One Art
BY ELIZABETH BISHOP
The art of losing isn't hard to master;
so many things seem filled with the intent
to be lost that their loss is no disaster.
Lose something every day. Accept the fluster
of lost door keys, the hour badly spent.
The art of losing isn't hard to master.
Then practice losing farther, losing faster:
places, and names, and where it was you meant
to travel. None of these will bring disaster.
I lost my mother's watch. And look! my last, or
next-to-last, of three loved houses went.
The art of losing isn't hard to master.
I lost two cities, lovely ones. And, vaster,
some realms I owned, two rivers, a continent.
I miss them, but it wasn't a disaster.
—Even losing you (the joking voice, a gesture
I love) I shan't have lied. It's evident
the art of losing's not too hard to master
though it may look like (Write it!) like disaster.
You’re
BY SYLVIA PLATH
Clownlike, happiest on your hands,
Feet to the stars, and moon-skulled,
Gilled like a fish. A common-sense
Thumbs-down on the dodo’s mode.
Wrapped up in yourself like a spool,
Trawling your dark as owls do.
Mute as a turnip from the Fourth
Of July to All Fools’ Day,
O high-riser, my little loaf.
Vague as fog and looked for like mail.
Farther off than Australia.
Bent-backed Atlas, our traveled prawn.
Snug as a bud and at home
Like a sprat in a pickle jug.
A creel of eels, all ripples.
Jumpy as a Mexican bean.
Right, like a well-done sum.
A clean slate, with your own face on.
The Red Wheelbarrow
BY WILLIAM CARLOS WILLIAMS
so much depends
upon
a red wheel
barrow
glazed with rain
water
beside the white
chickens.
This Is Just To Say
BY WILLIAM CARLOS WILLIAMS
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
Shirt
BY ROBERT PINSKY
The back, the yoke, the yardage. Lapped seams,
The nearly invisible stitches along the collar
Turned in a sweatshop by Koreans or Malaysians
Gossiping over tea and noodles on their break
Or talking money or politics while one fitted
This armpiece with its overseam to the band
Of cuff I button at my wrist. The presser, the cutter,
The wringer, the mangle. The needle, the union,
The treadle, the bobbin. The code. The infamous blaze
At the Triangle Factory in nineteen-eleven.
One hundred and forty-six died in the flames
On the ninth floor, no hydrants, no fire escapes—
The witness in a building across the street
Who watched how a young man helped a girl to step
Up to the windowsill, then held her out
Away from the masonry wall and let her drop.
And then another. As if he were helping them up
To enter a streetcar, and not eternity.
A third before he dropped her put her arms
Around his neck and kissed him. Then he held
Her into space, and dropped her. Almost at once
He stepped to the sill himself, his jacket flared
And fluttered up from his shirt as he came down,
Air filling up the legs of his gray trousers—
Like Hart Crane’s Bedlamite, “shrill shirt ballooning.”
Wonderful how the pattern matches perfectly
Across the placket and over the twin bar-tacked
Corners of both pockets, like a strict rhyme
Or a major chord. Prints, plaids, checks,
Houndstooth, Tattersall, Madras. The clan tartans
Invented by mill-owners inspired by the hoax of Ossian,
To control their savage Scottish workers, tamed
By a fabricated heraldry: MacGregor,
Bailey, MacMartin. The kilt, devised for workers
To wear among the dusty clattering looms.
Weavers, carders, spinners. The loader,
The docker, the navvy. The planter, the picker, the sorter
Sweating at her machine in a litter of cotton
As slaves in calico headrags sweated in fields:
George Herbert, your descendant is a Black
Lady in South Carolina, her name is Irma
And she inspected my shirt. Its color and fit
And feel and its clean smell have satisfied
Both her and me. We have culled its cost and quality
Down to the buttons of simulated bone,
The buttonholes, the sizing, the facing, the characters
Printed in black on neckband and tail. The shape,
The label, the labor, the color, the shade. The shirt.
THE TRIANGLE SHIRTWAIST FACTORY FIRE OF 1911
Robert Pinsky’s Inspiration for “Shirt”
The Triangle Shirtwaist Factory Fire in
New York City on March 25, 1911, was
one of the deadliest industrial disasters
in the history of the city of New York
and resulted in the fourth highest loss of
life from an industrial accident in U.S.
history. It was also one of the deadliest
disasters that occurred in New York
City – after the burning of the General
Slocum on June 15, 1904 – until the
destruction of the World Trade Center
90 years later.
The fire caused the deaths of 146
garment workers, who died from the
fire, smoke inhalation, or falling or
jumping to their deaths. Most of the
victims were recent Jewish and Italian
immigrant women aged sixteen to
twenty-three; of the victims whose ages
are known, the oldest victim was
Providenza Panno at 43, and the
youngest were 14-year-olds Kate Leone
and "Sara" Rosaria Maltese.
Because the managers had locked the
doors to the stairwells and exits – a
common practice at the time to prevent
pilferage and unauthorized breaks –
many of the workers who could not
escape the burning building jumped
from the eighth, ninth, and tenth floors
to the streets below.
The fire led to legislation requiring improved factory
safety standards and helped spur the growth of the
International Ladies' Garment Workers' Union, which
fought for better working conditions for sweatshop
workers.
The factory was located in the Asch Building, at 23–
29 Washington Place, now known as the Brown
Building, which has been designated a National
Historic Landmark and a New York City landmark.