.
FZK[ KZT[ FTC[
148
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Cantico del Sole
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ERGBV SKPGN BZHT
149
But to have done instead of not doing
This is not vanity
[...]
To have gathered from the air a live tradition
or from a fine old eye the unconquered flame
this is not vanity.
Here error is all in the not done,
all in the diffidence that faltered...
Cantico del Sole
"
The
thought of what America would be like
If the Classics had a wide circulation
Troubles my sleep,
The thought of what America,
The thought of what America,
The thought of what America would be like
If the Classics had a wide circulation
Troubles my sleep.
Nunc dimittis, now lettest thou thy servant,
Now lettest thou thy servant
Depart in peace.
The thought of what America,
The thought of what America,
The thought of what America would be like
If the Classics had a wide circulation...
Oh well!
It troubles my sleep.
FZK[ KZT[ FTC[
150
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ERGBV SKPGN BZHT
151
A Pact
"
I
make a pact with you, Walt Whitman ±
I have detested you long enough.
I come to you as a grown child
Who has had a pig-headed father;
I am old enough now to make friends.
It was you that broke the new wood,
Now is a time for carving.
We have one sap and one root ±
Let there be commerce between us.
Portrait d'une Femme
"
Your
mind and you are our Sargasso Sea,
London has swept about you this score years
And bright ships left you this or that in fee: Ideas, old gossip, oddments
of all things,
Strange spars of knowledge and dimmed wares of price.
Great minds have sought you ± lacking someone else.
You have been second always. Tragical?
No. You preferred it to the usual thing:
One dull man, dulling and uxorious,
One average mind ± with one thought less, each year.
Oh, you are patient, I have seen you sit Hours, where something might
have floated up.
And now you pay one. Yes, you richly pay.
You are a person of some interest, one comes to you
And takes strange gain away:
Trophies fished up; some curious suggestion;
Fact that leads nowhere; and a tale for two,
Pregnant with mandrakes, or with something else
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153
That might prove useful and yet never proves,
That never fits a corner or shows use,
Or finds its hour upon the loom of days:
The tarnished, gaudy, wonderful old work
Idols and ambergris and rare inlays,
These are your riches, your great store; and yet
For all this sea-hoard of deciduous things,
Strange woods half sodden, and new brighter stuff:
In the slow float of differing light and deep,
No! there is nothing! In the whole and all,
Nothing that's quite your own.
Yet this is you.
The Garden
"
Like
a skein of loose silk blown against a wall
She walks by the railing of a path in Kensington Gardens,
And she is dying piece-meal
Á mia.
of a sort of emotional ana
And round about there is a rabble
Of the filthy, sturdy, unkillable infants of the very poor.
They shall inherit the earth.
In her is the end of breeding.
Her boredom is exquisite and excessive.
She would like some one to speak to her,
And is almost afraid that I
will commit that indiscretion
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155
Homage to Sextus Propertius
"
Midnight,
and a letter comes to me from our mistress:
Telling me to come to Tibur, At once!:
Bright tips reach up from twin towers,
Anienan spring water falls into flat-spread pools.
What is to be done about it?
Shall I entrust myself to entangled shadows,
Where bold hands may do violence to my person?
Yet if I postpone my obedience
because of this respectable terror
I shall be prey to lamentations worse than a nocturnal assailant.
And I shall be in the wrong,
and it will last a twelve month,
For her hands have no kindness me-ward,
Nor is there anyone to whom lovers are not sacred at midnight
And in the Via Sciro.
If any man would be a lover
he may walk on the Scythian coast,
No barbarism would go to the extent of doing him harm,
The moon will carry his candle,
the stars will point out the stumbles,
Cupid will carry lighted torches before him
and keep mad dogs off his ankles.
Thus all roads are perfectly safe
and at any hour;
Who so indecorous as to shed the pure gore of a suitor?!
Cypris is his cicerone.
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157
A Girl
"
The
tree has entered my hands,
The sap has ascended my arms,
The tree has grown in my breast ±
Downward,
The branches grow out of me, like arms.
Tree you are,
Moss you are,
You are violets with wind above them.
A child ± so high ± you are,
And all this is folly to the world
The Encounter
"
All
the while they were talking the new morality
Her eyes explored me.
And when I rose to go
Her fingers were like the tissue
Of a Japanese paper napkin.
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163
Burbank with a Baedeker: Bleistein with a Cigar
Tra-la-la-la-la-la-laire ± nil nisi divinum stabile est; caetera fumus ±
the gondola stopped, the old palace was there, how charming its grey and pink ±
goats and monkeys, with such hair too! ± so the countess passed on until she came through
the little park, where Niobe presented her with a cabinet, and so departed.
"
Burbank
crossed a little bridge
Descending at a small hotel;
Princess Volupine arrived,
They were together, and he fell.
Defunctive music under sea
Passed seaward with the passing bell
Slowly: the God Hercules.
Had left him, that had loved him well
The horses, under the axletree
Beat up the dawn from Istria
With even feet. Her shuttered barge
Burned on the water all the day.
But this or such was Bleistein's way:
A saggy bending of the knees
And elbows, with the palms turned out,
Chicago Semite Viennese.
A lustreless protrusive eye
Stares from the protozoic slime
At a perspective of Canaletto.
The smoky candle end of time
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Declines. On the Rialto once.
The rats are underneath the piles.
The jew is underneath the lot.
Money in furs. The boatman smiles,
Princess Volupine extends
A meagre, bluenailed, phthisic hand
To climb the waterstair. Lights, lights,
She entertains Sir Ferdinand
Klein. Who clipped the lion's wings
And flea'd his rump and pared his claws?
Thought Burbank, meditating on
Time's ruins, and the seven laws.
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OD ,ZK[C FKGCIF OHYZSF \PKR UB NT ,JGKNB N[ KEKKNF ?FIK[C KZBF YNIF \B \NJGRF
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JGKNB .S.\
171
Portrait of a Lady
Thou hast committed
Fornication: but that was in another country,
And besides, the wench is dead.
The Jew of Malta
I
"
Among
the smoke and fog of a December afternoon
You have the scene arrange itself ± as it will seem to do ±
With ``I have saved this afternoon for you'';
And four wax candles in the darkened room,
Four rings of light upon the ceiling overhead,
An atmosphere of Juliet's tomb
Prepared for all the things to be said, or left unsaid.
We have been, let us say, to hear the latest Pole
Transmit the Preludes, through his hair and fingertips.
``So intimate, this Chopin, that I think his soul
Should be resurrected only among friends
Some two or three, who will not touch the bloom
That is rubbed and questioned in the concert room.''
± And so the conversation slips
Among velleities and carefully caught regrets
Through attenuated tones of violins
Mingled with remote cornets
And begins.
``You do not know how much they mean to me, my friends,
And how, how rare and strange it is, to find
In a life composed so much, so much of odds and ends,
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173
[For indeed I do not love it ... you knew? you are not blind!
How keen you are]
To find a friend who has these qualities,
Who has, and gives
Those qualities upon which friendship lives.
How much it means that I say this to you ±
Without these friendships ± life, what cauchemar!''
Among the windings of the violins
And the ariettes
Of cracked cornets
Inside my brain a dull tom-tom begins
Absurdly hammering a prelude of its own,
Capricious monotone
That is at least one definite ``false note.
± Let us take the air, in a tobacco trance,
Admire the monuments,
Discuss the late events,
Correct our watches by the public clocks.
Then sit for half an hour and drink our bocks.
II
"
Now
that lilacs are in bloom
She has a bowl of lilacs in her room
And twists one in his fingers while she talks.
``Ah, my friend, you do not know, you do not know
What life is, you who hold it in your hands'';
(Slowly twisting the lilac stalks)
``You let it flow from you, you let it flow,
And youth is cruel, and has no remorse
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175
And smiles at situations which it cannot see''.
I smile, of course,
And go on drinking tea.
Yet with these April sunsets, that somehow recall
My buried life, and Paris in the Spring,
I feel immeasurably at peace, and find the world
To be wonderful and youthful, after all.
The voice returns like the insistent out-of-tune
Of a broken violin on an August afternoon:
``I am always sure that you understand
My feelings, always sure that you feel,
Sure that across the gulf you reach your hand.
You are invulnerable, you have no Achilles' heel.
You will go on, and when you have prevailed
You can say: at this point many a one has failed.
But what have I, but what have I, my friend,
To give you, what can you receive from me?
Only the friendship and the sympathy
Of one about to reach her journey's end.
I shall sit here, serving tea to friends...''
I take my hat: how can I make a cowardly amends
For what she has said to me?
You will see me any morning in the park
FZK[ KZT[ FTC[
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177
Reading the comics and the sporting page.
Particularly I remark
An English countess goes upon the stage.
A Greek was murdered at a Polish dance,
Another bank defaulter has confessed.
I keep my countenance,
I remain self-possessed
Except when a street piano, mechanical and tired
Reiterates some worn-out common song
With the smell of hyacinths across the garden
Recalling things that other people have desired
Are these ideas right or wrong?
III
"
The
October night comes down; returning as before
Except for a slight sensation of being ill at ease
I mount the stairs and turn the handle of the door
And feel as if I had mounted on my hands and knees.
``And so you are going abroad; and when do you return?
But that's a useless question.
You hardly know when you are coming back,
You will find so much to learn.''
Á -brac.
My smile falls heavily among the bric-a
``Perhaps you can write to me.''
My self-possession flares up for a second;
This is as I had reckoned.
``I have been wondering frequently of late
(But our beginnings never know our ends!)
Why we have not developed into friends.''
I feel like one who smiles, and turning shall remark
Suddenly, his expression in a glass.
FZK[ KZT[ FTC[
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179
My self-possession gutters; we are really in the dark.
``For everybody said so, all our friends,
They all were sure our feelings would relate
So closely! I myself can hardly understand.
We must leave it now to fate.
You will write, at any rate.
Perhaps it is not too late.
I shall sit here, serving tea to friends.''
And I must borrow every changing shape
To find expression ... dance, dance
Like a dancing bear,
Cry like a parrot, chatter like an ape.
Let us take the air, in a tobacco trance ±
Well! and what if she should die some afternoon,
Afternoon grey and smoky, evening yellow and rose;
Should die and leave me sitting pen in hand
With the smoke coming down above the housetops;
Doubtful, for a while
Not knowing what to feel or if I understand
Or whether wise or foolish, tardy or too soon...
Would she not have the advantage, after all?
This music is successful with a ``dying fall''
Now that we talk of dying ±
And should I have the right to smile?
FZK[ KZT[ FTC[
180
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183
Journey of the Magi
"
``A
cold coming we had of it,
Just the worst time of the year
For a journey, and such a long journey:
The ways deep and the weather sharp,
The very dead of winter.''
And the camels galled, sore-footed, refractory,
Lying down in the melting snow.
There were times we regretted
The summer palaces on slopes, the terraces,
And the silken girls bringing sherbet.
Then the camel men cursing and grumbling
And running away, and wanting their liquor and women,
And the night-fires going out, and the lack of shelters,
And the cities hostile and the towns unfriendly
And the villages dirty and charging high prices:
A hard time we had of it.
At the end we preferred to travel all night,
Sleeping in snatches,
With the voices singing in our ears, saying
That this was all folly.
Then at dawn we came down to a temperate valley,
Wet, below the snow line, smelling of vegetation;
With a running stream and a water-mill beating the darkness,
And three trees on the low sky,
And an old white horse galloped away in the meadow.
Then we came to a tavern with vine-leaves over the lintel,
Six hands at an open door dicing for pieces of silver,
And feet kicking the empty wine-skins.
FZK[ KZT[ FTC[
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JGKNB .S.\
185
But there was no information, and so we continued
And arrived at evening, not a moment too soon
Finding the place; it was (you may say) satisfactory.
All this was a long time ago, I remember,
And I would do it again, but set down
This set down
This: were we led all that way for
Birth or Death ? There was a Birth, certainly,
We had evidence and no doubt. I had seen birth and death,
But had thought they were different; this Birth was
Hard and bitter agony for us, like Death, our death.
We returned to our places, these Kingdoms,
But no longer at ease here, in the old dispensation,
With an alien people clutching their gods.
I should be glad of another death.
Preludes
I
"
The
winter evening settles down
With smell of steaks in passageways.
Six o'clock.
The burnt-out ends of smoky days.
And now a gusty shower wraps
The grimy scraps
Of withered leaves about your feet
And newspapers from vacant lots;
The showers beat
On broken blinds and chimney-pots,
And at the corner of the street
A lonely cab-horse steams and stamps.
And then the lighting of the lamps.
FZK[ KZT[ FTC[
186
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187
II
"
The
morning comes to consciousness
Of faint stale smells of beer
From the sawdust-trampled street
With all its muddy feet that press
To early coffee-stands.
With the other masquerades
That time resumes,
One thinks of all the hands
That are raising dingy shades
In a thousand furnished rooms.
III
"
You
tossed a blanket from the bed,
You lay upon your back, and waited
You dozed, and watched the night revealing
The thousand sordid images
Of which your soul was constituted;
They flickered against the ceiling.
And when all the world came back
And the light crept up between the shutters
And you heard the sparrows in the gutters,
You had such a vision of the street
As the street hardly understands;
Sitting along the bed's edge, where
You curled the papers from your hair,
Or clasped the yellow soles of feet
In the palms of both soiled hands.
FZK[ KZT[ FTC[
188
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189
IV
"
His
soul stretched tight across the skies
That fade behind a city block,
Or trampled by insistent feet
At four and five and six o'clock;
And short square fingers stuffing pipes,
And evening newspapers, and eyes
Assured of certain certainties,
The conscience of a blackened street
Impatient to assume the world.
I am moved by fancies that are curled
Around these images, and cling:
The notion of some infinitely gentle
Infinitely suffering thing.
Wipe your hand across your mouth, and laugh;
The worlds revolve like ancient women
Gathering fuel in vacant lots.
FZK[ KZT[ FTC[
190
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193
Countrywomen
"
These
be two
Countrywomen.
What a size!
Grand big arms
And round red faces;
Big substantial
Sit-down-places;
Great big bosoms firm as cheese
Bursting through their country jackets;
Wide big laps
And sturdy knees;
Hands outspread,
Round and rosy,
Hands to hold
A country posy
Or a baby or a lamb ±
And such eyes!
Stupid, shifty, small and sly
Peeping through a slit of sty,
Squinting through their neighbours' plackets.
The Secret
"
In
the profoundest ocean
There is a rainbow shell,
It is always there, shining most stilly
Under the greatest storm waves
That the old Greek called ``ripples of laughter.''
As you listen, the rainbow shell
Sings ± in the profoundest ocean.
It is always there, singing most silently!
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195
The Man with the Wooden Leg
"
There
was a man lived quite near us;
He had a wooden leg and a goldfinch in a green cage.
His name was Farkey Anderson,
And he'd been in a war to get his leg.
We were very sad about him,
Because he had such a beautiful smile
And was such a big man to live in a very small house.
When he walked on the road his leg did not matter so much;
But when he walked in his little house
It made an ugly noise.
Little Brother said his goldfinch sang the loudest of all birds,
So that he should not hear his poor leg
And feel too sorry about it.
Butterfly Laughter
"
In
the middle of our porridge plates
There was a blue butterfly painted
And each morning we tried who should reach the butterfly first.
Then the Grandmother said: ``Do not eat the poor butterfly.''
That made us laugh.
Always she said it and always it started us laughing.
It seemed such a sweet little joke.
I was certain that one fine morning
The butterfly would fly out of our plates,
Laughing the teeniest laugh in the world,
And perch on the Grandmother's lap.
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197
The Candle
"
By
my bed, on a little round table
The Grandmother placed a candle.
She gave me three kisses telling me they were three dreams
And tucked me in just where I loved being tucked.
Then she went out of the room and the door was shut.
I lay still, waiting for my three dreams to talk;
But they were silent.
Suddenly I remember giving her three kisses back.
Perhaps, by mistake, I had given my three littlebdreams
I sat up in bed.
The room grew big, oh, bigger far than a church.
The wardrobe, quite by itself, as big as a house.
And the jug on the washstand smiled at me:
It was not a friendly smile.
I looked at the basket-chair where my clothes lay folded:
The chair gave a creak as though it were listening for something.
Perhaps it was coming alive and going to dress in my clothes.
But the awful thing was the window:
I could not think what was outside.
No tree to be seen, I was sure,
No nice little plant or friendly pebbly path.
[...]
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199
Across the Red Sky
"
Across
the red sky two birds flying,
Flying with drooping wings.
Silent and solitary their ominous flight.
All day the triumphant sun with yellow banners
Warred and warred with the earth, and when she yielded
Stabbed her heart, gathered her blood in a chalice,
Spilling it over the evening sky.
When the dark plumaged birds go flying, flying,
Quiet lies the earth wrapt in her mournful shadow,
Her sightless eyes turned to the red sky
And the restlessly seeking birds.
There Was a Child Once
"
There
was a child once.
He came to play in my garden;
He was quite pale and silent.
Only when he smiled I knew everything about him,
I knew what he had in his pockets,
And I knew the feel of his hands in my hands
And the most intimate tones of his voice.
[...]
There was a child once.
He came ± quite alone ± to play in my garden;
He was pale and silent.
When we met we kissed each other,
But when he went away, we did not even wave.
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201
To God the Father
"
To
the little, pitiful God I make my prayer,
The God with the long grey beard
And flowing robe fastened with a hempen girdle
Who sits nodding and muttering on the all-too-big throne
of Heaven
What a long, long time, dear God, since you set the
stars in their places,
Girded the earth with the sea, and invented the day and night.
And longer the time since you looked through the blue
window of Heaven
To see your children at play in a garden...
Now we are all stronger than you and wiser and more arrogant,
In swift procession we pass you by.
Who is that marionette nodding and muttering
On the all-too-big throne of Heaven?
Come down from your place, Grey Beard,
We have had enough of your play-acting!
It is centuries since I believed in you,
But today my need of you has come back.
I want no rose-coloured future,
No books of learning, no protestations and denials ±
I am sick of this ugly scramble,
I am tired of being pulled about ±
O God, I want to sit on your knees
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205
The Quarrel
"
Suddenly,
after the quarrel, while we waited,
Disheartened, silent, with downcast looks, nor stirred
Eyelid nor finger, hopeless both, yet hoping
Against all hope to unsay the sundering word:
While the room's stillness deepened about us,
And each of us crept his thougths way to discover
How, with as little sound as the fall of a leaf,
The shadow had fallen, and lover quarrelled with lover,
And while, in the quiet, I marvelled ± alas, alas ±
At your deep beauty, your tragic beauty, torn
As the pale flower is torn by the wanton sparrow ±
This beauty, pitied and loved, and now forsworn;
It was then, when the instant darkened to its darkest,
When faith was lost with hope, and the rain conspired
To strike its gay arpeggios against our heartstrings
When love no longer dared, and scarcely desired:
It was then that suddenly, in the neighbor's room,
The music started: that brave quartette of strings
Breaking out of the stillness, as out of our stillness,
Like the indomitable hear of life that sings.
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QYKKB EBZRGY
207
When all is lost; and startled from our sorrow,
Tranced from our grief by that diviner grief.
We raised remembering eyes, each loked at other.
Blinded with tears of joy; and another leaf.
Fell silently as that first: and in the instant
The shadow had gone, our quarrel became absurd:
And we rose, to the angelic voices of the music,
And I touched your hand, and we kissed, without a word.
Chance Meetings
"
In
the mazes of loitering people, the watchful and furtive,
The shadows of tree-trunks and shadows of leaves,
In the drowse of the sunlight, among the low voices,
I suddenly face you,
Your dark eyes return for a space from her who is with you,
They shine into mine with a sunlit desire,
They say an ``I love you, what star do you live on?''
They smile and then darken,
And silent, I answer ``You too ± I have known you, ± I love you! ±''
And the shadows of tree-trunks and shadows of leaves
Interlace with low voices and footsteps and sunlight
To divide us forever.
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QYKKB EBZRGY
209
The House of Dust
"
The
sun goes down in a cold pale flare of light.
The trees grow dark: the shadows lean to the east.
And lights wink out through the windows, one by one.
A clamor of frosty sirens mourns at the night.
Pale slate-grey clouds whirl up from the sunken sun.
And the wandering one, the inquisitive dreamer of dreams,
The eternal asker of answers, stands in the street,
And lifts his palms for the first cold ghost of rain.
The purple lights leap down the hill before him.
The gorgeous night has begun again.
`I will ask them all, I will ask them all their dreams,
I will hold my light above them and seek their faces.
I will hear them whisper, invisible in their veins...'
The eternal asker of answers becomes as the darkness,
Or as a wind blown over a myriad forest,
Or as the numberless voices of long-drawn rains.
We hear him and take him among us, like a wind of music,
Like the ghost of a music we have somewhere heard;
We crowd through the streets in a dazzle of pallid lamplight,
We pour in a sinister wave, ascend a stair,
With laughter and cry, and word upon murmured word;
We flow, we descend, we turn... and the eternal dreamer
Moves among us like light, like evening air...
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QYKKB EBZRGY
211
Morning Song of Senlin
"
IT
is morning, Senlin says, and in the morning
When the light drips through the shutters like the dew,
I arise, I face the sunrise,
And do the things my fathers learned to do.
Stars in the purple dusk above the rooftops
Pale in a saffron mist and seem to die,
And I myself on a swiftly tilting planet
Stand before a glass and tie my tie.
Vine leaves tap my window,
Dew-drops sing to the garden stones,
The robin chips in the chinaberry tree
Repeating three clear tones.
It is morning. I stand by the mirror
And tie my tie once more.
While waves far off in a pale rose twilight
Crash on a white sand shore.
I stand by a mirror and comb my hair:
How small and white my face! ±
The green earth tilts through a sphere of air
And bathes in a flame of space.
There are houses hanging above the stars
And stars hung under a sea...
And a sun far off in a shell of silence
Dapples my walls for me...
It is morning, Senlin says, and in the morning
Should I not pause in the light to remember God?
Upright and firm I stand on a star unstable,
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QYKKB EBZRGY
213
He is immense and lonely as a cloud.
I will dedicate this moment before my mirror
To him alone, and for him I will comb my hair.
Accept these humble offerings, cloud of silence!
I will think of you as I descend the stair.
Vine leaves tap my window,
The snail-track shines on the stones,
Dew-drops flash from the chinaberry tree
Repeating two clear tones.
It is morning, I awake from a bed of silence,
Shining I rise from the starless waters of sleep.
The walls are about me still as in the evening,
I am the same, and the same name still I keep.
The earth revolves with me, yet makes no motion,
The stars pale silently in a coral sky.
In a whistling void I stand before my mirror,
Unconcerned, I tie my tie.
There are horses neighing on far-off hills
Tossing their long white manes,
And mountains flash in the rose-white dusk,
Their shoulders black with rains...
It is morning. I stand by the mirror
And surprise my soul once more;
The blue air rushes above my ceiling,
There are suns beneath my floor...
...It is morning, Senlin says, I ascend from darkness
And depart on the winds of space for I know not where.
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QYKKB EBZRGY
215
My watch is wound, a key is in my pocket,
And the sky is darkened as I descend the stair.
There are shadows across the windows, clouds in heaven,
And a god among the stars; and I will go
Thinking of him as I might think of daybreak
And humming a tune I know...
Vine-leaves tap at the window,
Dew-drops sing to the garden stones,
The robin chirps in the chinaberry tree
Repeating three clear tones.
Evening Song of Senlin
"
IT
is moonlight. Alone in the silence
I ascend my stairs once more,
While waves, remote in a pale blue starlight,
Crash on a white sand shore.
It is moonlight. The garden is silent.
I stand in my room alone.
Across my wall, from the far-off moon,
A rain of fire is thrown...
There are houses hanging above the stars,
And stars hung under a sea:
And a wind from the long blue vault of time
Waves my curtain for me...
I wait in the dark once more,
Swung between space and space:
Before my mirror I lift my hands
And face my remembered face.
Is it I who stand in a question here,
Asking to know my name?...
FZK[ KZT[ FTC[
216
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QYKKB EBZRGY
217
It is I, yet I know not whither I go,
Nor why, nor whence I came.
It is I, who awoke at dawn
And arose and descended the stair,
Conceiving a god in the eye of the sun, ±
In a woman's hands and hair.
It is I whose flesh is gray with the stones
I builded into a wall:
With a mournful melody in my brain
Of a tune I cannot recall...
There are roses to kiss: and mouths to kiss;
And the sharp-pained shadow of death.
I remember a rain-drop on my cheek, ±
A wind like a fragrant breath...
And the star I laugh on tilts through heaven;
And the heavens are dark and steep...
I will forget these things once more
In the silence of sleep.
FZK[ KZT[ FTC[
218
DZCRHGZ YIXK
"?KN OKDTGN OF TGEP ,QM NTG"
\CTG\PF FBXPFF BGF BCXF ,KN QPBF
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.UGNKDG SGVEN FMBNP \KCC FKNG[M G\EGCTP EGPKNF ZM[ \B ON[P BGF[M ,\GKGRPB
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219
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FZK[ KZT[ FTC[
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221
Break of Day in the Trenches
"
The
darkness crumbles away.
It is the same old druid Time as ever,
Only a live thing leaps my hand,
A queer sardonic rat,
As I pull the parapet's poppy
To stick behind my ear.
Droll rat, they would shoot you if they knew
Your cosmopolitan sympathies.
Now you have touched this English hand
You will do the same to a German
Soon, no doubt, if it be your pleasure
To cross the sleeping green between.
It seems you inwardly grin as you pass
Strong eyes, fine limbs, haughty athletes,
Less chanced than you for life,
Bonds to the whims of murder,
Sprawled in the bowels of the earth,
The torn fields of France.
What do you see in our eyes
At the shrieking iron and flame
Hurled through still heavens?
What quaver ± what heart aghast?
Poppies whose roots are in man's veins
Drop, and are ever dropping
But mine in my ear is safe ±
Just a little white with the dust.
FZK[ KZT[ FTC[
222
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DZCRHGZ YIXK
223
The Jew
"
Moses,
from whose loins I sprung,
Lit by a lamp in his blood
Ten immutable rules, a moon
For mutable lampless men.
The blonde, the bronze, the ruddy,
With the same heaving blood,
Keep tide to the moon of Moses.
Then why do they sneer at me?
Returning, We Hear the Larks
"
Sombre
the night is.
And though we have our lives, we know
What sinister threat lurks there.
Dragging these anguished limbs, we only know
This poison ± blasted track opens on our camp ±
On a little safe sleep.
But hark! joy ± joy ± strange joy.
Lo! heights of night ringing with unseen larks.
Music showering our upturned list'ning faces.
Death could drop from the dark
As easily as song ±
But song only dropped,
Like a blind man's dreams on the sand
By dangerous tides,
Like a girl's dark hair for she dreams no ruin lies there,
Or her kisses where a serpent hides.
FZK[ KZT[ FTC[
224
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DZCRHGZ YIXK
225
The Immortals
"
I
killed them, but they would not die.
Yea! all the day and all the night
For them I could not rest or sleep,
Nor guard from them nor hide in flight.
Then in my agony I turned
And made my hands red in their gore.
In vain ± for faster than I slew
They rose more cruel than before.
I killed and killed with slaughter mad;
I killed till all my strength was gone.
And still they rose to torture me,
For Devils only die in fun.
I used to think the Devil hid
In women's smiles and wine's carouse.
I called him Satan, Balzebub.
But now I call him, dirty louse.
Louse Hunting
"
Nudes
± stark and glistening,
Yelling in lurid glee. Grinning faces
And raging limbs
Whirl over the floor one fire.
For a shirt verminously busy
Yon soldier tore from his throat, with oaths
Godhead might shrink at, but not the lice.
And soon the shirt was aflare
Over the candle he'd lit while we lay.
FZK[ KZT[ FTC[
226
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DZCRHGZ YIXK
227
Then we all sprang up and stript
To hunt the verminous brood.
Soon like a demons' pantomime
The place was raging.
See the silhouettes agape,
See the gibbering shadows
Mixed with the battled arms on the wall.
See gargantuan hooked fingers
Pluck in supreme flesh
To smutch supreme littleness.
See the merry limbs in hot Highland fling
Because some wizard vermin
Charmed from the quiet this revel
When our ears were half lulled
By the dark music
Blown from Sleep's trumpet.
FZK[ KZT[ FTC[
228
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229
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Only Until this Cigarette Is Ended
" Only until this cigarette is ended,
A little moment at the end of all,
While on the floor the quiet ashes fall,
And in the firelight to a lance extended,
Bizarrely with the jazzing music blended,
The broken shadow dances on the wall,
I will permit my memory to recall
The vision of you, by all my dreams attended.
And then adieu, ± farewell! ± the dream is done.
Yours is a face of which I can forget
The color and the features, every one,
The words not ever, and the smiles not yet;
But in your day this moment is the sun
Upon a hill, after the sun has set.
The Plaid Dress
" Strong sun, that bleach
The curtains of my room, can you not render
Colourless this dress I wear? ±
This violent plaid
Of purple angers and red shames; the yellow stripe
Of thin but valid treacheries; the flashy green of kind deeds done
Through indolence high judgments given here in haste;
The recurring checker of the serious breach of taste?
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233
Lament
" Listen, children:
Your father is dead.
From his old coats
I'll make you little jackets;
I'll make you little trousers
From his old pants.
There'll be in his pockets
Things he used to put there,
Keys and pennies
Covered with tobacco;
Dan shall have the pennies
To save in his bank;
Anne shall have the keys
To make a pretty noise with.
Life must go on,
And the dead be forgotten;
Life must go on,
Though good men die;
Anne, eat your breakfast;
Dan, take your medicine;
Life must go on;
I forget just why.
Alms
" My heart is what it was before,
A house where people come and go;
But it is winter with your love,
The sashes are beset with snow.
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235
I light the lamp and lay the cloth,
I blow the coals to blaze again;
But it is winter with your love,
The frost is thick upon the pane..
I know a winter when it comes:
The leaves are listless on the boughs;
I watched your love a little while,
And brought my plants into the house.
I water them and turn them south,
I snap the dead brown from the stem;
But it is winter with your love,
I only tend and water them.
There was a time I stood and watched
The small, ill-natured sparrows' fray;
I loved the beggar that I fed,
I cared for what he had to say,
I stood and watched him out of sight:
Today I reach around the door
And set a bowl upon the step;
My heart is what it was before,
But it is winter with your love;
I scatter crumbs upon the sill,
And close the window, ± and the birds
May take or leave them, as they will.
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237
Ebb
" I know what my heart is like
Since your love died:
It is like a hollow ledge
Holding a little pool
Left there by the tide,
A little tepid pool,
Drying inward from the edge.
Sonnet XLIII
" What lips my lips have kissed, and where, and why,
I have forgotten, and what arms have lain
Under my head till morning; but the rain
Is full of ghosts tonight, that tap and sigh
Upon the glass and listen for reply,
And in my heart there stirs a quiet pain
For unremembered lads that not again
Will turn to me at midnight with a cry.
Thus in winter stands the lonely tree,
Nor knows what birds have vanished one by one,
Yet knows its boughs more silent than before:
I cannot say what loves have come and gone,
I only know that summer sang in me
A little while, that in me sings no more.
FZK[ KZT[ FTC[
238
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241
Ars Poetica
" A poem should be palpable and mute
As a globed fruit,
Dumb
As old medallions to the thumb,
Silent as the sleeve-worn stone
Of casement ledges where the moss has grown ±
A poem should be wordless
As the flight of birds.
A poem should be motionless in time
As the moon climbs,
Leaving, as the moon releases
Twig by twig the night-entangled trees,
Leaving, as the moon behind the winter leaves,
Memory by memory the mind ±
A poem should be motionless in time
As the moon climbs.
A poem should be equal to:
Not true.
For all the history of grief
An empty doorway and a maple leaf.
For love
The leaning grasses and two lights above the sea ±
A poem should not mean
But be.
FZK[ KZT[ FTC[
242
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243
The Snowflake Which Is Now and Hence Forever
" Will it last? he says.
Is it a masterpiece?
Will generation after generation
Turn with reverence to the page?
Birdseye scholar of the frozen fish,
What would he make of the sole, clean, clear
Leap of the salmon that has disappeared?
To be, yes! ± whether they like it or not!
But not to last when leap and water are forgotten,
A plank of standard pinkness in the dish.
They also live
Who swerve and vanish in the river.
Family Group
" That's my younger brother with his Navy wings.
He's twenty-three or should have been that April:
winters aged you, flying the Dutch coast.
I'm beside him with my brand-new Sam Brown belt.
The town behind us is Dunkirk. We met there
quite by accident, sheer luck.
Someone's lengthened shadow ± the photographer's?
falls across the road, across our feet.
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245
This other's afterward ±
after the Armistice, I mean, the floods,
the weeks without a word. That foundered
farmyard is in Belgium somewhere.
The faceless figure on its back, the helmet buckled,
wears what look like Navy wings. A lengthened shadow
falls across the muck about its feet.
Me? I'm back in Cambridge in dry clothes,
a bed to sleep in, my small son, my wife.
In and Come In
" Stupid? Of course that older lot were stupid.
Any up-to-date, in poet
knows the bloody world was made for woe
and life for death and man is either dolt or dupe,
but those old locals never seemed to learn.
Emerson unlocked the tomb
and stood and stared at what had once been human,
once been his, and made that entry in his journal.
Whitman, in the stinking wards, uncovered
dead men's faces when the squad
came round at night and morning for the bodies,
but not to rage at death ± to kiss them with his love.
Emily, although she said she wrote
as boys beside a graveyard whistle,
pressed no terrified finger to her wrist:
what frightened Emily was joy, the robin's note.
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247
And later, when the word was Tragic Vision
haunting thickets of despair ±
beckets of all the boredom flesh is heir to ±
Frost went walking off alone in his derision.
Too ignorant to know what nightfall meant,
or why the thrush calls when the stars begin,
he told the weeping world he'd not come in
(even if asked, he said, and he hadn't been)
to mope among the hemlocks and lament.
He was out for stars, he told them, with that Yankee grin.
Stupid? Like all the rest: he didn't know.
And yet there's something does know in that poem.
An Eternity
" There is no dusk to be,
There is no dawn that was,
Only there's now, and now,
And the wind in the grass.
Days I remember of
Now in my heart, are now;
Days that I dream will bloom;
White the peach bough.
Dying shall never be;
Now in the windy grass;
Now under shooken leaves
Death never was.
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251
A Dead Boche
" To you who'd read my songs of War
And only hear of blood and fame,
I'll say (you've heard it said before)
War's Hell!'' and if you doubt the same,
Today I found in Mametz Wood
A certain cure for lust of blood:
Where, propped against a shattered trunk,
In a great mess of things unclean,
Sat a dead Boche; he scowled and stunk
With clothes and face a sodden green,
Big-bellied, spectacled, crop-haired,
Dribbling black blood from nose and beard.
Reflected in Your Shaving Mirror
" Cheeks, furrowed; coarse grey hair, flying
frentic;
Forehead, wrinkled and high;
Jowls, prominent; ears, large; jaw, pugilistic;
Teeth, few'; lips, full and ruddy, mouth,ascetic.
You ask the person you see reflected in your shaving mirror why
He still stands ready, with a boy's
presumption,
To court the queen in her high silk pavilion.
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253
The Siren's Welcome to Cronos
" Cronos the Ruddy, steer your boat
Toward Silver Island whence we sing
Here you shall pass your days.
Through a thick-growing alder-wood
We clearly see, but are not seen,
Hid in a golden haze.
Our hair the hue of barley sheaf,
Our eyes the hue of blackbird's egg,
Our cheeks like asphodel.
Here the wild apple blossoms yet;
Wrens in the silver branches play
And prophesy you well.
Here nothing ill or harsh is found.
Cronos the Ruddy, steer your boat
Across these placid straits,
With each of us in turn to lie
Taking your pleasure on young grass
That for your coming waits.
No grief nor gloom, sickness nor death.
Disturbs our long tranquility;
No treachery, no greed.
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255
Compared with this, what are the plains
Of Elis, where you ruled as king?
A wilderness indeed.
A starry crown awaits your head,
A hero feast is spread for you:
Swineflesh, milk and mead.
Powers Unconfessed
" Diffidently, when asked who might I be,
I agreed that, yes, I ruled a small kingdom
Though, like yourself, free to wander abroad
Hatless, barefooted and incognito.
Abruptly we embraced-a strange event,
The casual passers-by taking less notice
Than had this been a chance meeting of
cousins ±
Nor did we argue over protocol.
You, from your queendom, answerable only
To royal virtue, not to a male code,
Knew me for supernatural, like yourself,
And fell at once head over heels in love,
As I also with you-but lamentably
Never confessed what wrathful powers attest
The Roman jealousy of my male genius.
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257
Child with Veteran
" You were a child and I your veteran;
An age of violence lay between us,
Yet both claimed citizenship of the same
land,
Conversing in our own soft, hidden language,
Often by signs alone.
Our eyelids closed, little by little
And we fell chained in an enchantment
Heavier than any known or dreamed before,
Groping in darkness for each other's fingers,
Lifting them to our lips.
Here brooded power beyond comparison,
Tremendous as a thousand bee-stings
Or a great volley of steel-tipped arrows
With which to take possession of a province
That no one could deny us,
For the swift regeneration of dead souls
And the pride of those undead.
FZK[ KZT[ FTC[
258
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259
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261
The Visible, The Untrue
" Yes, I being
the terrible puppet of my dreams, shall
lavish this on you ±
the dense mine of the orchid, split in two.
And the fingernails that cinch such
environs?
And what about the staunch neighbor tabulations,
with all their zest for doom?
I'm wearing badges
that cancel all your kindness. Forthright
I watch the silver Zeppelin
destroy the sky. To
stir your confidence?
To rouse what sanctions ± ?
The silver strophe...the canto
bright with myth...Such
distances leap landward without
evil smile. And, as for me...
The window weight throbs in its blind
partition. To extinguish what I have of faith.
Yes, light. And it is always
always, always the eternal rainbow
And it is always the day, the farewell day unkind.
FZK[ KZT[ FTC[
262
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263
Voyages III
" Infinite consanguinity it bears
This tendered theme of you that light
Retrieves from sea plains where the sky
Resigns a breast that every wave enthrones;
While ribboned water lanes I wind
Are laved and scattered with no stroke
Wide from your side, whereto this hour
The sea lifts, also, reliquary hands.
And so, admitted through black swollen gates
That must arrest all distance otherwise,
Past whirling pillars and lithe pediments,
Light wrestling there incessantly with light,
Star kissing star through wave on wave unto
Your body rocking!
and where death, if shed,
Presumes no carnage, but this single change, ±
Upon the steep floor flung from dawn to dawn
The silken skilled transmemberment of song;
Permit me voyage, love, into your hands...
My Grandmother's Love Letters
" There are no stars to-night
But those of memory.
Yet how much room for memory there is
In the loose girdle of soft rain.
There is even room enough
For the letters of my mother's mother,
Elizabeth,
That have been pressed so long
Into a corner of the roof
FZK[ KZT[ FTC[
264
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265
That they are brown and soft,
And liable to melt as snow.
Over the greatness of such space
Steps must be gentle.
It is all hung by an invisible white hair.
It trembles as birch limbs webbing the air.
And I ask myself:
``Are your fingers long enough to play
Old keys that are but echoes:
Is the silence strong enough
To carry back the music to its source
And back to you again
As though to her?''
Yet I would lead my grandmother by the hand
Through much of what she would not understand;
And so I stumble. And the rain continues on the roof
With such a sound of gently pitying laughter.
Forgetfulness
" Forgetfulness is like a song
That, freed from beat and measure, wanders.
Forgetfulness is like a bird whose wings are reconciled,
Outspread and motionless, ±
A bird that coasts the wind unwearyingly.
Forgetfulness is rain at night,
Or an old house in a forest, ± or a child.
Forgetfulness is white, ± white as a blasted tree,
And it may stun the sybil into prophecy,
Or bury the Gods.
I can remember much forgetfulness.
FZK[ KZT[ FTC[
266
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267
Exile
" My hands have not touched pleasure since your hands,
No, ± nor my lips freed laughter since 'farewell',
And with the day, distance again expands
Voiceless between us, as an uncoiled shell.
Yet, love endures, though starving and alone.
A dove's wings clung about my heart each night
With surging gentleness, and the blue stone
Set in the trystring has but worn more bright.
Interior
" It sheds a shy solemnity
This lamp in our poor room.
O grey and gold amenity ±
Silence and gentle gloom!
Wide from the world, a stolen hour
We claim, and none may known
How love blooms like a tardy flower
Here in the day's after-glow.
And even should the world break in
With jealous threat and guile,
The world, at last, must bow and win
Our pity and a smile.
FZK[ KZT[ FTC[
268
WKReY KNRJS
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Contemporary Poets ,WKRGY .S
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.GZGE KRC \ZK[ NT WKRGY KNRJS N[ G\TE \B
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KI BGFG FBP JTPM WKRGYN GBNP ,(2004) FNB \GZG[ \CK\M \T[C .BKFF \TC 95 QC BGFG
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WKReY KNRJS
269
\B NGNSN IKNXF BN "summa cum laude" BKPIPF QGKXF OD ,KEGFKN ONGB .22 NKDC ,"FZ\K
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WKReY KNRJS
271
End of Summer
" An agitation of the air,
A perturbation of the light
Admonished me the unloved year
Would turn on its hinge that night.
I stood in the disenchanted field
Amid the stubble and the stones
Amaded, while a small worm lisped to me
The song of my marrow-bones.
Blue poured into summer blue,
A hawk broke from his cloudless tower,
The roof of the silo blazed, and I knew
That part of my life was forever over.
Already the iron door of the North
Clangs open: birds, leaves, snows
Order their populations forth,
And a cruel wind blows.
The Portrait
" My mother never forgave my father
for killing himself,
especially at such an awkward time
and in a public park,
that spring
when I was waiting to be born.
She locked his name
in her deepest cabinet
and would not let him out,
though I could hear him thumping.
FZK[ KZT[ FTC[
272
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WKReY KNRJS
273
When I came down from the attic
with the pastel portrait in my hand
of a long-lipped stranger
with a brave moustache
and deep brown level eyes,
she ripped it into shreds
without a single word
and slapped me hard.
In my sixty-fourth year
I can feel my cheek
still burning.
Touch Me
" Summer is late, my heart.
Words plucked out of the air
some forty years ago
when I was wild with love
and torn almost in two
scatter like leaves this night
of whistling wind and rain.
It is my heart that's late,
it is my song that's flown.
Outdoors all afternoon
under a gunmetal sky
staking my garden down,
I kneeled to the crickets trilling
underfoot as if about
to burst from their crusty shells;
FZK[ KZT[ FTC[
274
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WKReY KNRJS
275
and like a child again
marveled to hear so clear
and brave a music pour
from such a small machine.
What makes the engine go?
Desire, desire, desire.
The longing for the dance
stirs in the buried life.
One season only,
and it's done.
So let the battered old willow
thrash against the windowpanes
and the house timbers creak.
Darling, do you remember
the man you married? Touch me,
remind me who I am.
Halley's Comet
" Miss Murphy in first grade
wrote its name in chalk
across the board and told us
it was roaring down the stormtracks
of the Milky Way at frightful speed
and if it wandered off its course
and smashed into the earth
there'd be no school tomorrow.
FZK[ KZT[ FTC[
276
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WKReY KNRJS
277
A red-bearded preacher from the hills
with a wild look in his eyes
stood in the public square
at the playground's edge
proclaiming he was sent by God
to save every one of us,
even the little children.
``Repent, ye sinners!'' he shouted,
waving his hand-lettered sign.
At supper I felt sad to think
that it was probably
the last meal I'd share
with my mother and my sisters;
but I felt excited too
and scarcely touched my plate.
So mother scolded me
and sent me early to my room.
The whole family's asleep
except for me. They never heard me steal
into the stairwell hall and climb
the ladder to the fresh night air.
Look for me, Father, on the roof
of the red brick building
at the foot of Green Street ±
that's where we live, you know, on the top floor.
I'm the boy in the white flannel gown
sprawled on this coarse gravel bed
searching the starry sky,
waiting for the world to end.
FZK[ KZT[ FTC[
278
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WKReY KNRJS
279
The Quarrel
" The word I spoke in anger
weighs less than a parsley seed,
but a road runs through it
that leads to my grave,
that bought-and-paid-for lot
on a salt-sprayed hill in Truro
where the scrub pines
overlook the bay.
Half-way I'm dead enough,
strayed from my own nature
and my fierce hold on life.
If I could cry, I'd cry,
but I'm too old to be
anybody's child.
Liebchen,
with whom should I quarrel
except in the hiss of love,
that harsh, irregular flame?
FZK[ KZT[ FTC[
280
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283
The Shield of Achilles
" She looked over his shoulder
For vines and olive trees,
Marble well-governed cities
And ships upon untamed seas,
But there on the shining metal
His hands had put instead
An artificial wilderness
And a sky like lead.
A plain without a feature, bare and brown,
No blade of grass, no sign of neighborhood,
Nothing to eat and nowhere to sit down,
Yet, congregated on its blankness, stood
An unintelligible multitude,
A million eyes, a million boots in line,
Without expression, waiting for a sign.
Out of the air a voice without a face
Proved by statistics that some cause was just
In tones as dry and level as the place:
No one was cheered and nothing was discussed;
Column by column in a cloud of dust
They marched away enduring a belief
Whose logic brought them, somewhere else, to grief.
She looked over his shoulder
For ritual pieties,
White flower-garlanded heifers,
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285
Libation and sacrifice,
But there on the shining metal
Where the altar should have been,
She saw by his flickering forge-light
Quite another scene.
Barbed wire enclosed an arbitrary spot
Where bored officials lounged (one cracked a joke)
And sentries sweated for the day was hot:
A crowd of ordinary decent folk
Watched from without and neither moved nor spoke
As three pale figures were led forth and bound
To three posts driven upright in the ground.
The mass and majesty of this world, all
That carries weight and always weighs the same
Lay in the hands of others; they were small
And could not hope for help and no help came:
What their foes like to do was done, their shame
Was all the worst could wish; they lost their pride
And died as men before their bodies died.
She looked over his shoulder
For athletes at their games,
Men and women in a dance
Moving their sweet limbs
Quick, quick, to music,
But there on the shining shield
His hands had set no dancing-floor
But a weed-choked field.
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287
A ragged urchin, aimless and alone,
Loitered about that vacancy; a bird
Flew up to safety from his well-aimed stone:
That girls are raped, that two boys knife a third,
Were axioms to him, who'd never heard
Of any world where promises were kept,
Or one could weep because another wept.
The thin-lipped armorer,
Hephaestos, hobbled away,
Thetis of the shining breasts
Cried out in dismay
At what the god had wrought
To please her son, the strong
IronUÁhearted man-slaying Achilles
Who would not live long.
September 1, 1939
" I sit in one of the dives
On Fifty-second Street
Uncertain and afraid
As the clever hopes expire
Of a low dishonest decade:
Waves of anger and fear
Circulate over the bright
And darkened lands of the earth,
Obsessing our private lives;
The unmentionable odour of death
Offends the September night.
Accurate scholarship can
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289
Unearth the whole offence
From Luther until now
That has driven a culture mad,
Find what occurred at Linz,
What huge imago made
A psychopathic god:
I and the public know
What all schoolchildren learn,
Those to whom evil is done
Do evil in return.
Exiled Thucydides knew
All that a speech can say
About Democracy,
And what dictators do,
The elderly rubbish they talk
To an apathetic grave;
Analysed all in his book,
The enlightenment driven away,
The habit-forming pain,
Mismanagement and grief:
We must suffer them all again.
Epitaph on a Tyrant
" Perfection, of a kind, was what he was after,
And the poetry he invented was easy to understand;
He knew human folly like the back of his hand,
And was greatly interested in armies and fleets;
When he laughed, respectable senators burst with laughter,
And when he cried the little children died in the streets.
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291
MuseÂe des Beaux Arts
" About suffering they were never wrong,
The Old Masters; how well, they understood
Its human position; how it takes place
Whilesomeoneelseiseatingor openingawindowor justwalkingdullyalong;
How, when the aged are reverently, passionately waiting
For the miraculous birth, there always must be
Children who did not specially want it to happen, skating
On a pond at the edge of the wood:
They never forgot
That even the dreadful martyrdom must run its course
Anyhow in a corner, some untidy spot
Where the dogs go on with their doggy life and the torturer's horse
Scratches its innocent behind on a tree.
In Breughel's Icarus, for instance: how everything turns away
Quite leisurely from the disaster; the ploughman may
Have the the splash, the forsaken cry,
But for him it was not an important failure; the sun shone
As it had to on the white legs disappearing into the green
Water; and the expensive delicate ship that must have seen
Something amazing, a boy falling out of the sky,
had somewhere to get to and sailed calmly on.
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293
In Memory of W.B. Yeats
" He disappeared in the dead of winter:
The brooks were frozen, the airports almost deserted,
And snow disfigured the public statues;
The mercury sank in the mouth of the dying day.
What instruments we have agree
The day of his death was a dark cold day.
Far from his illness
The wolves ran on through the evergreen forests,
The peasant river was untempted by the fashionable quays;
By mourning tongues
The death of the poet was kept from his poems.
But for him it was his last afternoon as himself,
An afternoon of nurses and rumours;
The provinces of his body revolted,
The squares of his mind were empty,
Silence invaded the suburbs,
The current of his feeling failed; he became his admirers.
Now he is scattered among a hundred cities
And wholly given over to unfamiliar affections,
To find his happiness in another kind of wood
And be punished under a foreign code of conscience.
The words of a dead man
Are modified in the guts of the living.
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295
But in the importance and noise of tomorrow
When the brokers are roaring like beasts on the floor of the Bourse,
And the poor have the sufferings to which they are fairly accustomed,
And each in the cell of himself is almost convinced of his freedom,
A few thousand will think of this day
As one thinks of a day when one did something slightly unusual.
What instruments we have agree
The day of his death was a dark cold day.
Three Short Poems
" ``The underground roads
Are, as the dead prefer them,
Always tortuous.''
" ``When he looked the cave in the eye,
Hercules
Had a moment of doubt.''
" ``Leaning out over
The dreadful precipice,
One contemptuous tree.''
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KZK[MP \GTXPBC JZVF NT GPXT \B FVGMF ESPPF \TGGH .KRZEGPF OGRKFKDF KZGEPP EIB
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NT OYF QKZGI QC N[ [VR UGZKIC FNGP EGPTN GRKNTG [VR \NIP N[ FKRPKSP OF FNB NM
.(On Poetry and Craft LG\P) "!G[VR K[YCP
FBRYF LMG ,NGCR OGKRZD WKXT NB OKTGDTDF LM ,OEBF KRV NTC UNJTF QP EIVF LM
."KR[GIG ZGFJ ZGXK" BGF[ [IRC
.1996 \ZGEFP Collected Poems LG\P GPDZG\ \BHC OK[DGPF OKZK[F \[[
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299
Dolor
" I have known the inexorable sadness of pencils,
Neat in their boxes, dolor of pad and paper weight,
All the misery of manilla folders and mucilage,
Desolation in immaculate public places,
Lonely reception room, lavatory, switchboard,
The unalterable pathos of basin and pitcher,
Ritual of multigraph, paper-clip, comma,
Endless duplication of lives and objects.
And I have seen dust from the walls of institutions,
Finer than flour, alive, more dangerous than silica,
Sift, almost invisible, through long afternoons of tedium,
Dropping a fine film on nails and delicate eyebrows,
Glazing the pale hair, the duplicate grey standard faces.
The Geranium
" When I put her out, once, by the garbage pail,
She looked so limp and bedraggled,
So foolish and trusting, like a sick poodle,
Or a wizened aster in late September,
I brought her back in again
For a new routine ±
Vitamins, water, and whatever
Sustenance seemed sensible
At the time: she'd lived
So long on gin, bobbie pins, half-smoked cigars, dead beer,
Her shriveled petals falling
On the faded carpet, the stale
Steak grease stuck to her fuzzy leaves.
The things she endured! ±
FZK[ KZT[ FTC[
300
F@N^K#k#F K]XIz E#T I#eZ \fNfI OKr
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.OE@@B K+R^Ve U@R@j N#T#a Z@a^M#T \ePE^]a
FY&\Z& ZGEGBK\
301
The dumb dames shrieking half the night
Or the two of us, alone, both seedy,
Me breathing booze at her,
She leaning out of her pot toward the window.
Near the end, she seemed almost to hear me ±
And that was scary ±
So when that snuffling cretin of a maid
Threw her, pot and all, into the trash-can,
I said nothing.
But I sacked the presumptuous hag the next week,
I was that lonely.
The Bat
" By day the bat is cousin to the mouse.
He likes the attic of an aging house.
His fingers make a hat about his head.
His pulse beat is so slow we think him dead.
He loops in crazy figures half the night
Among the trees that face the corner light.
But when he brushes up against a screen,
We are afraid of what our eyes have seen:
For something is amiss or out of place
When mice with wings can wear a human face.
FZK[ KZT[ FTC[
302
L G\ F N B T S P F
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FY&\Z& ZGEGBK\
303
Journey into the Interior
" In the long journey out of the self,
There are many detours, washed-out interrupted raw places
Where the shale slides dangerously
And the back wheels hang almost over the edge
At the sudden veering, the moment of turning.
Better to hug close, wary of rubble and falling stones.
The arroyo cracking the road, the wind-bitten buttes, the canyons,
Creeks swollen in midsummer from the flash-flood roaring into the
narrow valley.
Reeds beaten flat by wind and rain,
Grey from the long winter, burnt at the base in late summer.
± Or the path narrowing,
Winding upward toward the stream with its sharp stones,
The upland of alder and birchtrees,
Through the swamp alive with quicksand,
The way blocked at last by a fallen fir-tree,
The thickets darkening,
The ravines ugly.
Snake
" I saw a young snake glide
Out of the mottled shade
And hang, limp on a stone:
A thin mouth, and a tongue
Stayed, in the still air.
It turned; it drew away;
Its shadow bent in half;
It quickened and was gone
FZK[ KZT[ FTC[
304
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.FB@eVZ^]N CeC^H
FY&\Z& ZGEGBK\
305
I felt my slow blood warm.
I longed to be that thing.
The pure, sensuous form.
And I may be, some time.
The Lost Son
The Flight
" At Woodlawn I heard the dead cry:
I was lulled by the slamming of iron,
A slow drip over stones,
Toads brooding wells.
All the leaves stuck out their tongues;
I shook the softening chalk of my bones,
Saying,
Snail, snail, glister me forward,
Bird, soft-sigh me home,
Worm, be with me.
This is my hard time.
Fished in an old wound,
The soft pond of repose;
Nothing nibbled my line,
Not even the minnows came.
Sat in an empty house
Watching shadows crawl,
Scratching.
There was one fly.
FZK[ KZT[ FTC[
306
JY&t
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FY&\Z& ZGEGBK\
307
Voice, come out of the silence.
Say something.
Appear in the form of a spider
Or a moth beating the curtain.
Tell me:
Which is the way I take;
Out of what door do I go,
Where and to whom?
Dark hollows said, lee to the wind,
The moon said, back of an eel,
The salt said, look by the sea,
Your tears are not enough praise,
You will find no comfort here,
In the kingdom of bang and blab.
Running lightly over spongy ground,
Past the pasture of flat stones,
The three elms,
The sheep strewn on a field,
Over a rickety bridge
Toward the quick-water, wrinkling and rippling.
Hunting along the river,
Down among the rubbish, the bug-riddled foliage,
By the muddy pond-edge, by the bog-oles,
By the shrunken lake, hunting, in the heat of summer.
FZK[ KZT[ FTC[
308
GZKV[ NZY
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"OKRGPB TC[RF JSKMZRB
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1945 ,ZXKNGV SZV \NCY OT .[.Y
FZCT Z[B ,GZKV[ NZY N[ G\CK\M \B QKKVBP QMB ,GH FPK[ZN \Z\GMC TCGPF SYGEZVF
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KYSRPGB FZ[G USGK N[ ORC ,ZGPKJNGCC ENGR (Karl J. Shapiro, 1913-2000) GZKV[ KK'D NZY
JZIR ZGSIPG KRGT N[ FH YZVG ,NDZF \B ,OKYST [KB ,CBF J[V NGEDF NV[F QEKTC .GZKV[
GZKV[ NZY
309
SRKYVGF QG'DG FKRK'DZKG \GBJKSZCKRGBC OKEGPKNF \GR[ .G\CK\M NT TKV[FG NZY N[ GRGZMKHC
FMH KEGFKM[ BNB ,ZBG\C \GMHNG OKKSN IKNXF BN[ ECNC GH BN .FCGJN BN[ GN \GZGMH
,HRM[B KBXGK OKEGFK EXP \B[ Z\KCG ,OKSYSGNDRBF GKZCI EXP T[GZP ZGMKR N[ SIKN
FIV[PF O[ \B \GR[N NY[ BKFF \TC .GKZGF BXGP N[C Ost-Jude-M SV\R OFKRKTC
KEGFKF Carl=P KJZVF GP[ N[ KZTHP KGRK[C YV\SF ZCE N[ GVGSC ONGB ,Camden=N
JKNIF ZCE N[ GVGSC[ ET ,GZKV[ \B FYKSTF KEGFKM G\GFH ,\BH OT .Z\GK KRPZDF Karl=N
GKZK[ ZVS \B [KEYF UB LMNG ,GC[ ZZG[PF \B FCXKT[ GH BKF KEGFKM G\GEKEC BYGGE[
.Poems of a Jew
OT .CN \PG[\N GMH BN ,ONGTF \PINP ET KJZVF GVSMP SKVEF[ OKJTPF GKPGSZV
LNKBG FH CN[P .QMN OEGY GC FZSI[ FCK\M \PXGT ZZGT FPINPF QP TGHTHF[ FBZR ,GSGKD
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,ONGTF \PINPC GRGKSKR \B OMSPF LZMF .1942 \R[P Person, Place and Thing BGF OFC[
\CFNR \ZGYKCCG ,(1945) ZXKNGV SZVC G\GB FMKH ,1944 \R[P V-Letter and Other Poems
SGNZY OBKNKGG OB KM Z\GK BNG \GIV BN ,\BP ,SPKKJ YZGK GKRF N[ K\GZVSF USGPC
GCKXF[ OKCKJNZVGSC GZKV[N BKPIF ,KRYKZPBF EZDRGGBF KCB ,NGEDF ZZG[PF .SPBKNKGG
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KV NT ,Essay on Rime=F \B ,F[EIF FBRKDC \Z[P GEGTC ,GZKV[ ZCKI 1945=C
VGV NT YZVF GBZ OKJZVN) VGV ZERSMNB N[ TEGRF An Essay on Criticism N[ \RGM\PF
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GVGDN OKRGTKJC ,CDB ,EKP\ BN ,USF NT GK\GD[F \B \NSGV GH[ BGVB BNVKK BN ;Criticism
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313
The Progress of Faust
" He was born in Deutschland, as you would suspect,
And graduated in magic from Cracow
In Fifteen Five. His portraits show a brow
Heightened by science. The eye is indirect,
As of bent light upon a crooked soul,
And that he bargained with the Prince of Shame
For pleasures intellectually foul
Is known by every court that lists his name.
His frequent disappearances are put down
To visits in the regions of the damned
And to the periodic deaths he shammed,
But, unregenerate and in Doctor's gown,
He would turn up to lecture at the fair
And do a minor miracle for a fee.
Many a life he whispered up the stair
To teach the black art of anatomy.
He was as deaf to angels as an oak
When, in the fall of Fifteen Ninety-four,
He went to London and crashed through the floor
In mock damnation of the playgoing folk.
Weekending with the scientific crowd,
He met Sir Francis Bacon and helped draft
``Colours of Good and Evil'' and read aloud
An obscene sermon at which no one laughed.
He toured the Continent for a hundred years
And subsidized among the peasantry
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315
The puppet play, his tragic history;
With a white glove he boxed the devil's ears
And with a black his own. Tired of this,
He published penny poems about his sins,
In which he placed the heavy emphasis
On the white glove which, for a penny, wins.
Some time before the hemorrhage of the Kings
Of France, he turned respectable and taught;
Quite suddenly everything that he had thought
Seemed to grow scholars' beards and angels' wings.
It was the Overthrow. On Reason's throne
He sat with the fair Phrygian on his knees
And called all universities his own,
As plausible a figure as you please.
Then back to Germany as the sages' sage
To preach comparative science to the young
Who came from every land in a great throng
And knew they heard the master of the age.
When for a secret formula he paid
The Devil another fragment of his soul,
His scholars wept, and several even prayed
That Satan would restore him to them whole.
Backwardly tolerant, Faustus was expelled
From the Third Reich in Nineteen Thirty-nine.
His exit caused the breaching of the Rhine,
Except for which the frontier might have held.
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317
Five years unknown to enemy and friend
He hid, appearing on the sixth to pose
In an American desert at war's end
Where, at his back, a dome of atoms rose.
The Olive Tree
" Save for a lusterless honing-stone of moon
The sky stretches its flawless canopy
Blue as the blue silk of the Jewish flag
Over the valley and out to sea.
It is bluest just above the olive tree.
You cannot find in twisted Italy
So straight a one; it stands not on a crag,
Is not humpbacked with bearing in scored stone,
But perfectly erect in my front yard,
Oblivious of its fame. The fruit is hard,
Multitudinous, acid, tight on the stem;
The leaves ride boat-like in the brimming sun,
Going nowhere and scooping up the light.
It is the silver tree, the holy tree,
Tree of all attributes.
Now on the lawn
The olives fall by thousands, and I delight
To shed my tennis shoes and walk on them,
Pressing them coldly into the deep grass,
In love and reverence for the total loss.
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319
The Bourgeois Poet
" The living rooms of my neighbors are like beauty parlors,
like night-culb powder rooms, like international airport
first-class lounges. The bathrooms of my neighbors
are like love nests ± Dufy prints, black Kleenex,
furry towels, toilets so highly bred they fill and fall
without a sigh (why is there no bidet in so-clean
America?). The kitchens of my neighbors are like
cars: what gleaming dials, what toothy enamels, engines
that click and purr, idling the hours away. The
basements of my neighbors are like kitchens; you could
eat off the floor. Look at the furnace, spotless
as a breakfront, standing alone, prize piece, the god
of the household.
But I'm no different. I arrange my books with a view to
their appearance. Some highbrow titles are prominently
displayed. The desk in my study is carefully
littered; after some thought I hang a diploma on the
wall only to take it down again. I sit at the window
where I can be seen. What do my neighbors think of
me « I hope they think of me. I fix the light to hit
the books. I lean some rows one way, some rows another.
A man's house is his stage. others walk on to play their bit
parts. Now and again a soliloquy, a birth, an adultery.
The bars of my neighbors are various, ranging from none
at all to the nearly professional, leather stools, auto-matic
coolers, a naked painting, a spittoon for show.
The businessman, the air-fore captain, the professor with
tenure ± it's a neighborhood with a sky.
FZK[ KZT[ FTC[
320
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321
California Winter
" It is winter in California, and outside
Is like the interior of a florist shop:
A chilled and moisture-laden crop
Of pink camellias lines the path; and what
Rare roses for a banquet or a bride,
So multitudinous that they seem a glut!
A line of snails crosses the golf-green lawn
From the rosebushes to the ivy bed;
An arsenic compound is distributed
For them. The gardener will rake up the shells
And leave in a corner of the patio
The little mound of empty shells, like skulls.
By noon the fog is burnt off by the sun
And the world's immensest sky opens a page
For the exercise of a future age;
Now jet planes draw straight lines, parabolas,
And x's, which the wind, before they're done,
Erases leisurely or pulls to fuzz.
It is winter in the valley of the vine.
The vineyards crucified on stakes suggest
War cemeteries, but the fruit is pressed,
The redwood vats are brimming in the shed,
And on the sidings stand tank cars of wine,
For which bright juice a billion grapes have bled.
FZK[ KZT[ FTC[
322
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325
And Death Shall Have No Dominion
" And death shall have no dominion.
Dead men naked they shall be one
With the man in the wind and the west moon;
When their bones are picked clean and the clean bones gone,
They shall have stars at elbow and foot;
Though they go mad they shall be sane,
Though they sink through the sea they shall rise again;
Though lovers be lost love shall not;
And death shall have no dominion.
And death shall have no dominion.
Under the windings of the sea
They lying long shall not die windily;
Twisting on racks when sinews give ay,
Strapped to a wheel, yet they shall not break;
Faith in their hands shall snap in two,
And the unicorn evils run them through;
Split all ends up they shan't crack;
And death shall have no dominion.
And death shall have no dominion.
No more may gulls cry at their ears
Or waves break loud on the seashores;
Where blew a flower may a flower no more
Lift its head to the blows of the rain;
Though they be mad and dead as nails,
Heads of the characters hammer through daisies;
Break in the sun till the sun breaks down,
And death shall have no dominion.
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SPG\ QNKE
327
Especially When the October Wind
" Especially when the October wind
With frosty fingers punishes my hair,
Caught by the crabbing sun I walk on fire
And cast a shadow crab upon the land,
By the sea's side, hearing the noise of birds,
Hearing the raven cough in winter sticks,
My busy heart who shudders as she talks
Sheds the syllabic blood and drains her words.
Shut, too, in a tower of words, I mark
On the horizon walking like the trees
The wordy shapes of women, and the rows
Of the star-gestured children in the park.
Some let me make you of the vowelled beeches,
Some of the oaken voices, from the roots
Of many a thorny shire tell you notes,
Some let me make you of the water's speeches.
Behind a pot of ferns the wagging clock
Tells me the hour's word, the neural meaning
Flies on the shafted disk, declaims the morning
And tells the windy weather in the cock.
Some let me make you of the meadow's signs;
The signal grass that tells me all I know
Breaks with the wormy winter through the eye.
Some let me tell you of the raven's sins.
Especially when the October wind
(Some let me make you of autumnal spells,
The spider-tongued, and the loud hill of Wales)
With fists of turnips punishes the land,
Some let me make you of the heartless words.
The heart is drained that, spelling in the scurry
Of chemic blood, warned of the coming fury.
By the sea's side hear the dark-vowelled birds.
FZK[ KZT[ FTC[
328
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SPG\ QNKE
329
This Side of the Truth (for Llewelyn)
" This side of the truth,
You may not see, my son,
King of your blue eyes
In the blinding country of youth,
That all is undone,
Under the unminding skies,
Of innocence and guilt
Before you move to make
One gesture of the heart or head,
Is gathered and spilt
Into the winding dark
Like the dust of the dead.
Good and bad, two ways
Of moving about your death
By the grinding sea,
King of your heart in the blind days,
Blow away like breath,
Go crying through you and me
And the souls of all men
Into the innocent
Dark, and the guilty dark, and good
Death, and bad death, and then
In the last element
Fly like the stars' blood,
Like the sun's tears,
Like the moon's seed, rubbish
And fire, the flying rant
Of the sky, king of your six years.
And the wicked wish,
Down the beginning of plants
And animals and birds,
FZK[ KZT[ FTC[
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SPG\ QNKE
331
Water and light, the earth and sky,
Is cast before you move,
And all your deeds and words,
Each truth, each lie,
Die in unjudging love.
Twenty-Four Years
" Twenty-four years remind the tears of my eyes.
(Bury the dead for fear that they walk to the grave in labour).
In the groin of the natural doorway I crouched like a tailor
Sewing a shroud for a journey
By the light of the meat-eating sun.
Dressed to die, the sensual strut begun,
With my red veins full of money,
In the final direction of the elementary town
I advance as long as forever is.
Was There a Time...
" Was there a time when dancers with their fiddles
In children's circuses could stay their troubles?
There was a time they could cry over books,
But time has sent its maggot on their track.
Under the arc of the sky they are unsafe.
What's never known is safest in this life.
Under the skysigns they who have no arms
have cleanest hands, and, as the heartless ghost
Alone's unhurt, so the blind man sees best.
FZK[ KZT[ FTC[
332
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334
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335
Epilogue
" Those blessed structures, plot and rhyme ±
why are they no help to me now
I want to make
something imagined, not recalled?
I hear the noise of my own voice:
The painter's vision is not a lens,
it trembles to caress the light.
But sometimes everything I write
with the threadbare art of my eye
seems a snapshot,
lurid, rapid, garish, grouped,
heightened from life,
yet paralyzed by fact.
All's misalliance.
Yet why not say what happened?
Pray for the grace of accuracy
Vermeer gave to the sun's illumination
stealing like the tide across a map
to his girl solid with yearning.
We are poor passing facts,
warned by that to give
each figure in the photograph
his living name.
History
" History has to live with what was here,
clutching and close to fumbling all we had ±
it is so dull and gruesome how we die,
unlike writing, life never finishes.
FZK[ KZT[ FTC[
336
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337
Abel was finished; death is not remote,
a flash-in-the-pan electrifies the skeptic,
his cows crowding like skulls
against high-voltage wire,
his baby crying all night
like a new machine.
As in our Bibles,
white-faced, predatory,
the beautiful, mist-drunken hunter's moon ascends ±
a child could give it a face:
two holes,
two holes,
my eyes, my mouth, between them
a skull's no-nose ±
O there's a terrifying innocence in my face
drenched with the silver salvage of the mornfrost.
``To Speak of Woe That Is in Marriage''
" ``The hot night makes us keep our bedroom windows open.
Our magnolia blossoms. Life begins to happen.
My hopped up husband drops his home disputes,
and hits the streets to cruise for prostitutes,
free-lancing out along the razor's edge.
This screwball might kill his wife, then take the pledge.
Oh the monotonous meanness of his lust...
It's the injustice... he is so unjust ±
whiskey-blind, swaggering home at five.
My only thought is how to keep alive.
What makes him tick? Each night now I tie
ten dollars and his car key to my thigh...
Gored by the climacteric of his want,
he stalls above me like an elephant.''
FZK[ KZT[ FTC[
338
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339
The Withdrawal
1
" Only today and just for this minute,
when the sunslant finds its true angle,
you can see yellow and pinkish leaves spangle
our gentle, fluffy tree ±
suddenly the green summer is momentary...
Autumn is my favorite season ±
why does it change clothes and withdraw?
This week the house went on the market ±
suddenly I woke up among strangers;
when I go into a room, it moves
with embarrassment, and joins another room.
I don't need conversation, but you to laugh with ±
you and a room and a fire,
cold starlight blowing through an open window ±
whither?
2
" After sunfall, heaven is melodramatic,
a temporary, puckering, burning green.
The patched-up oak
and blacker, indelible pines
have the indigestible meagerness of spines.
One wishes heaven had less solemnity:
a sensual table
with five half-filled bottles of red wine
set round the hectic carved roast ±
Bohemia for ourselves
FZK[ KZT[ FTC[
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341
and the familiars of a lifetime
charmed to communion by resurrection ±
running together in the rain to mail a single letter,
not the chafe and cling
of this despondent chaff.
3
" Yet for a moment, the children
could play truant from their tuition.
4
" When I look back, I see a collapsing
accordion of my receding houses,
and myself receding
to a boy of twenty-five or thirty,
too shopworn for less, too impressionable for more ±
blackmaned, illmade
in a washed blue workshirt and coalblack trousers,
moving from house to house,
still seeking a boy's license
to see the countryside without arrival.
Hell?
Darling,
terror in happiness may not cure the hungry future,
the time when any illness is chronic,
and the years of discretion are spent on complaint ±
until the wristwatch is taken from the wrist.
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342
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343
Ezra Pound
" Horizontal in a deckchair on the bleak ward.
some feeble-minded felon in pajamas, clawing
a Social Credi broadside from your table, you saying.
"...here with a black suit and black briefcase; in the briefcase,
an abomination, Possum's homage to Milton."
Then sprung; Rapallo, and then the decade gone;
then three years, then Eliot dead, you saying,
"and who is left to understand my jokes?
My old Brother in the arts...and besides, he was a smash of a poet."
He showed us his blotched, bent hands, saying, ``Worms.
When I talked that nonsense about Jews on the Rome
wireless, she knows it was shit, and still loved me.''
And I, ``Who else has been in Purgatory?''
And he, ``To begin with a swelled head and end with swelled feet.''
Robert Frost
" Robert Frost at midnight, the audience gone
to vapor, the great act laid on the shelf in mothballs,
his voice musical. ``raw and raw'' ± he writes in the flyleaf:
Robert Lowell from Robert Frost, his friend in the art.
Sometimes I feel too full of myself,'' I say.
And he, misunderstanding, ``When I am low,
I stray away. My son wasn't your kind.'' The night
we told him Merrill Moore would come to treat him,
he said, ``I'll kill him first.'' One of my daughters thought things,
knew every male she met was out to make her;
the way she dresses, she couldn't make a whorehouse.
And I, ``sometimes I'm so happy I can't stand myself.''
And he, ``When I am too full of joy, I think
how little good my health did anyone near me.''
FZK[ KZT[ FTC[
344
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345
Dolphin
" My Dolphin,
you only guide me by surprise,
a captive as Racine, the man of craft,
drawn through his maze
of iron composition
by the incomparable wandering
voice of PheÁdre.
When I was troubled in mind,
you made for my body
caught in its hangman's-knot
of sinking lines,
the glassy bowing and scraping of my will...
I have sat and listened to too many
words of the collaborating muse,
and plotted perhaps too freely
with my life.
not avoiding injury to others,
not avoiding injury to myself±
to ask compassion...
this book, half fiction,
an eelnet made by man for the eel fighting
my eyes have seen what my hand did.
FZK[ KZT[ FTC[
346
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N[ G\ZK[[ OD FP .\GZIGBPF OK[K[F \GR[N ZCTP FCZF EZ[ BN JKCF ZGEP][ JG[VF
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Z[VB EXKM KMG) Z[B FR'H QB'H GB ENKKGG ZYSGB ,GCPZ ,ZNEGC ,QGKG FBGSRZV FH OB ,ONGTPG
ZXR ,KYSCGYGC QM KM FRF .OKRPHF NMC FYKZPB KZZG[P NGED \B KYSCGYGCC FBZ (\ZIB
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BXGK ,FKRPZDC ENGR (Henry Charles Bukowski, 1920-1994) KYSCGYGC SNZ' X KZRF
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KYSCGYGC SNZ'X
347
QP FCZFC INXGP FKF BN ZVSF \KC YZ&o .ZKTX NKDC FZMG[N \G\[N NKI\F[ QCC QFK\G\GB
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SRZV\PF SNPGF N[ QY\ NT FYKZPB KRV NT EGERN NIFG ,\KCF \B CHT 20 NKDC .SRZGN
\GSRN JKNIF 35 NKDC .FMBNP K\CC NTGV ,\KNTP ZTR ,YNE \GRI\ FYRP ,\GRPEHP \GEGCTP
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OBKNKGG ,DZCHRKD QNB OT FBGG[FN F\MH ,\VZGJP BN OB \KZDNGGM NNM LZEC FVY\GF[
BCF CN[F .ZMGP ZZG[P N[ EPTP ZCE N[ GVGSC GN FYKRTF GH FECGT .ZNKP KZRFG HGZGC
,"FNGMSB"N ,"QGRDS"N KYSCGYGC FKF FBNFG F\TP .CIZ\PG LNGF OKBZGY NFY [GCKD FKF
\IB GN FTKXF ,1970=C QMBG .Z\GK GB \GIV KGVX OKY\GT ZVSPC ZMPR GN[ [EI ZVS NMG
.GKC\M NT \GKETNCN FZGP\C G\GP OGK ET ZNGE 100 N[ FTGCY \KTGC[ FSRMF \GBXGFF
EIB KZCEM ,"\GCGIZF N[ FDBSF" \B KYSCGYGC IRH ,GEPTPC NI[ K\ZCIF KGRK[F OT
\B KYSCGYGC BZC FH CN[C .FCGZYF G\CKCS NT OKKJSYZS OKZGFZF QGGKMN FRVG ,OKZYCPF
OT TTGZ\PF \GNP[ UEGZ ,IG[Y QKK\[ ,(Chinaski) KYSRK'X KZRF BGF ,GN[ "ZIBF KRB"F
ZGCKD BGF KYSRK'X Z\KF QKC .FFGCDF FZCIC CZT\P O[G FVG \GRZY KRNJC ,OKT[GV
.Confessions of a Man Insane Enough to Live with the Beasts ,KYSCGYGC N[ FKVZDGKCGJGBF
YRC QGC[I \NTCG FBP TCZC GRPP FZKTX ,\KTKCZF G\[B \B B[R[ ZIBN ,1985=C
QKHBF ,FZGI[ BMW=C DFR ,ZXIC FKKI[ \MKZC OT \GEKP \KCC KYSCGYGC C[KK\F ,CKER
9=C FKPYGNP G\GP KRVN OKK\R[ .OKNKNP\ ECTPC GKZK[ \B ZCKIG ,KRKSGZG ZNFP ,SGKNCKSN
The Last :\KNBGJYBF \Z\GMF \I\ QGZIBF GKZK[ ZVS \B BKXGFN EGT YKVSF ,1994 SZPC
.Night of the Earth Poems
Burning in Water, Drowning in Flame: Selected Poems LG\P OF QNFN[ OKZK[F KPGDZ\
.1955-1973
W W W
FZK[ KZT[ FTC[
348
F B X G\ G F C K S
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KYSCGYGC SNZ'X
349
Cause And Effect
" The best often die by their own hand
just to get away,
and those left behind
can never quite understand
why anybody
would ever want to
get away
from
them
A Challenge To The Dark
" Shot in the eye
shot in the brain
shot in the ass
shot like a flower in the dance
amazing how death wins hands down
amazing how much credence is given to idiot forms of life
amazing how laughter has been drowned out
amazing how viciousness is such a constant
I must soon declare my own war on their war
I must hold to my last piece of ground
I must protect the small space I have made that has allowed me life
my life not their death
my death not their death...
FZK[ KZT[ FTC[
350
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KYSCGYGC SNZ'X
351
So You Want to be a Writer?
" if it doesn't come bursting out of you
in spite of everything,
don't do it.
unless it comes unasked out of your
heart and your mind and your mouth
and your gut,
don't do it.
if you have to sit for hours
staring at your computer screen
or hunched over your
typewriter
searching for words,
don't do it.
if you're doing it for money or
fame,
don't do it.
if you're doing it because you want
women in your bed,
don't do it.
if you have to sit there and
rewrite it again and again,
don't do it.
if it's hard work just thinking about doing it,
don't do it.
if you're trying to write like somebody
else,
forget about it.
if you have to wait for it to roar out of you,
then wait patiently.
if it never does roar out of you,
do something else.
FZK[ KZT[ FTC[
352
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KYSCGYGC SNZ'X
353
if you first have to read it to your wife
or your girlfriend or your boyfriend
or your parents or to anybody at all,
you're not ready.
don't be like so many writers,
don't be like so many thousands of
people who call themselves writers,
don't be dull and boring and
pretentious, don't be consumed with self-love.
the libraries of the world have
yawned themselves to
sleep
over your kind.
don't add to that.
don't do it.
unless it comes out of
your soul like a rocket,
unless being still would
drive you to madness or
suicide or murder,
don't do it.
unless the sun inside you is
burning your gut,
don't do it.
when it is truly time,
and if you have been chosen,
it will do it by
itself and it will keep on doing it
until you die or it dies in you.
there is no other way.
and there never was.
FZK[ KZT[ FTC[
354
OKXKZTP
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KYSCGYGC SNZ'X
355
A Following
" The phone rang at 1:30 a.m.
and it was a man from Denver:
``Chinaski, you got a following in
Denver...''
``yeah?''
``yeah, I got a magazine and I want some
poems from you...''
``FUCK YOU, CHINASKI!'' I heard a voice
in the background... ``I see you have a friend,''
I said.
``yeah,'' he answered, ``now, I want
six poems...''
``CHINASKI SUCKS! CHINASKI'S A PRICK!''
I heard the other voice.
``you fellows been drinking?''
I asked.
``so what?'' he answered. `
`you drink.''
``that's true...''
``CHINASKI'S AN ASSHOLE!''
then the editor of the magazine gave me the
address and I copied it down on the back of an envelope.
FZK[ KZT[ FTC[
356
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KYSCGYGC SNZ'X
357
``send us some poems now...''
``I'll see what I can do...'' ``CHINASKI WRITES SHIT!''
``goodbye,'' I said.
``goodbye,'' said the editor.
I hung up.
there are certainly any number of lonely
people without much to do with their nights.
Eating the Father
" well, the father was dead
he died shortly after the plane crash
they waited some time
they were snowed in husband and wife
the pilot had gone off for help
but the pilot had been gone a long time
so, bit by bit they ate the father
it was her father it worked
they were alive when
the rescue team arrived
the pilot who had gone for help
had frozen
when they got back to civilization
they told the newspapers
that they had asked god
and god had said, all right
and they knew that father
would understand
they were photographed
standing together and smiling
FZK[ KZT[ FTC[
358
OP@fYP^]a K]RzB OB]
K]\K]KF@r
& KBc##G^N CfZY@
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KYSCGYGC SNZ'X
359
I suppose I would have done
the same thing without even asking God.
but I think a better photograph would have been of the remains
of the father something like
an after Thanksgiving turkey.
Sweet Music
" In the morning
she turns on the radio, Brahms or Ives
or Stravinsky or Mozart. she boils the
eggs counting the seconds out loud:
56, 57, 58... she peels the eggs, brings
them to me in bed. after breakfast it's
the same chair and listen to the classical music. she's on her first glass of
scotch and her third cigarette. I tell
her I must go to the racetrack. she's
been here about 2 nights and 2 days.
``When will I see you again?" I ask. she
suggests that might be up to me.
I nod and Mozart plays.
FZK[ KZT[ FTC[
360
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KNGCKRG CGIZ \DT \XCG[PG \KJGBM CGZN F\KKF FZK[F ,LM[ QGGKM .\GZKIF [EGY NGNKIN
GIKJCF[ FKZZG[PG FKZVGS CGZG ,F\P[R \B FTGR\F FBKXGF OK[K[F \GR[ KFN[C .FV
HGZGC OBKNKGG ,(Snyder) ZEKKRS KZD JTPN .FKK[RF OGF\C GPNTRG OKKYN GCZKS ,\GCZ
.DZCHRKD QNBG YBGZY Y'D ,"OKNGEDF KR[" QMG (Burroughs)
DZCHRKD QNB
361
\GR[P FTGZVF G\ZK[P BZGYN ZMeP ,JKCF ZGE KZZG[P QKC[ JNGCF ,DZCHRKD QNB
C\M ,\KNYKEZ FZK[C GEK IN[ OZJC ONGB .EGTG [KEY ,(1956) Howl=F \PDGE OK[KPIF
.\VGPN K\ZGSP QGRDSC DZCHRKD
KZDFP OKZGFN KRr
+ ZGE N[ \GBR BXBX BGF (Allen Ginsberg, 1926-1997) DZCHRKD QNB
ZTHP YZ GKF ,OHKRKPV ,OHKEGR ,OHKSYZP .\KNBP[F \[YF FXYP OKNYKEZ OFKR[ ,FKSGZ
F\TEP FBXK DZCHRKD (KGN) KPTR OBF ,\ZIB GB LM .FIV[PF \NIR 'OKPHKB'F NGNMPP
BGF GPB KKI NT ZVSPF QCF N[ TEGRF [KEY F .(1956) [VR KNGIN ESGPC FPNGTN FMNFG
N[ FZCY NT QKKRP BXPR BN[ QGGKM C\MR ZK[F .DZCHRKD N[ OK[DZPF OKKJGKVF GKD[KFP
.[KEY BGZYN FKF Q\KR BN QM NTG ,OBF
.FKRZGVKNYC NGMZP GZK[C ZMHRF QPJKGG JNGG FKF GKZGTRC DZCHRKD NT TKV[F[ ZZG[PF
OBKNKGG ,EK\TNG TGXYPN GKEKEK \B ZKMF O[ ,YZGK GKRC FKCPGNGY \JKSZCKRGBC EPN DZCHRKD
\KK[ZV FNIF 1943 \R[CG ,\GKNBGSYSGPGFF \B \KVGS DZCHRKD FNKD QBM .YBGZY Y'DG HGZGC
DZCHRKD .IXZC O[BR ZY[ ZIBN FTJYR[ ,(Car) ZY QKKSGN OT ZZG[PF N[ \TEGRF FCFBF
NPRC FEGCT ,OKNM \VKJ[P SRZV\FN WNBRG FDNPF \B ECKB ,FJKSZCKRGBF QP YNGS
ESGPC OK[EGI FRGP[ FNKCG \VSGR OTV OKNKNVC LC\SR[ ZIBN .\GNKNC FZKP[G QKNYGZC
OGI\C ZYKTC ,KGXPF NYKEZF N[ G\GNKTVC I\VG FJKSZCKRGBF QP YIZ\F ,[VR KNGIN
QEKTN \GKRKKVGB \GZ\GM OKB[GR BKFF \TF QP GKZK[ .GXZB N[ OKPSF KYGIC YCBPF
Laughing Gas, :GKESKKP NT FRPR ,(Leary) KZKN K\GPKJ OT EIK ,DZCHRKD[ ,KNEGMKSVF
\GCZGTPN BKCF ,Howl ,(1955) DZCHRKD N[ Z\GKC TEGRF GZK[ .Mescaline Lysergic Acid
JV[PF QP JZV NM JGISN GCKJKF ZZG[PF KEKEK .FCTG\ ZCE OGSZV QKDC JV[PNG FZJ[PF
FMH ZK[F .FCTG\ ZCE OSZVN G\GMH KGND NBGSYSGPGFM KM DZCHRKD QTJ GMNFPC ,KRGKXSRSF
.FYKZPBC FZK[F \ZPXN GZCIP \B YKRHFG \GZGEFP ZGVS QKBN
,FMKZXF \ZCI N[ FK\GRCZGYG KRYKZPBF OHKNJKVYF NT \KRNJY \ZGYKCC [GEDF ,Howl
.\KJKNGVF \GRZP[FG KPEYBF OHKNPZGVF QP \KRYKZPBF \GCZ\F ZGZI[ NPSN KGVXM LVF
FKDGS NMC QKDVPF ,"[EIF NBP["F N[ \KRIF EGI OT ZZG[PF FRPR OK[K[F \GR[C
.JKKDZJGG \[ZV GB QBZKB N[ FB[F ,CIA=F ,OBRJKKG \PINP GH FKF\ .YZVF NT F\NT[
70=F \GR[C .(1968) Planet News ,(1961) [KEY GKF OK[K[F \GR[C GKZK[ KZVS QKCP OKTEGRF
FZK[C FNGMSB KCB ,ECGMPG NCGYP ZZG[P N[ :NMP Z\GK [[I GRPP EPTPN DZCHRKD FMH
ZZG[P N[ G[BZN QI \ZJTM G[V\R ,ESPPC G\PINPG GVGZKJ ,GK\GKJS ,GK\GKGZHGP .\KRYKZPBF
.OKEGCKMG OKK\GZVS OKSZV DZCHRKD NT UKTZFN NIF ESPPFG ,K[VR QGHKBN GRPP \GVXN QKB[
OGDZ\F
,1984=1947 OKR[F QKC FC\MR[ G\ZK[ NGNMP GCG ,DZCHRKD N[ ('PT 800) SZMF CT GKZK[ LZM
.\BHC OK[DGPF OKZK[F GPDZG\ FH LZMP .Collected Poems FZGD[F \Z\GMF \I\ ZGB FBZ
W W W
FZK[ KZT[ FTC[
362
"NT" BGF DZCHRKD QNB
c] 3
d@kAj F@BKZ]^a#F NeP EKI]@K N#T BeF Q&NK
OK]YZ@^a KP+r
^ ]a EI@B&@F rKB]F@ UfZ^DB& N#T BeF Q&CfFJ^&a
...OK\]l+#F \fIeZ & \fN@oF# N#T BeF ZfK^VK]oB#F@
OF&@kr
& OKZ]eDl^#F KZ+E^I#^a OK]Cr
^ fi#F OE@@B K+R^a N#T BK]F F@K^HK]G&Nh&F#
O&FK+R^K^RT]^a OK]VfX^G
OK]KfaeBY@ FB@+NP^ F@NfE^b WZ&&B \fKF^]N N#T BK]F FY@KZ]P&B@
OKr
] ej OKE]eF^K OK]RB@Kc^^RKB]
OK]RY@KZ]P&B@ &
FZ@^D#K#R K+N^oP# OK]YI@r
^ KE+Z^fb \r
&` ZIz Kv+@a SfRY@K']X OK]NJ@^R&KZ^fB
OK]RZ@P^t
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^ v] N#B OK]S&NP^fF fKE^Z# KJ+^N^YP# FY@K]X^K Kv+@a
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& #a OK]VI+^K O^HK]RePfY rZ&I& \Z&J&r
^ P] FZ@Kr
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Du
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& B@kB&
.rl@P# Or
@ \fKF^]N K]N^aP] I#Z+@iF# QP] WZ&B@F@ N#T N+jv#^SF]^N xKB+ N#T BeF Du
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CB+^H-OE@B@ & F@CFzB# N#T BeF I#Z+@iF#
Q&N&B Z#DE^&B fo N#T O#D^G
rP&t
& F# QP] I#Z+@iF# N#T N+jv#^SF]^N N#T BeF fo
\fZ@C^q#F \K+aP] H@B B̀N OB]^G
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& Z&^a YK]VP+ Fv@#B OB] eFt
& P# N#T BeF N` jF#
muggles Qt
+ #TP^ O]K#Ner
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^ #F ,\K]DfNfK]a FE@P@r
^ F#
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QfvT] #TfR^NfY
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.OeY^KF# N#T BeF OeY^KF#
DZCHRKD QNB
363
Allen Ginsberg, ``Is About''
" Dylan is about the Individual against the whole creation
Beethoven is about one man's fist in the lightning clouds
The Pope is about abortion & the spirits of the dead...
Television is about people sitting in their living room
looking at their things
America is about being a big Country full of Cowboys
Indians Jews Negroes & Americans
Orientals Chicanos Factories skyscrapers Niagara Falls
Steel Mills radios homeless Conservatives, don't forget
Russia is about Czars Stalin Poetry Secret Police
Communism barefoot in the snow
But that's not really Russia it's a concept
A concept is about how to look at the earth from the moon
without ever getting there. The moon is about love & Werewolves,
also Poe
Poe is about looking at the moon from the sun
or else the graveyard
Everything is about something if you're a thin movie producer
chain-smoking muggles
The world is about overpopulation, Imperial invasions,
Biocide Genocide, Fratricidal Wars, Starvation, Holocaust,
mass injury & murder, high technology
Super science, atom Nuclear Neutron Hydrogen detritus,
Radiation Compassion Buddha, Alchemy
Communication is about monopoly telivision radio movie
newspaper spin on Earth, i.e. planetary censorship.
Universe is about Universe.
Allen Ginsberg is about confused mind writing down
FZK[ KZT[ FTC[
364
YK\]Tzl#F# N@a^NACP^ I#` P N#T BeF DZ^&a^H^RK]b Q&NB@
{ OKE]Bzl#P] \eRfvT] \fZ^\fj
\eNl^#T\^F] ,S^Y&S N#T OK]RK]HBzl#F# ,F@Ter^K N#T BeF NF@q@F#
& Pony Express ZfJK]Y #TfRP^]N OKT]ebT^#b ,\K]RI@eZ
\fB@Gr
^ P] & Qfar
^ I& N#T OF+ NK']XZ^'&X J^N&G^HeZ QK]NJ#^S Z&NJ^KF]
SfB@j#F \Z#fv & \K]NY@K]HK]V F@KP^K]j N#T N` jP] Z+\fK ,\fT@aZAP^
?F&H N@jP] \#o^M]B KP]^N
!\#o^M]B K]Nr
& ^N ,\#o^M]B fo Q&N&B Z#DE^B&^N ,\#o^M]B K]N
\#o^MB] Q&NKE]^Ne Q&CfFJ^&a^N
Fv@B# Q@K^RT] F&HKB+^a ?\#o^MB] y^N OB]F#
?O]K#RK+T Kv+r
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& fB
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KP]^X#T^N TE@eP OK]X+T \I##v \fBJ@P^]S EZ#fP^a Kv]^M#NF@r
& ^j
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& KB#Xl^#F \Z#K]V^S N#T O+NfI
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+ eE^b OKZ]@CTzP#
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] @T FP& ,FY@Z^fN F@i]SZ^#b ,Fv@B#^G
,EeP^N#D^G QY+@H QJ@J^I# ,KZ]KZ]Tz ,QP#J^K]GG J^NfG ,y^\fB K]\KB]Z@
.Z&oen#F KZ+Tz#R^a O]K#RK+T rJ+fN ,ZZ+Y@P^#a OKZ]s
@ ^aF# QK+a #TeYv@
DZCHRKD QNB
365
newspaper headlines from Mars ±
The audience is about salvation, the listeners are about sex,
Spiritual gymnastics, nostalgia for the Steam Engine & Pony Express
Hitler Stalin Roosevelt & Churchill are about arithmetic & Quadrilateral
equations, above all chemistry physics & chaos theory ±
Who cares what it's all about?
I do! Edgar Allen Poe cares! Shelly cares! Beethoven & Dylan care.
Do you care? What are you about
or are you a human being with 10 fingers and two eyes?
A Supermarket in California
" What thoughts I have of you tonight, Walt Whitman, for
I walked down the sidestreets under the trees with a headache
self-conscious looking at the full moon. In my hungry fatigue,
and shopping for images, I went into the neon fruit supermarket,
dreaming of your enumerations! What peaches and
what penumbras!
Whole families shopping at night! Aisles full of husbands!
Wives in the
avocados, babies in the tomatoes! ± and you, Garcia Lorca, what
were you doing down by the watermelons? I saw you, Walt Whitman,
childless, lonely old grubber, poking among the meats in the
refrigerator and eyeing the grocery boys.
FZK[ KZT[ FTC[
366
:EI@B&-EI@&B O\@fB NB+fr y^\fB Kv]T^P#r
@
?K]kr
& xB@^Nl##F Fv@#B ?\fR@R@a#F Fl@#M^a ?ZK]HIz#F K+N\^Y@ \B& NJ#Y@ KP]
,yKZ&Iz#B \Z&Z&^D]m#F FY@KZ]^Cl##F \fiI]#o#F \P#Z+Tz N#T Cfr@G ZfHI@ K]\KF]v@
.K]RfKP^E]^a CY+fT NfjZ^l##F r#k#a KZ#IzB#
OKI]e\^o#F OKZ]@CTzl#F# EZ#fP^a EI##K eR^NF##R\^F]
,YfrKJ]Z^#B \fC^C]N OKP]TzfJ OKE]eP^N#b \fRfK^Dr
] K+jPA
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.F@Tr
@ EfT^a \f\@Nc^#F \&B OK]NTzfR ?QP#J^K]GG J^NfG OKB]@a eR@B B@RB@
?F@N^K#kF# y^RY@^H F&Rfo Qee]j F&HKB+^N
FB@+SKE]fBF@ N#T O+NfI^G yZ^^V]S^a #T+DfR K]RBz)
(JY&Z^P#Z^&oen#a eR@kr
& ZI#t
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&
DZCHRKD QNB
367
I heard you asking questions of each: Who killed the
pork chops? What price bananas? Are you my Angel?
I wandered in and out of the brilliant stacks of cans
following you, and followed in my imagination
by the store detective.
We strode down the open corridors together
in our solitary fancy tasting artichokes, possessing every frozen delicacy,
and never passing the cashier.
Where are we going, Walt Whitman? The doors close in an hour.
Which way does your beard point tonight?
(I touch your book and dream
of our odyssey in the supermarket and feel absurd.)
Will we walk all night through solitary streets? The
trees add shade to shade, lights out in the houses,
we'll both be lonely.
Will we stroll dreaming of the lost America of love
past blue automobiles in driveways, home to our silent cottage?
Ah, dear father, graybeard, lonely old courage-teacher,
what America did you have when Charon quit poling his ferry and
you got out on a smoking bank and stood watching the boat
disappear on the black waters of Lethe?
FZK[ KZT[ FTC[
368
!QGPGNGS NZY
Y@ 3
E^R&N^YfZ^a yv^]B K]RzB !QfPfNfS NZ^
K]ml&P] ek]VzB UZ@` JP^ Z+\fK Fv@#B d@a
E^R&N^YfZ^a yv^]B K]RBz
FZ@@HeP Fr
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Kl]B] Nr
& d@k]X^N F&gI#\^P] Fv@#B d@a
E^R&N^YfZ^a yv^]B K]RBz
\fZK]j^HP# Z#SKZ+v^ v@I^#XZ@ d@a
E^R&N^YfZ^a yv^]B K]RBz
y^kr
& F&H KeP@S ZfPeF^a YI#^X]v d@a
E^R&N^YfZ^a yv^]B K]RBz
FY@eVc^#F F@CK\]^j#F \#RfMP^ d@\fB N#T FZ@Kt
] #F K+NfE^b eRK+Rr
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fKE^Z#@a x@j N#T Zc#r
A^G y^C@pP# ZKP]I^&F d@a
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QfK@b]F K+T^Nfv K+R^oP] U@DeP \&N` b^NAb N[
& dZ@r
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& \fY@eZ# KE+t
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E^R&N^YfZ^a yv^]B K]RBz
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& d@Veb N#T rK]q#v d@a
E^R&N^YfZ^a yv^]B K]RBz
\&V` v#a D^Rfo^D^RK]o#F YI#s
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E^R&N^YfZ^a yv^]B K]RBz
ZeSB@ Q+j N#T^G \&GP@^N#B \#a FP@r
@^m#F \eoI# \&B K]RfJJ@Y@ Zv+^R#S^V]a J` aI^#v d@a
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E^R&N^YfZ^a yv^]B K]RBz
T@nl#P] Ueb#N y\^P@r
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.YKZ]F@ Nr
& faI^Z@^N
|...~
DZCHRKD QNB
369
Carl Solomon!
" Carl Solomon! I'm with you in Rockland
where you're madder than I am
I'm with you in Rockland
where you must feel strange
I'm with you in Rockland
where you imitate the shade of my mother
I'm with you in Rockland
where you've murdered your twelve secretaries
I'm with you in Rockland
where you laugh at this invisible humour
I'm with you in Rockland
where we are great writers on the same dreadful typewriter
I'm with you in Rockland
where your condition has become serious and is reported on the radio
I'm with you in Rockland
where the faculties of the skull no longer admit the worms of the senses
I'm with you in Rockland
where you drink the tea of the breasts of the spinsters of Utica
I'm with you in Rockland
where you pun on the bodies of your nurses the harpies of the Bronx
I'm with you in Rockland
where you scream in a straightjacket that you're losing the game of
actual pingpong of the abyss
I'm with you in Rockland
where you bang on the catatonic piano the soul is innocent and
immortal it should never die ungodly in an armed madhouse
I'm with you in Rockland
where fifty more shocks will never return your soul to its body again
from its pilgrimage to a cross in the void [...]
FZK[ KZT[ FTC[
370
\KC KZGTK[
B] 3
\&M&N^MANP^ F@SK]C^j S+a#MP^ K]\K]KF@ ek
,QBZ@K]B \&V` mJ] \&B WI+fZ K]\K]KF@
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^ P#e
CF@^Rt
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N&D^Re'bF# N&B CKr
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WZ#^VP] \&B Fq&#RP^e S#RfHP@#B YK]VzB \&B WI+fZ
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& P] fYK]S^YP&
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SfP#NB@ SfN \B&^G K]YfZ@F KZ+frKP] \B& EZ+@DP^
Love Canal=F QP] W+Xfm#F OeK^H&p#F \&B UJ+fr
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&&b
CK r
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\@RP^ N#T OK]R@RTz QK]a^NP# ,Q^KZ##F YP&+T N#T
,D&Nt
& #j I#X EZ++K D&Nt
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&
Hudson Thames & Neckar \&B U+XZ^Y#P^
,KZ]K]B O#DzB KP+Kl+P] Qfa#n#F \fTea \B& Hq+#RP^e
UJ+fr^G Y@RTz E&DB&^a F@K^SB# N@j \&B xK]Nr
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FJ@KI]^S D\&P& N#T WI+fN^G
FJ@&R@N^oF# N@j \&B UI+fE^G
I#X&R@N fB F@Tr
@ T#CZ&^N ,r+a#Kl^#a
.F@i]Y^R B+Xv+r
& E#T
DZCHRKD QNB
371
Homework
" If I were doing my Laundry I'd wash my dirty Iran
I'd throw in my United States,
and pour on the Ivory Soap,
scrub up Africa, put all the birds and elephants back in
the jungle,
I'd wash the Amazon river and clean
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wipe up all the pipelines in Alaska,
Rub a dub dub for Rocky Flats and Los Alamos,
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Cesium out of Love Canal
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Drain the Sludge out of the Mediterranean Basin & make
it azure again,
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bleach the little
Clouds so snow return white as snow,
Cleanse the Hudson Thames & Neckar,
Drain the Suds out of Lake Erie
Then I'd throw big Asia in one giant Load & wash out the blood &
Agent Orange,
Dump the whole mess of Russia and China in the wringer,
squeeze out
& put the planet in the drier & let it sit 20 minutes or an
Aeon till it came out clean
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377
My Philosophy of Life
" Just when I thought there wasn't room enough
for another thought in my head, I had this great idea ±
call it a philosophy of life, if you will. Briefly,
it involved living the way philosophers live,
according to a set of principles. OK, but which ones?
That was the hardest part, I admit, but I had a
kind of dark foreknowledge of what it would be like.
Everything, from eating watermelon or going to the bathroom
or just standing on a subway platform, lost in thought
for a few minutes, or worrying about rain forests,
would be affected, or more precisely, inflected
by my new attitude. I wouldn't be preachy,
or worry about children and old people, except
in the general way prescribed by our clockwork universe.
Instead I'd sort of let things be what they are
while injecting them with the serum of the new moral climate
I thought I'd stumbled into, as a stranger
accidentally presses against a panel and a bookcase slides back,
revealing a winding staircase with greenish light
somewhere down below, and he automatically steps inside
and the bookcase slides shut, as is customary on such occasions.
At once a fragrance overwhelms him ± not saffron, not lavender,
but something in between. He thinks of cushions, like the one
his uncle's Boston bull terrier used to lie on watching him
quizzically, pointed ear-tips folded over.
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KZC[B QG'D
379
And then the great rush
is on. Not a single idea emerges from it. It's enough
to disgust you with thought. But then you remember something
William James wrote in some book of his you never read
± it was fine, it had the fineness,
the powder of life dusted over it, by chance, of course, yet
still looking
for evidence of fingerprints. Someone had handled it
even before he formulated it, though the thought was his and his alone.
It's fine, in summer, to visit the seashore.
There are lots of little trips to be made.
A grove of fledgling aspens welcomes the traveler. Nearby
are the public toilets where weary pilgrims have carved
their names and addresses, and perhaps messages as well,
messages to the world, as they sat
and thought about what they'd do after using the toilet
and washing their hands at the sink, prior to stepping out
into the open again. Had they been coaxed in by principles,
and were their words philosophy, of however crude a sort?
I confess I can move no farther along this train of thought ±
something's blocking it. Something I'm
not big enough to see over. Or maybe I'm frankly scared.
[...]
Now I want you to go out there
and enjoy yourself, and yes, enjoy your philosophy of life, too.
They don't come along every day. Look out! There's a big one...
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381
When Half the Time They Don't Know Themselves...
" Old cathedrals, old markets, good and firm things
And old streets, one always feels intercepted
As they walk quickly past, no nonsense, cabbages
And turnips, the way they get put into songs:
One needn't feel offended
Or shut out just because the slow purpose
Under it is evident,
Because someone is simply there.
Yet it's a relief to look up
To the moist, imprecise sky,
Thrashing about in loneliness,
Inconsolable...
There has to be a heart to this.
The words are there already.
Just because the river looks like it's flowing backwards
Doesn't mean that motion doesn't mean something,
That it's incorrect as a metaphor.
And the way stones sink,
So gracefully,
Doesn't rob them of the dignity
Of their cantankerous gravity.
They are what they are and what they seem.
Maybe our not getting closer to them
Puts some kind of shine on us
We didn't consent to,
As though we were someone's car:
Large, animated, calm.
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382
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383
At North Farm
" Somewhere someone is traveling furiously toward you,
At incredible speed, traveling day and night,
Through blizzards and desert heat, across torrents, through
narrow passes.
But will he know where to find you,
Recognize you when he sees you,
Give you the thing he has for you?
Hardly anything grows here,
Yet the granaries are bursting with meal,
The sacks of meal piled to the rafters.
The streams run with sweetness, fattening fish;
Birds darken the sky. Is it enough
That the dish of milk is set out at night,
That we think of him sometimes,
Sometimes and always, with mixed feelings?
What Is Poetry
" The medieval town, with frieze
Of boy scouts from Nagoya? The snow
That came when we wanted it to snow?
Beautiful images? Trying to avoid
Ideas, as in this poem? But we
Go back to them as to a wife, leaving
The mistress we desire? Now they
Will have to believe it
FZK[ KZT[ FTC[
384
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385
As we believed it. In school
All the thought got combed out:
What was left was like a field.
Shut your eyes, and you can feel it for miles around.
Now open them on a thin vertical path.
It might give us ± what? ± some flowers soon?
Paradoxes and Oxymorons
" This poem is concerned with language on a very plain level.
Look at it talking to you. You look out a window
Or pretend to fidget. You have it but you don't have it.
You miss it, it misses you. You miss each other.
The poem is sad because it wants to be yours, and cannot.
What's a plain level? It is that and other things,
Bringing a system of them into play. Play?
Well, actually, yes, but I consider play to be
A deeper outside thing, a dreamed role-pattern,
As in the division of grace these long August days
Without proof. Open-ended. And before you know
It gets lost in the stream and chatter of typewriters.
It has been played once more. I think you exist only
To tease me into doing it, on your level, and then you aren't there
Or have adopted a different attitude. And the poem
Has set me softly down beside you. The Poem is you.
FZK[ KZT[ FTC[
386
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387
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F\T .Selected Poems :G\ZK[ ZICP \B HGK OSZV 1962 \R[C .OFGP JSZPGS SZVC ZZG[PF
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Dream Life
" As if you descended in each night's sleep
In to your father's grave
You seemed afraid to look. or to remember next morning
What you had seen. When you did remember
Your dreams were of a sea clogged with corpses,
DeathUÁcamp atrocities, mass amputations.
Your sleep was a bloody shrine, it seemed.
And the sacred relic of it
Your father's gangrenous, cut-off leg.
No wonder you feared sleep.
No wonder you woke, saying: `No dreams.'
What was the liturgy
Of that nightly service, that cult
Where you were the priestess?
Were those poems your salvaged fragments of it?
Your day-waking was a harrowed safety
not knowing
What had frightened you
Or where your poetry followed you from
With its blood-sticky feet. Each night
I hypnotized calm into you,
Courage, understanding and calm.
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HGK EJ
393
Did it help? Each night you descended again
In to the temple-crypt,
That private, primal cave
Under the public dome of father-worship.
All night you lolled unconscious
Over the crevasse
Inhaling the oracle
That spoke only conclusions.
Hackings-off of real limbs.
Smoke of the hospital incinerator,
Carnival beggars on stumps.
The gas-chamber
Of the camera's war ± all this
Was the anatomy of your God of Sleep,
His blue eyes ± the sleepless electrodes
In your temples
Preparing his Feast of Atonement.
Hawk Roosting
" I sit in the top of the wood, my eyes closed.
Inaction, no falsifying dream
Between my hooked head and hooked feet:
Or in sleep rehearse perfect kills and eat.
The convenience of the high trees!
The air's buoyancy and the sun's ray
Are of advantage to me;
And the earth's race upward for my inspection.
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HGK EJ
395
My feet are locked upon the rough bark.
It took the whole of Creation
To produce my foot, my each feather:
Now I hold Creation in my foot
Or fly up, and revolve it all slowly ±
I kill where I please because it is all mine.
There is no sophistry in my body:
My manners are tearing off heads ±
The allotment of death.
For the one path of my flight is direct
Through the bones of the living.
No argument asserts my right:
The sun is behind me.
Nothing has changed since I began.
My eye has permitted no change.
I am going to keep things like this.
There Came a Day
" There came a day that caught the summer
Wrung its neck
Plucked it
And ate it.
Now what shall I do with the trees?
The day said, the day said.
Strip them bare, strip them bare.
Let's see what is really there.
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HGK EJ
397
And what shall I do with the sun?
The day said, the day said.
Roll him away till he's cold and small.
He'll come back rested it he comes back at all.
And what shall I do with the birds?
The day said, the day said.
The birds I've frightened, let them flit,
I'll hang out pork for the brave tomtit.
And what shall I do with the seed?
The day said, the day said.
Bury it deep, see what it's worth.
See if it can stand the earth.
What shall I do with the people?
The day said, the day said.
Stuff them with apple and blackberry pie ±
They'll love me then till the day they die.
There came this day and he was autumn.
His mouth was wide
And red as a sunset.
His tail was an icicle.
FZK[ KZT[ FTC[
398
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HGK EJ
399
The Bat
" What looked like a slug, black, soft, wrinkled,
Was wrestling, somehow, with the fallen
Brown, crumpled lobe of a chestnut leaf.
Suddenly, plainly, it was a bat.
A bat fallen out of its tree
Mid-afternoon. A sick bat? I stooped
Thinking I'd lift it again to tree-bark safety.
It reared up on its elbows and snarled at me,
A raving hyena, the size of a sparrow,
Its whole face peeled in a snarl, fangs tiny.
I tried to snatch it up by the shoulders
But it spun, like a fighter, behind its snarl.
A crowd collected, entertained to watch me
Fight a bat on Boston Common. Finally
I had to give it my finger.
Let the bite lock. Then, cradling it,
Gently lifted it and offered it up
To the wall of chestnut bark. It released me
And scuttled upwards backwards, face downwards,
A rearguard snarl, triumphant, contorted,
Vanishing upwards into where it had come from.
At home I looked at the blood, and remembered:
American bats have rabies. How could Fate
Stage a scenario so symbolic
Without having secreted the tragedy ending
And the ironic death? It confirmed
The myth we had sleepwalked into: death.
This was the bat-light we were living in: death.
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HGK EJ
401
A Childish Prank
" Man's and woman's bodies lay without souls,
Dully gaping, foolishly staring, inert
On the flowers of Eden.
God pondered.
The problem was so great, it dragged him asleep.
Crow laughed.
He bit the Worm, God's only son,
Into two writhing halves.
He stuffed into man the tail half
With the wounded end hanging out.
He stuffed the head half headfirst into woman
And it crept in deeper and up
To peer out through her eyes
Calling it's tail-half to join up quickly, quickly
Because O it was painful.
Man awoke being dragged across the grass.
Woman awoke to see him coming.
Neither knew what had happened.
God went on sleeping.
Crow went on laughing.
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HGK EJ
403
Crow and the Sea
" He tried ignoring the sea
But it was bigger than death,
just as it was bigger than life.
He tried talking to the sea
But his brain shuttered
and his eyes winced from it as from open flame.
He tried sympathy for the sea
But it shouldered him off ±
as a dead thing shoulders you off.
He tried hating the sea
But instantly felt like a scrutty dry rabbit.
dropping on the windy cliff.
He tried just being in the same world as the sea
But his lungs were not deep enough
And his cheery blood banged off it
Like a water-drop off a hot stove.
Finally
He turned his back
and he marched away from the sea
As a crucified man cannot move.
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HGK EJ
405
Apple Tragedy
" So on the seventh day
The serpent rested,
God came up to him.
``I've invented a new game,'' he said.
The serpent stared in surprise
At this interloper.
But God said: ``You see this apple?''
I squeeze it and look-cider.''
The serpent had a good drink
And curled up into a question mark.
Adam drank and said: "Be my god.''
Eve drank and opened her legs
And called to the cockeyed serpent
And gave him a wild time.
God ran and told Adam
Who in drunken rage tried to hang
himself in the orchard.
The serpent tried to explain, crying ``Stop''
But drink was splitting his syllable.
And Eve started screeching: ``Rape! Rape!''
And stamping on his head.
Now whenever the snake appears she screeches
``Here it comes again! Help! O Help!''
Then Adam smashes a chair on his head,
And God says: ``I am well pleased''
And everything goes to hell.
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The Journals of Sylvia Plath
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\BNV FKCNKS
409
Widow
" Widow. The word consumes itself ±
Body, a sheet of newsprint on the fire
Levitating a numb minute in the updraft
Over the scalding, red topography
That will put her heart out like an only eye.
Widow. The dead syllable, with its shadow
Of an echo, exposes the panel in the wall
Behind which the secret passages lies ± stale air,
Fusty remembrances, the coiled-spring stair
That opens at the top onto nothing at all...
Widow. The bitter spider sits
And sits in the center of her loveless spokes.
Death is the dress she wears, her hat and collar.
The moth-face of her husband, moonwhite and ill,
Circles her like a prey she'd love to kill.
A second time, to have him near again ±
A paper image to lay against her heart
The way she laid his letters, till they grew warm
And seemed to give her warmth, like a live skin.
But it is she who is paper now, warmed by no one.
Widow: that great, vacant estate!
The voice of God is full of draftiness,
Promising simply the hard stars, the space
Of immortal blankness between stars
And no bodies, singing like arrows up to heaven.
FZK[ KZT[ FTC[
410
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\BNV FKCNKS
411
Widow, the compassionate trees bend in,
The trees of loneliness, the trees of mourning.
They stand like shadows about the green landscape ±
Or even like black holes cut out of it.
A widow resembles them, a shadow-thing,
Hand folding hand, and nothing in between.
A bodiless soul could pass another soul
In this clear air and never notice it ±
One soul pass through the other, frail as smoke
And utterly ignorant of the way it took.
That is the fear she has ± the fear
His soul may beat and be beating at her dull sense
Like Blue Mary's angel, dovelike against a pane
Blinded to all but the grey, spiritless room
It looks in on, and must go on looking in on.
Mirror
" I am silver and exact. I have no preconceptions.
Whatever I see, I swallow immediately.
Just as it is, unmisted by love or dislike
I am not cruel, only truthful ±
The eye of a little god, four-cornered.
Most of the time I meditate on the opposite wall.
It is pink, with speckles. I have looked at it so long
I think it is a part of my heart. But it flickers.
Faces and darkness separate us over and over.
FZK[ KZT[ FTC[
412
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\BNV FKCNKS
413
Now I am a lake. A woman bends over me.
Searching my reaches for what she really is.
Then she turns to those liars, the candles or the moon.
I see her back, and reflect it faithfully
She rewards me with tears and an agitation of hands.
I am important to her. She comes and goes.
Each morning it is her face that replaces the darkness.
In me she has drowned a young girl, and in me an old woman
Rises toward her day after day, like a terrible fish.
Candles
" They are the last romantics, these candles:
Upside-down hearts of light tipping wax fingers,
And the fingers, taken in by their own haloes,
Grown milky, almost clear, like the bodies of saints.
It is touching, the way they'll ignore
A whole family of prominent objects
Simply to plumb the deeps of an eye
In its hollow of shadows, its fringe of reeds,
And the owner past thirty, no beauty at all.
Daylight would be more judicious,
Giving everybody a fair hearing.
They should have gone out with the balloon flights and the stereopticon.
This is no time for the private point of view.
When I light them, my nostrils prickle.
Their pale, tentative yellows
FZK[ KZT[ FTC[
414
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\BNV FKCNKS
415
Drag up false, Edwardian sentiments,
And I remember my maternal grandmother from Vienna.
As a schoolgirl she gave roses to Franz Josef.
The burghers sweated and wept. The children wore white.
And my grandfather moped in the Tyrol,
Imagining himself a headwaiter in America,
Floating in a high-church hush
Among ice buckets, frosty napkins.
These little globes of light are sweet as pears.
Kindly with invalids and mawkish women.
[...]
Aftermath
" Compelled by calamity's magnet
They loiter and stare as if the house
Burnt-out were theirs, or as if they thought
Some scandal might any minute ooze
From a smoke-choked closet into light;
No deaths, no prodigious injuries
Glut these hunters after an old meat,
Blood-spoor of the austere tragedies.
Mother Medea in a green smock
Moves humbly as any housewife through
Her ruined apartments, taking stock
Of charred shoes, the sodden upholstery:
Cheated of the pyre and the rack,
The crowd sucks her last tear and turns away.
FZK[ KZT[ FTC[
416
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\BNV FKCNKS
417
Child
" Your clear eye is the one absolutely beautiful thing.
I want to fill it with color and ducks,
The zoo of the new
Whose name you meditate ±
April snowdrop, Indian pipe,
Little
Stalk without wrinkle,
Pool in which images
Should be grand and classical
Not this troublous
Wringing of hands, this dark
Ceiling without a star.
The Applicant
" First, are you our sort of a person?
Do you wear
A glass eye, false teeth or a crutch,
A brace or a hook,
Rubber breasts or a rubber crotch,
Stitches to show something's missing? No, no? Then
How can we give you a thing?
Stop crying.
Open your hand.
Empty? Empty. Here is a hand
To fill it and willing
To bring teacups and roll away headaches
And do whatever you tell it.
Will you marry it?
It is guaranteed
FZK[ KZT[ FTC[
418
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\BNV FKCNKS
419
To thumb shut your eyes at the end
And dissolve of sorrow.
We make new stock from the salt.
I notice you are stark naked.
How about this suit ±
Black and stiff, but not a bad fit.
Will you marry it?
It is waterproof, shatterproof, proof
Against fire and bombs through the roof.
Believe me, they'll bury you in it.
Now your head, excuse me, is empty.
I have the ticket for that.
Come here, sweetie, out of the closet.
Well, what do you think of that?
Naked as paper to start
But in twenty-five years she'll be silver,
In fifty, gold.
A living doll, everywhere you look.
It can sew, it can cook,
It can talk, talk , talk.
It works, there is nothing wrong with it.
You have a hole, it's a poultice.
You have an eye, it's an image.
My boy, it's your last resort.
Will you marry it, marry it, marry it.
FZK[ KZT[ FTC[
420
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SKEN&H OKKI
423
The Cave
" Out of the cave
Saul looked back...
He saw the dark
figure of David
The sun had struck
Its morning track;
dew shone on the trail-grass.
dropped from the pine needles
onto rocky earth;
over the crags
buzzards spiked
En-Gedi's sky
with black.
No words that
David spoke
were more eloquent
than the cloak's
rent.
± See the skirt of thy robe ±
Saul fathomed well...
But history has few Davids:
Most captives have no deliverance
to tell.
Few, too few,
can denote
a garment cut,
and not a throat.
FZK[ KZT[ FTC[
424
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SKEN&H OKKI
425
After Whom?
" After whom dost thou
pursue?'' said David:
After a dead dog,
After a flea.
Saul was silent.
After whom, he thought,
Does every man chase
even to his final breath?
After a threat,
After a wisp,
After the shadow
of death.
Joseph
And they took him, and cast him into the pit...
Genesis, 37, 24
" And they crowded him, and they stripped him of his cloak,
And each stepped forth to set a savage hand,
And shake him with a brother's stifled hate;
And then, with unleashed howls,
They trod his rainbow-garment into silent sand...
And then, of course, They mocked him:
``Oh, dream no more of sun and moon and stars.
``of ripened, genuflective sheaves;
``your prism-coat has shed its hues:
``the pit will teach you how lost hope grieves...''
Joseph heard their sneers dimly, and then the dying pads
of their retreat; and then nothing: despairing,
he did not catch the sound of drivers' drifting shouts,
or clink of harness, or whir of whip,
or steady onward-shuffling camel-feet...
FZK[ KZT[ FTC[
426
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SKEN&H OKKI
427
David's Harp
" Dispelling
the margins
of terror
the
bearer
of resolved
pain
of
motioned
rain
an
instrument
of
timeless
grief
prognostic
as
the
leaf.
FZK[ KZT[ FTC[
428
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SKEN&H OKKI
429
Samson's Silence
" Blind
and cast into
his dark stone
cell...
He did not
lose his
will:
He remembered
what his
captors forgot ±
that strength
returns ±
and waited
and kept
still.
FZK[ KZT[ FTC[
430
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SKEN&H OKKI
431
Song
...And behold, behind him was a
ram, caught in a thicket...
Genesis, 22:13
" I am the ram
caught in the brush...
I am the brush
holding him fast...
I am confining
bramble...
And also
the creature
who struggles to
flee
One question
haunts me through life¨
When
will I be
free?
FZK[ KZT[ FTC[
432
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KRKF SePK[
435
Sunlight
" There was a sunlit absence.
The helmeted pump in the yard
heated its iron,
water honeyed
in the slung bucket
and the sun stood
like a griddle cooling
against the wall
of each long afternoon.
So, her hands scuffled
over the bakeboard,
the reddening stove
sent its plaque of heat
against her where she stood
in a floury apron
by the window.
Now she dusts the board
with a goose's wing,
now sits, broad-lapped,
with whitened nails.
FZK[ KZT[ FTC[
436
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KRKF SePK[
437
and measling shins:
here is a space
again, the scone rising
to the tick of two clocks.
And here is love
like a tinsmith's scoop
sunk past its gleam
in the meal-bin.
The Haw Lantern
" The wintry haw is burning out of season,
crab of the thorn, a small light for small people,
wanting no more from them but that they keep
the wick of self-respect from dying out,
not having to blind them with illumination.
But sometimes when your breath plumes in the frost
it takes the roaming shape of Diogenes
with his lantern, seeking one just man;
so you end up scrutinized from behind the haw
he holds up at eye-level on its twig,
and you flinch before its bonded pith and stone,
its blood-prick that you wish would test and clear you,
its pecked-at ripeness that scans you, then moves on.
FZK[ KZT[ FTC[
438
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KRKF SePK[
439
Lightenings
" The annals say: when the monks of Clonmacnoise
Were all at prayers inside the oratory
A ship appeared above them in the air.
The anchor dragged along behind so deep
It hooked itself into the altar rails
And then, as the big hull rocked to a standstill,
A crewman shinned and grappled down the rope
And struggled to release it. But in vain.
`This man can't bear our life here and will drown,'
The abbot said, 'unless we help him.' So
They did, the freed ship sailed, and the man climbed back
Out of the marvellous as he had known it.
Song
" A rowan like a lipsticked girl.
Between the by-road and the main road
Alder trees at a wet and dripping distance
Stand off among the rushes.
There are the mud-flowers of dialect
And the immortelles of perfect pitch
And that moment when the bird sings very close
To the music of what happens.
FZK[ KZT[ FTC[
440
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YKPKS SNZ'X
441
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YKPKS SNZ'X
443
Clouds Gathering
" It seemed the kind of life we wanted.
Wild strawberries and cream in the morning.
Sunlight in every room.
The two of us walking by the sea naked.
Some evenings, however, we found ourselves
Unsure of what comes next.
Like tragic actors in a theater on fire,
With birds circling over our heads,
The dark pines strangely still,
Each rock we stepped on bloodied by the sunset.
We were back on our terrace sipping wine.
Why always this hint of an unhappy ending?
Clouds of almost human appearance
Gathering on the horizon, but the rest lovely
With the air so mild and the sea untroubled.
The night suddenly upon us, a starless night.
You lighting a candle, carrying it naked
Into our bedroom and blowing it out quickly.
The dark pines and grasses strangely still.
FZK[ KZT[ FTC[
444
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YKPKS SNZ'X
445
Errata
" Where it says snow
read teeth-marks of a virgin
Where it says knife read
you passed through my bones
like a police-whistle
Where it says table read horse
Where it says horse read my migrant's bundle
Apples are to remain apples
Each time a hat appears
think of Isaac Newton
reading the Old Testament
Remove all periods
They are scars made by words
I couldn't bring myself to say
Put a finger over each sunrise
it will blind you otherwise
That damn ant is still stirring
Will there be time left to list
all errors to replace
all hands guns owls plates
all cigars ponds woods and reach
that beer-bottle my greatest mistake
the word I allowed to be written
when I should have shouted
her name
FZK[ KZT[ FTC[
446
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YKPKS SNZ'X
447
A Book Full of Pictures
" Father studied theology through the mail
And this was exam time.
Mother knitted. I sat quietly with a book
Full of pictures. Night fell.
My hands grew cold touching the faces
Of dead kings and queens.
There was a black raincoat
in the upstairs bedroom
Swaying from the ceiling,
But what was it doing there?
Mother's long needles made quick crosses.
They were black
Like the inside of my head just then
The pages I turned sounded like wings.
"The soul is a bird," he once said.
In my book full of pictures
A battle raged: lances and swords
Made a kind of wintry forest
With my heart spiked and bleeding in its branches.
Against Winter
" The truth is dark under your eyelids.
What are you going to do about it?
The birds are silent; there's no one to ask.
All day long you'll squint at the gray sky.
When the wind blows you'll shiver like straw.
FZK[ KZT[ FTC[
448
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YKPKS SNZ'X
449
A meek little lamb you grew your wool
Till they came after you with huge shears.
Flies hovered over open mouth,
Then they, too, flew off like the leaves,
The bare branches reached after them in vain.
Winter coming. Like the last heroic soldier
Of a defeated army, you'll stay at your post,
Head bared to the first snow flake.
Till a neighbor comes to yell at you,
You're crazier than the weather, Charlie.
Mummy's Curse
" Befriending an eccentric young woman
The sole resident of a secluded Victorian mansion.
She takes long walks in the evening rain,
And so do I, with my hair full of dead leaves.
In her former life, she was an opera singer.
She remembers the rich Neapolitan pastries,
Points to a bit of fresh whipped cream
Still left in the corner of her lower lip,
Tells me she dragged a wooden cross once
Through a leper town somewhere in India.
I was born in Copenhagen, I confide in turn.
My father was a successful mortician.
My mother never lifted her nose out of a book.
Arthur Schopenhauer ruined our happy home.
Since then, a day doesn't go by without me
Sticking a loaded revolved inside my mouth.
FZK[ KZT[ FTC[
450
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YKPKS SNZ'X
451
She had walked ahead of me and had turned
Like a lion tamer, towering with a whip in hand.
Luckily, in that moment, the mummy sped by
On a bicycle carrying someone's pizza order
And cursing the mist and the potholes.
The Wooden Toy
" The wooden toy sitting pretty.
No, quieter than that.
Like the sound of eyebrows
Raised by a villain
In a silent movie.
Psst, someone said behind my back.
Song Without Words
" I say to the lead
Why did you let yourself
Be cast into a bullet?
Have you forgotten the alchemists?
Have you given up hope
In turning into gold?
Nobody answers.
Lead. Bullet. With names
Such as these
The sleep is deep and long.
OKZZG[PF \PK[Z
455
OKZZG[PF \PK[Z
,ZVGS ,"FKZVPKBF ZZG[P" ,(Kipling, Joseph Rudyard, 1865-1936) DRKNVKY EZBKEZ
\KRZEGPF FZK[N \KRBKZGJYKGGF FZK[F QKC FKNGI FGGFP ,ZZG[PG \GZVS N[ QYKJZGBK\
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.1907 \R[N NCGR SZV Q\I BGF DRKNVKY
FBPC \KNDRBF FZK[F KNGEDP ,(Yeats, William Butler, 1865-1939) SJKK ZNJC OBKNKGG
FRV Z\GK ZIGBP .\KRG[N \GKHGBGJZKGG OHKXKZKNC \RKKJXP \PEYGPF G\ZK[ .OKZ[TF
JG[P TEGRF GZK[ \PDGE ,KSBNYF ZC@TN FKDNJSGR NT LPSRF QEGTP OHKNGCPKSN SJKK
.1923 \R[N \GZVSN NCGR SZVC FMH SJKK .OGKJRHKCN
TKCJF KBNYIF UGRF .KGRKNKB CZTPC NED (Masters, Edgar Lee, 1869-1950) SZJSP KN ZBDEB
Spoon River ,QGVS ZFR ZICP :SZJSP N[ Z\GKC FCG[IF G\ZKXK NT GPG[KZ \B
HGZIC OKCG\MF CGZKYC OKZK[ 250 \NNGM FZKXKF .1915 \R[C OSZV F\GB ,Anthology
G\ZK[ .ZFRF UGIN FTCD NT OKZGCYF OK\PF \GEGS \B OKV[GI OKZK[F .K[VGI
QMG Domesday Book (1920) ,Poems of People (1936) :\PDGE SZJSP N[ Z\GK \ZIGBPF
BKPIP K\NCF ZBG\F QBMP QGVS ZFR ZICPP KNGDSF FMZTC \NVGR Illinois Poems (1941)
.\IB FZKXK N[ ZZG[P :SZJSPC YCE[
.QPJKGG JNGG N[ NGEDF G[ZGKN C[IR ,(Frost, Robert Lee, 1874-1963) JSGZV KN JZCGZ
,ERNDRKB GKR N[ KZVMF ZGHBC CGZ KV NT \[IZ\PF ,JSGZV N[ G\ZK[ OD QPJKGGN FPGEC
.TCJN OEBF QKC OKSIKF \MZTP FRKKRT
KJGKV FRCP FI\KV[ \KRYKZPB \ZZG[P ,(Crapsey, Adelaide, 1878-1914) KSVZY EKKNEB
\JKPC .\GZCF 22=G \GZG[ [PI KRC OKZXY OKZK[ NT LPSRF ,"cinquains" ,GRKPC EIGKP
GYKKFF \ZK[ ISGRC FBZ[F KCZ OKRM\ SGIEN ,FIKNXFG ,KSVZY F[YKC GH OGES
.\KRBVKF
C\M ,"GDYK[ \NGMSB"P Z\GKC JNGCF ZZG[PF (Sandburg, Carl, 1878-1967) DZGCERS NZY
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HGZI NT \MPSR ,GDYK[ NGEDF LZMF ,GZKT \BG GXZB \B ,JG[VF OEBF \B \NNFPF
Smoke and \Z\GMF \I\ G\ZK[ WCGYC ZYKTC TEGR .JKNYG ZK[K ,JG[V KGJKC ,K[VGI
.1920 \R[P Steel
FMGH ,KRYKZPB ZZG[PG ZVGS ,(Williams, William Carlos, 1883-1963) SPBKNKGG SGNZY OBKNKGG
F[KDR \BH OTG \YVGBPG \KRMSI QG[NC C\GMF "OKRJYF OKJZVF" ZZG[P ,ZXKNGV SZV
FZK[ KZT[ FTC[
456
TEGRF GZK[ \PDGE K\ZCI KVGB OKB[GR G\ZK[ KRM\G ZYKTC OKKRCZGB GKVGR .FZKFCG
.Proletarian Portrait
ZYKTC TEGRF ,KJKZC ZZG[PG ZVGS ,(Lawrence, D[avid] H[erbert], 1885-1930) SRZGN .F.E
\B TKCFN \RP NT KJKNRBGMKSVF QGZYKTF \B NJGR ,KNZJ'X KEKKN N[ FCFBP FNCGRC
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N[ FZK[F KNGEDP EIBN ORPB C[IR (Pound, Ezra Loomis, 1885-1972) ERGBV SKPGN BZHT
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\GZGE NT G\TV[F LB ,KGXPF ZYCPN OGNC ZXGB ORPB BKF ,JGKNB N[ GHN FPGEC
G\CK\M \B[ Cantos ZGHIP BGF G\ZKXK HGN .\GZKFPC \\IGVG \MNGF GKZIB OKZZG[PF
.1959=C OKKSG 1917=C NIF
,BGF UB FRFR ,1948 \R[N NCGR SZV Q\I ,(Eliot, T[homas] S[tearns], 1888-1965) JGKNB .S.\
NGEDF BN OB ,OKZ[TF FBPC \KNDRBF FZK[F KNGEDP EIB N[ EPTPP ERGBVN FPGEC
KRCBP QF ,YfZVGZV EZVNB KK'D N[ FCFBF \ZK[ QMG FPP[F WZB GK\GZKXK .OFC[
NB DKNVPF ,\KJSKJKNBF G\ZK[P ZMKR YNI ,\BH OT .KRZEGPF QEKTC FZK[F N[ \K\[\F
.QPHF \VRC EGPTK OB YVS ,OKYGIZ \GHGIP
\TEGR ,ERNKH-GKR \EKNK \ZZG[PG \ZVGS ,(Mansfield, Katherin, 1888-1923) ENKVSRP QKZ\Y
\GET OFG KJGKV OG[KZ N[ KVGB OKB[GR FKZK[ .CGM'X ISGRC OKZXYF FKZGVKSC ZYKTC
ENKVSRP .ZK[F \MBNPC \RKGXP FJKN[G YGVKB ,ZGPGFC [DGPF ZKER \GRRGC\F Z[GMN
.1923 \R[P "Poems" \Z\GMF \I\ EEGC OKZK[ WCGY FPSZV
\R[N ZXKNGV SZV FMGH ,KRYKZPB ZZG[P ,(Aiken, Conrad Potter, 1889-1973) QYKKB EBZRGY
ZKMHPF QEGTP OHKXKZKN QKC FTR QYKKB N[ G\ZK[ .Selected Poems GKZK[ WCGY ZGCT 1930
GKZK[ ZGHIPC QGDM YFCGP OHKNGCPKS QKCN ,\GCZ TV[GF GRPP ,SJKK .C.G \B OK\TN
.1918 \R[P Senlin and Other Poems Z\GKC TEGRF
OT QG[[ EKZVDKHG QGGB EZVNKGG OT EIK FRPR (Rosenberg, Isaac, 1890-1918) DZCRHGZ YIXK
ONGTF \PINP KPKC GC\M[ OKKJKZCF "\GZKVIF KZZG[P" N[ NGEDF JBZKGGPGKZJF
-FZVF ISGRF QP QKJGNIN FRG[ QGRDS [CDP ,GKZCI KR[P Z\GK UB ,DZCRHGZ .FRG[BZF
,KGCIF OHYZSF .BKFF \TF N[ \KJKZCF FZK[C QKKET JNG[F KRBKZGJYKGGFG KJKNBVZ
G\CK\MN OKYKRTP ,FPINPF KPKB TYZ NT FZGBMN \KNBRCF FZD[F \DXFG YGVKBF
.CZYF FE[C G\GP ZIB OKR[ YZ ZGB F\BZ DZCRHGZ N[ G\ZK[ .FRKPC FEKIK FPXGT
C"FZBC FRG[BZF F[BF ,(Millay, Edna Saint Vincent, 1892-1950) KKNKP JRSRKG JRS FRET
FEKEK ,'DNKGGC \ZZIG[P \KRKKPFGC N[ SGVKJ-OB+ BKF ,(1922) ZXKNGV SZVC F\MH[
F\ZK[ .OKZTGSF FKKIN KGJKC QKB FKZK[C[ BNB .\IBM OK[RG OKZCD N[ \CFBPG
FYNI ,\KNDRBF FZK[F \[ZGPC OKKSBNYF OKNY[PC FCG\M ,\HZGIP ,\KNRGKXRCRGY
OKZZG[PF \PK[Z
457
QEGTP ZGPGF ,KGJKC N[ FPXGTC KKNKP N[ F\ZK[ FRGTJ \BH OT .\GENCG \GJRGS ZMKRF
.\KRYKZPBF FZK[F \ZPXC ZKMC EPTPC F\GB OKMHPF KJGKV QGKYKRG
[GN[ FMH ,KRYKZPB KBHIPG ZZG[P ,(MacLeish, Archibald, 1892-1982) [KNYP ENCK'XZB
KVGB \B[GR [KNYP N[ \PEYGPF G\ZK[ .GK\GHIPG G\ZK[ NT ZXKNGV SZVC OKPTV
\K\GDFG \KZKN \MVGF G\ZK[G OKR[F OT \IGVG LNGF FH EPKP ONGB ,KJKNGVG K\ZCI
O[N \GRPB N[ JSVKRPN QPHF OT LVF FYKJBGV SZB ,ONGMP OSZGVPF GZK[ .Z\GK
.OKKJZGBK\F GKC\MC ZZG[PF N[ GK\GVY[F \B \KCJGY EDGRF ,\GRPB
TEGR ,KJKZC ZZG[PG ZYCP ,QGKZGJSKF ,(Graves, Robert Ranke, 1895-1985) SCKKZD JZCGZ
N[ G\ZK[ .GZVS SKSC NT FYVGF[ SGKEGBNY KRB \KRGKHKGGNJF FZESF \GMHC ZYKTC
;YNI IYN FC FRG[BZF ONGTF \PINP :OKZG[KP F[GN[C ZYKTC FTR SCKKZD
FH OKECZF \[GN[ OKCZT\P OK\TN .\K\GDF FZK[G ;GKPK CGZ YST FC[ FKDGNG\KPF
KM C\GMG ,\KZKNG \K[KB FCK\MN SCKKZD UKJP OKKJZGBK\F GKC\MC ,\BH OT .FHC
."...FZK[F CKGB BKF \J[VGPF FCK\MF"
\ZKXKC GPGSZV ZYKTN FMH ,KRYKZPB ZZG[P ,(Crane, [Harold] Hart, 1899-1932) QKKZY JZBF
JNGGP \GYGPT GTV[GF[ OKZZG[PF \ZG[ OT FRPR QKKZY .1930 \R[P Z[DF BKF ,GKKI
,FK[RB ,FEK\TG FZCT NT \KRYKZPBF FDBSF \CK\M N[ FPDPF \B GMK[PFG QPJKGG
GPXT ECKB ,[BGRG FJGZV ZSI ,EEGC .GKKIC FZMF JTPN LB FMH QKKZY .FKD[KFG FKVGR
.\TEN
1958 \R[P GKZK[ \VGSB NT ZXKNGV SZVC FMH ,(Kunitz, Stanley, 1905- ) WKRGY KNRJS
ZGR KE KYGYKH \ZETR ,\G[KDRG \GZKFCC \RKKJXP WKRGY N[ G\CK\M .(Selected Poems)
JG[VF GRGRDS \B LK[PPF ,OGK OGK N[ \GJGHF ZZG[P BGF WKRGY ."FNGMSB" GB OKKRG[N
.Poet Laureate N[ EPTPN WKRGY FMH 95 NKDC .OKR[ 80 N[ UXZC
C[IRF ,FKRJKZC EKNK KRYKZPB ZZG[P ,(Auden, W[ystan] H[ugh], 1907-1973) QEGB .F.G
FNGMSBC OKEZGPF KRG[BZ NT FRPR ,GKPKC \KNDRB OKC\GMF OKZZG[PF \ZPXN
JBZKGGPGKZJN YFCGP EGDKRC .SJKK UB \PKGSP FEKPCG ,ERGBV ,JGKNB N[ \KJSKJKNBF
,FJGC ,FZXY FZK[C ,GKKI N[ QG[BZF YZVC OHKRGPGYN SV\R[ ,QEGB ZIC ,KJZYGJSKZBF
EPKPF \B ORPB FECKB BN Z\GK \ZIGBPF G\ZK[ .JYNVF NGCD NT[ ,\GZ\GM BNN
.Z\GK FCZF \KNRGKXRCRGY \ZDSPC ZCM FC\MR ONGB ,FPXGTF CZ K\ZCIF
(1954) ZXKNGV SZV FMGH KRYKZPB ZZG[P ,(Roethke, Theodore, 1908-1963) FY\Z ZGEGBK\
,G\ZK[[ QBMP .QGSZPBG YKKNC ,\ZGGSEZGGP ZYKTC TV[GF ,The Waking GKZK[ ZVS ZGCT
G\ZK[C KZYKTF B[GRF .\K\ZGSPF FCK\MF KNNM NT \ZPG[ ,QCN HGZIC FCG\M KM UB
YGNC ,ZZIPN OK[EYGPF GKZK[ QBMP .KRZEGPF LGCPC OEBF KKIC KBYVYF EPKPF BGF
.ZKKR \NGY[P GB FCK\M
N[ OKPEYGPF GKEDR\PP ,KRYKZPB ZYCPG ZZG[P ,(Shapiro, Karl Jay, 1913-2000) GZKV[ NZY
GRGRDS \B ONGB ,FKKR[F ONGTF \PINP KPKC ZZG[PM GMZE \B NIF ,New Criticism=F
FZK[ KZT[ FTC[
458
GK\GZKXKP BGF[ ,FHGZVC GKZK[ WCGY ZGB FBZ Z[BM ,50=F \GR[C BNB [CKD BN
\GZETR ,\GCIZ \GZG[C .(The Bourgeois Poet) "KRDZGCF QJKKVF" :Z\GKC \GCG[IF
\GBKXPF \B ZGPGFG \GYEC GZKV[ ZB\P ,QPJKGG JNGG N[ GRGRDSN \GCGZYG FKEGHGZV
.\KRYKZPBF
KZK[G \GENCF \GMHC TEGR ,K[NGG ZZG[P ,(Thomas, Dylan Marlais, 1914-1953) SPG\ QNKE
KJPZEG KJGZB OHKNGCPKSC F[GEDF G\ZK[ .1954 \R[P EGG YNKP \I\ \PDGE FNKNTF
OKCKJGP CGNK[ .FZKER KGJKC \PXGTG \KRG[N \GKHGBGJZKGGC \IB FRGTCG \TC FCG\M
KZZG[P NT G\GB CCKI ,KF\ BN FZZ[ \GGPNG TEGRF GZK[ \PDGEM OKK\ZCIG OKKRBKEKGZV
.OK[K[FG OK[KPIF \GR[ KFN[ N[ JKCF
\ZK[" :OZH N[ OKZZG[PF KZKMCP ,(Lowell, Robert Traill Spence, 1917-1977) NBGN JZCGZ
.1973 \R[P The Dolphin=G 1959 \R[P Life Studies NT ZXKNGV SZVC FMH ,"KGEKGGF
GKVN KJKNRBGMKSVF QGZYKTC \RDGTP ,GKPK CGZ G[VRC ZTZGTP FKF[ KP ,NBGN N[ G\ZK[
ZZG[PC F\MH FZK[F LB ,ZVG[ BN ORPB NBGN N[ GCXP .GCXP \B ZV[\ KGEKG \CK\M
.QKGXP
."\G\V[BF ZZG[P" BZYKFN FMH[ KP ,(Bukowski, Charles, 1920-1994) KYSCGYGC SNZ'X
,KYSCGYGC N[ GKZVSP EIBN \KRKKVGB \Z\GM BKF "All Assholes in the World and Mine"
QKB .JKCF \ZK[ \GCBP ZMGP ZZG[P N[ EPTPC FMH KM ET GMZE \B JB JB SNKV[
ZMKR INV FRPBR FBJCP BKF KM FECGTNG ZGPGFN ,G\ZK[ N[ FCZF \GKJR\GBN [IM\FN
.\KRYKZPBF FZCIF N[
\B NJR ,KRYKZPBF JKCF ZGE KZZG[P QKCP JNGCF ,(Ginsberg, Allen, 1926-1997) DZCHRKD QNB
SGNZYG DZGCERS NZY \PDGE \KRYKZPBF FZK[C GKMK[PPG QPJKGG JNGGP KSKSCF QGRDSF
\PDGE OKPSZGVPF GKZK[ LM .GRPH N[ \KNEGMSKVF FPKNDF \B OFKNT FJTG ,SPBKNKGG
FK\GRCZGYG KRYKZPBF OHKNJKVYF OT CYGR QGC[I F[GTF (Howl) "FNNKF" QMG "[KEY"
[VR KNGIN \GEGSPC OTV KEP FNCPF UZGJP ,NBGSYSGPGF ,DZCHRKD .FMKZXF \ZCI N[
ESPPC GYCBPC [EIF NBP[F KZGCKDP EIBN OKPKN FKF ,FCTG\ KZCE OGSZV NT JV[RG
.60=F \GR[ N[
YRZV N[ GEXN ,FRPR ,KRYKZPB KBHIPG ZYCP ,ZZG[P ,(Ashbery, John 1927- ) KZC[B QG'D
-JSGV"M FPXT FZKEDPF "YZGK GKR \NGMSB" KZZG[P QKC[ OKJNGCF OT ,FZF'GB
Self Portrait in a Convex GKZK[ ZVS NT (1975) ZXKNGV SZVC FMH KZC[B ."\KJSKRZEGP
FMH OFC OKSZVF ZVSP][ ZPGN DGFR KM ET ,KZ[VB K\GZVS SZV NMC GK\GCYTCG ,Mirror
OKRGZGPKSYGBCG OKSYGEZVC [GPK[ F[GT KZC[B .C\M[ OKZK[F ZVSP NT FNGT
.Z[V ZSIG KRGZKB EPKP G\ZK[N OKYKRTPF
OKZ[TC OKKJKZCF OKZZG[PF QKCP JNGCF ,(Hughes, Edward [Ted] James, 1930-1998) HGK EJ
[BZCG ,GP[C \GZG[YF \GCZF \GKZGZT[N FCZ FEKPC GPGSZV \B CI ,\GRGZIBF OKR[F
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ONGTP GKNPS \B NJGR HGK .FCZ \GKRGKIC FRGTJ HGK N[ G\ZK[ .\BNV FKCNKS \KRYKZPBF
.CN K[YG \GREB ,\GKZXK N[ OKNPS GN OK[P[PF ,[IRFG WRF ,CZGTF OF GKZGCKDG ,KIF
QCN HGZI ETG \K\ZGSP FKEGHGZVC NIF ,FZK[ \GZGX\ N[ CIZ QGGDPC [GPK[ F[GT HGK
.FHGZVC FZK[G
EK FIN[ ,HGK EJ N[ G\[B ,\KRYKZPB \ZZG[P ,(Plath, Sylvia, 1932-1963) \BNV FKCNKS
QGRDS N[ CGNK[ BKF F\CK\M .FNTCPG QNKE SPG\P FTV[GF \BNV .30 \C BKFG F[VRC
ZIBN .FJGCG ZHMB OHKNGCPKSC OK\TN QHGPF ,\IB FRGTCG \TC KCKJYGCGZVG KPKJRKB
.(1965) Ariel WCGYC ZGBN O\GB BKXGFG FKZK[ \B HGK EJ LZT F\GP
C\GMG NBZ[KC ZZGD\PF KNBZ[K=KRYKZPB ZZG[P ,(Zeldis, Chayym, 1937- ) SKENH OKKI
GN [K OB YVS FH OGI\CG ,BZYPF QP ZYKTC G\ZK[ KRM\ \B NJGR SKENH .\KNDRB
GRGRDS .ZGYPF QP ZETRF TK\VPG USGR EPKPN G\ZK[C \GMGH \GKM"R\F \GKGPEF .OKZI\P
.1995 \R[C ZGB F\BZ Sparks GKZK[ \VGSB .KNYKSGPG KRGMSI ,ZXY ,YVGBP
FZMFN FMH ,(1995) NCGR SZV Q\I ,KZKB ZZG[P ,(Heaney, Seamus Justin, 1939- ) KRKF SGPK[
ZV#SP KRKF .1975 \R[P North GKZK[ \VGSB OGSZV OT GXZBC NKCGP ZZG[P N[ EPTPG
Z\KF QKC) KJNYF ZCTF QP OKNPSC [GPK[ F[GTG ,FTGS[F GXZB N[ CGXTF FZGVKS \B
\PDGE ,\KDNB \GCXT N[ KVGB G\ZK[ \B[GR \GRGZIBF OKR[C .(UNGGBC \B KRKF ODZ\
.The Haw Lantern WCGYF
TKPJF ,16 NKDC C"FZBN GPB OT ZDKF ,FKCNSGDGK EKNK ,(Simik, Charles 1938- ) YKPKS SNZ'X
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N[ FKPEYBF BK[RN ZICR 2000 \R[CG (1990) ZXKNGV SZVC FMH YKPKS .GRZGEC \KNDRBC
N[ \GJGH NGMKCM FRKKRT ,\GZKFCG \GJ[VC \RKKJXP YKPKS N[ G\CK\M .C"FZB KZZG[P
.\KRYNC FZK[ ODZ\N FCZP YKPKS .YPGTG \GDF FPT [K[ \GJ[V GH ONGB ,OGK
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ZGYPF \GV[C \GRG[BZ \GZG[
If you can keep your head when all about you (45)
I turned ± Heaven knows we women turn too much (47)
They do not always stand (49)
Here come I to my own again, (51)
When you are old and gray and full of sleep (57)
I bring you with reverent hands (57)
His chosen comrades thought at school (59)
That is no country for old men. The young (61)
We sat together at one summer's end, (63)
Where are Elmer, Herman, Bert, Tom and Charley, (67)
Here I lie close to the grave (71)
Have you seen walking through the village (71)
She took my strength by minutes, (73)
They have chiseled on my stone the words: (75)
My life's blossom might have bloomed on all sides (77)
Henry got me with child, (77)
You praise my self-sacrifice, Spoon River, (79)
In life I was the town drunkard; (79)
How does it happen, tell me, (81)
Together in this grave lie Benjamin Pantier, attorney at law, (81)
I know that he told that I snared his soul (83)
Some say the world will end in fire, (91)
God: Yes, by and by. But first a larger matter. (91)
The tree the tempest with a crash of wood (93)
I have been one acquainted with the night. (95)
"He is no fugitive ± escaped, escaping. (95)
Listen (99)
I know (99)
If it (99)
White doves of Cytherea, by your quest (99)
ZGYPF \GV[C \GRG[BZ \GZG[
467
Little my lacking fortunes show (101)
The old (101)
In the cold I will rise, I will bathe (101)
Why do (103)
These be (103)
Just now, (103)
You will come one day in a waver of love, (107)
THE fog comes (107)
The dago shovelman sits by the railroad track (109)
Desolate and lone (109)
Give me hunger, (111)
The people yes (113)
If I when my wife is sleeping (117)
A day on the boulevards chosen out of ten years of (117)
I have eaten (119)
Let the snake wait under (119)
According to Brueghel (121)
So much depends (121)
Your thighs are apple trees (123)
A snake came to my water-trough (127)
The elephant, the huge old beast, (133)
I am not sure I would always fight for my life. (135)
Don't you care for my love? she said bitterly. (135)
All I ask of a woman is that she shall feel gently towards me (137)
I, the man with the red scarf, (137)
Zeus lies in Ceres' bosom (143)
The thought of what America would be like (149)
I make a pact with you, Walt Whitman (151)
Your mind and you are our Sargasso Sea, (151)
Like a skein of loose silk blown against a wall (153)
Midnight, and a letter comes to me from our mistress: (155)
The tree has entered my hands, (157)
All the while they were talking the new morality (157)
Burbank crossed a little bridge (163)
Among the smoke and fog of a December afternoon (171)
FZK[ KZT[ FTC[
468
Now that lilacs are in bloom (173)
The October night comes down; returning as before (177)
"A cold coming we had of it, (183)
The winter evening settles down (185)
The morning comes to consciousness (187)
You tossed a blanket from the bed, (187)
His soul stretched tight across the skies (189)
These be two (193)
In the profoundest ocean (193)
There was a man lived quite near us; (195)
In the middle of our porridge plates (195)
By my bed, on a little round table (197)
Across the red sky two birds flying, (199)
There was a child once. (199)
To the little, pitiful God I make my prayer, (201)
Suddenly, after the quarrel, while we waited, (205)
In the mazes of loitering people, the watchful and furtive, (207)
The sun goes down in a cold pale flare of light. (209)
It is morning, Senlin says, and in the morning (211)
It is moonlight. Alone in the silence (215)
The darkness crumbles away. (221)
Moses, from whose loins I sprung, (223)
Sombre the night isUÃ (223)
I killed them, but they would not die. (225)
Nudes ± stark and glistening, (225)
Only until this cigarette is ended, (231)
Strong sun, that bleach (231)
Listen, children: (233)
My heart is what it was before, (233)
I know what my heart is like (237)
What lips my lips have kissed, and where, and why (237)
A poem should be palpable and mute (241)
Will it last? he says. (243)
That's my younger brother with his Navy wings. (243)
Stupid? Of course that older lot were stupid. (245)
ZGYPF \GV[C \GRG[BZ \GZG[
469
There is no dusk to be, (247)
To you who'd read my songs of War (251)
Cheeks, furrowed; coarse grey hair, flying (251)
Cronos the Ruddy, steer your boat (253)
Diffidently, when asked who might I be, (255)
You were a child and I your veteran; (257)
Yes, I being (261)
Infinite consanguinity it bears (263)
There are no stars to-night (263)
Forgetfulness is like a song (265)
My hands have not touched pleasure since your hands, (267)
It sheds a shy solemnity (267)
An agitation of the air, (271)
My mother never forgave my father (271)
Summer is late, my heart. (273)
Miss Murphy in first grade (275)
The word I spoke in anger (279)
She looked over his shoulder (283)
I sit in one of the dives (287)
Perfection, of a kind, was what he was after, (289)
About suffering they were never wrong, (291)
He disappeared in the dead of winter: (293)
"The underground roads (295)
I have known the inexorable sadness of pencils, (299)
When I put her out, once, by the garbage pail, (299)
By day the bat is cousin to the mouse. (301)
In the long journey out of the self, (303)
I saw a young snake glide (303)
At Woodlawn I heard the dead cry: (305)
He was born in Deutschland, as you would suspect, (313)
Save for a lusterless honing-stone of moon (317)
The living rooms of my neighbors are like beauty parlors, (319)
It is winter in California, and outside (321)
And death shall have no dominion. (325)
Especially when the October wind (327)
FZK[ KZT[ FTC[
470
This side of the truth, (329)
Twenty-four years remind the tears of my eyes. (331)
Was there a time when dancers with their fiddles (331)
Those blesseÁd structures, plot and rhyme ± (335)
History has to live with what was here, (335)
``The hot night makes us keep our bedroom windows open. (337)
Only today and just for this minute, (339)
Horizontal in a deckchair on the bleak ward. (343)
Robert Frost at midnight, the audience gone (343)
You only guide me by surprise, (345)
The best often die by their own hand (349)
Shot in the eye (349)
If it doesn't come bursting out of you (351)
The phone rang at 1:30 a.m. (355)
Well, the father was dead (357)
In the morning (359)
Dylan is about the Individual against the whole creation (363)
What thoughts I have of you tonight, Walt Whitman, for (365)
Carl Solomon! I'm with you in Rockland (369)
If I were doing my Laundry I'd wash my dirty Iran (371)
Just when I thought there wasn't room enough (377)
Old cathedrals, old markets, good and firm things (381)
Somewhere someone is traveling furiously toward you, (383)
The medieval town, with frieze (383)
This poem is concerned with language on a very plain level. (385)
As if you descended in each night's sleep (391)
I sit in the top of the wood, my eyes closed. (393)
There came a day that caught the summer (395)
What looked like a slug, black, soft, wrinkled, (399)
Man's and woman's bodies lay without souls, (401)
He tried ignoring the sea (403)
So on the seventh day (405)
Widow. The word consumes itself ± (409)
I am silver and exact. I have no preconceptions. (411)
They are the last romantics, these candles: (413)
ZGYPF \GV[C \GRG[BZ \GZG[
471
Compelled by calamity's magnet (415)
Your clear eye is the one absolutely beautiful thing. (417)
First, are you our sort of a person? (417)
Out of the cave (423)
``After whom dost thou (425)
And they crowded him, and They stripped him (425)
Dispelling (427)
Blind (429)
I am the ram (431)
There was a sunlit absence. (435)
The wintry haw is burning out of season, (437)
The annals say: when the monks of Clonmacnoise (439)
A rowan like a lipsticked girl. (439)
It seemed the kind of life we wanted. (443)
Where it says snow (445)
Father studied theology through the mail (447)
The truth is dark under your eyelids. (447)
Befriending an eccentric young woman (449)
The wooden toy sitting pretty. (451)
I say to the lead (451)
FZK[ KZT[ FTC[
472
\ZICR FKVZDGKNCKC
\KRYKZPB=GNDRB FZK[N \GZTF
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Cooper Square, 1970.
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(William Butler Yeats) SJKK ZNJC OBKNKGG
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Clarendon, 1965.
(Edgar Lee Masters) JZJSP KN ZDEB
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