Sandy says his high-school daughter
Keeps exclaiming joy, joy.
The burden of my joy lightens
With her exclamation.
It’s a generality, it takes
from my heart the sting of the singular, it sets moving
In the easy early Berkeley air
What we incommunicably share.
Thursday, August 18, 2011
Wednesday, June 08, 2011
874. First Lines of Poems And No Further
First lines of poems and no further or, ending at the beginning or, augh! or, . . .
“When my propane ran out”
“The drunk mechanic is happy to be in the ditch”
‘Should the vultures eat forget-me-nots?”
“I was living in a bowl of soup”
“Your wooden leg stood beside the bed”
“It was following me so I killed it”
“I despise the guys who are spies in disguise”
“Detachedly eying his severed hand”
“There once was a square, such a little square”
“The leaves from the tired trees blocked the drains”
“Where the hell am I?”
“Diem Sin Foo will mary you Madame LeFarge”
“When like the moon your face arose”
“When my propane ran out”
“The drunk mechanic is happy to be in the ditch”
‘Should the vultures eat forget-me-nots?”
“I was living in a bowl of soup”
“Your wooden leg stood beside the bed”
“It was following me so I killed it”
“I despise the guys who are spies in disguise”
“Detachedly eying his severed hand”
“There once was a square, such a little square”
“The leaves from the tired trees blocked the drains”
“Where the hell am I?”
“Diem Sin Foo will mary you Madame LeFarge”
“When like the moon your face arose”
Thursday, May 19, 2011
873. After the Treaty Between the Athenians and the Lacedaemonians Was Broken - Yannis Ritsos
AFTER THUCYDIDES
Corinth, Argos, Sparta, Athens, Sicyon, and other (how many?)
smaller cities—
the Greeks have become a thousand fragments; the great treaty has
been broken;
everyone is enraged with everyone else—new meetings, meetings and
more meetings, conferences;
yesterday’s friends and neighbors no longer greet each other in the
street—
old grudges have come between them again; new alliances,
entirely opposite to earlier ones, are being sounded out, prepared.
Deputations
arrive secretly at midnight; others leave. The statues of our heroes,
standing neglected in the city squares and gardens, are shat on by
sparrows.
Group after group in the agora discuss our situation seriously,
exaltedly, passionately: Who gave them their orders? Who appointed
them?
We, anyway didn’t choose them (Besides, how? And when? New
bosses again? Who needs them?) April has arrived;
the small pepper trees on the sidewalks have turned green— a gentle
green,
tender, childlike (moving to us) even if
rather dusty—the municipal service seems to be out of it,
no longer showing up in the afternoon to sprinkle the streets. But
today,
on the portico surrounding the closed Council Chambers, the first
swallow appeared unexpectedly,
and everybody shouted: “A swallow; look, a swallow; look a
swallow”—
everybody in unison, even the most violently opposed: “A swallow.”
And suddenly
everybody fell silent, feeling alone, detached from the others, as
though free,
as though united in continuity, within a communal isolation. And
then
they understood that their only freedom was their solitude, but that
too
(though imperceptible) unprotected, vulnerable, a thousand times
entrapped, alone.
Sunday, May 01, 2011
872. Spring Azures - Mary Oliver
.
In spring the blue azures bow down
at the edges of shallow puddles
to drink the black rain water.
Then they rise and float away into the fields.
Sometimes the great bones of my life feel so heavy,
and all the tricks my body knows―
the opposable thumbs, the kneecaps,
and the mind clicking and clicking—
don’t seem enough to carry me through this world
and I think: how I would like
to have wings—
blue ones—
ribbons of flame.
How I would like to open them, and rise
from the black rain water.
And then I think of Blake, in the dirt and sweat of London—a boy
staring through the window, when God came
fluttering up.
Of course, he screamed,
and seeing the bobbin of God’s blue body
leaning on the sill,
and the thousand-faceted eyes.
Well, who knows.
Who knows what hung, fluttering, at the window
between him and the darkness.
Anyway, Blake the hosier’s son stood up
and turned away from the sooty sill and the dark city—
turned away forever
from the factories, the personal strivings,
to a life of the the imagination.
In spring the blue azures bow down
at the edges of shallow puddles
to drink the black rain water.
Then they rise and float away into the fields.
Sometimes the great bones of my life feel so heavy,
and all the tricks my body knows―
the opposable thumbs, the kneecaps,
and the mind clicking and clicking—
don’t seem enough to carry me through this world
and I think: how I would like
to have wings—
blue ones—
ribbons of flame.
How I would like to open them, and rise
from the black rain water.
And then I think of Blake, in the dirt and sweat of London—a boy
staring through the window, when God came
fluttering up.
Of course, he screamed,
and seeing the bobbin of God’s blue body
leaning on the sill,
and the thousand-faceted eyes.
Well, who knows.
Who knows what hung, fluttering, at the window
between him and the darkness.
Anyway, Blake the hosier’s son stood up
and turned away from the sooty sill and the dark city—
turned away forever
from the factories, the personal strivings,
to a life of the the imagination.
Friday, April 15, 2011
871. Turbulence - Adrienne Rich
.
There’ll be turbulence. You’ll drop
your book to hold your
water bottle steady. Your
mind, mind has mountains, cliffs of fall
may who ne’er hung there let him
watch the movie. The plane’s
supposed to shudder, shoulder on
like this. It’s built to do that. You’re
designed to tremble too. Else break
Higher you climb, trouble in mind
lungs labor, heights hurl vistas
Oxygen hangs ready
overhead. In the event put on
the child’s mask first. Breathe normally
There’ll be turbulence. You’ll drop
your book to hold your
water bottle steady. Your
mind, mind has mountains, cliffs of fall
may who ne’er hung there let him
watch the movie. The plane’s
supposed to shudder, shoulder on
like this. It’s built to do that. You’re
designed to tremble too. Else break
Higher you climb, trouble in mind
lungs labor, heights hurl vistas
Oxygen hangs ready
overhead. In the event put on
the child’s mask first. Breathe normally
Friday, February 18, 2011
870. So Much Happiness - Naomi Shihab Nye
For Michael
It is difficult to know what to do with so much happiness.
With sadness there is something to rub against,
a wound to tend with lotion and cloth.
When the world falls in around you, you have pieces to pick up,
something to hold in your hands, like ticket stubs or change.
But happiness floats.
It doesn’t need you to hold it down.
It doesn’t need anything.
Happiness lands on the roof of the next house, singing,
and disappears when it wants to.
You are happy either way.
Even the fact that you once lived in a peaceful tree house
and now live over a quarry of noise and dust
cannot make you unhappy.
Everything has a life of its own,
it too could wake up filled with possibilities
of coffee cake and ripe peaches,
and love even the floor which needs to be swept,
the soiled linens and scratched records . . .
Since there is no place large enough
to contain so much happiness,
you shrug, you raise your hands, and it flows out of you
into everything you touch. You are not responsible.
You take no credit, as the night sky takes no credit
for the moon, but continues to hold it, and share it,
and in that way, be known.
It is difficult to know what to do with so much happiness.
With sadness there is something to rub against,
a wound to tend with lotion and cloth.
When the world falls in around you, you have pieces to pick up,
something to hold in your hands, like ticket stubs or change.
But happiness floats.
It doesn’t need you to hold it down.
It doesn’t need anything.
Happiness lands on the roof of the next house, singing,
and disappears when it wants to.
You are happy either way.
Even the fact that you once lived in a peaceful tree house
and now live over a quarry of noise and dust
cannot make you unhappy.
Everything has a life of its own,
it too could wake up filled with possibilities
of coffee cake and ripe peaches,
and love even the floor which needs to be swept,
the soiled linens and scratched records . . .
Since there is no place large enough
to contain so much happiness,
you shrug, you raise your hands, and it flows out of you
into everything you touch. You are not responsible.
You take no credit, as the night sky takes no credit
for the moon, but continues to hold it, and share it,
and in that way, be known.
Monday, February 07, 2011
869. Monet Refuses The Operation - Lisel Mueller
.
Doctor, you say there are no haloes
around the streetlights in Paris
and what I see is an aberration
caused by old age, an affliction.
I tell you it has taken my all my life
to arrive at the vision of gas lamps as angels,
to soften and blur and finally banish
the edges you regret I don’t see,
to learn that the line I called the horizon
does not exist and sky and water,
so long apart, are the same state of being.
Fifty-four years before I could see
Rouen cathedral is built
of parallel shafts of sun,
and now you want to restore
my youthful errors: fixed
notions of top and bottom,
the illusion of three-dimensional space,
wisteria separate
from the bridge it covers.
What can I say to convince you
the Houses of Parliament dissolve
night after night to become
the fluid dream of the Thames?
I will not return to a universe
of objects that don’t know each other,
as if islands were not the lost children
of one great continent. The world
is flux, and light becomes what it touches,
becomes water, lilies on water,
above and below water,
becomes lilac and mauve and yellow
and white and cerulean lamps,
small fists passing sunlight
so quickly to one another
that it would take long, streaming hair
inside my brush to catch it.
To paint the speed of light!
Our weighted shapes, these verticals,
burn to mix with air
and change our bones, skin, clothes
to gases. Doctor,
if only you could see
how heaven pulls earth into its arms
and how infinitely the heart expands
to claim this world, blue vapor without end.
Doctor, you say there are no haloes
around the streetlights in Paris
and what I see is an aberration
caused by old age, an affliction.
I tell you it has taken my all my life
to arrive at the vision of gas lamps as angels,
to soften and blur and finally banish
the edges you regret I don’t see,
to learn that the line I called the horizon
does not exist and sky and water,
so long apart, are the same state of being.
Fifty-four years before I could see
Rouen cathedral is built
of parallel shafts of sun,
and now you want to restore
my youthful errors: fixed
notions of top and bottom,
the illusion of three-dimensional space,
wisteria separate
from the bridge it covers.
What can I say to convince you
the Houses of Parliament dissolve
night after night to become
the fluid dream of the Thames?
I will not return to a universe
of objects that don’t know each other,
as if islands were not the lost children
of one great continent. The world
is flux, and light becomes what it touches,
becomes water, lilies on water,
above and below water,
becomes lilac and mauve and yellow
and white and cerulean lamps,
small fists passing sunlight
so quickly to one another
that it would take long, streaming hair
inside my brush to catch it.
To paint the speed of light!
Our weighted shapes, these verticals,
burn to mix with air
and change our bones, skin, clothes
to gases. Doctor,
if only you could see
how heaven pulls earth into its arms
and how infinitely the heart expands
to claim this world, blue vapor without end.
Tuesday, January 11, 2011
868. But Wise Men Apprehend What Is Imminent - C. P. Cavafy
Translated from the Greek by Daniel Mendelsohn
"The gods perceive what lies in the future, and mortals, what occurs in the present, but wise men apprehend what is imminent."
-Philostratus, Life of Apolloniur of Tyans, VII, 7
Mortal men perceive things as they happen.
What lies in the future the gods perceive,
full and sole possessors of all enlightenment.
Of all the future holds, wise men apprehend
what is imminent. Their hearing,
sometimes, in moments of complete
absorption in their studies, is disturbed. The secret call
of events that are about to happen reaches them.
And they listen to it reverently. While in the street
outside, the people hear nothing at all.
"The gods perceive what lies in the future, and mortals, what occurs in the present, but wise men apprehend what is imminent."
-Philostratus, Life of Apolloniur of Tyans, VII, 7
Mortal men perceive things as they happen.
What lies in the future the gods perceive,
full and sole possessors of all enlightenment.
Of all the future holds, wise men apprehend
what is imminent. Their hearing,
sometimes, in moments of complete
absorption in their studies, is disturbed. The secret call
of events that are about to happen reaches them.
And they listen to it reverently. While in the street
outside, the people hear nothing at all.
Saturday, December 04, 2010
867. The Great American Poem - Billy Collins
.
If this were a novel,
it would begin with a character,
a man alone on a southbound train
or a young girl on a swing by a farmhouse.
And as the pages turned, you would be told
that it was morning or the dead of night,
and I, the narrator, would describe
for you the miscellaneous clouds over the farmhouse
and what the man was wearing on the train
right down to his red tartan scarf,
and the hat he tossed onto the rack above his head,
as well as the cows sliding past his window.
Eventually—one can only read so fast—
you would learn either that the train was bearing
the man back to the place of his birth
or that he was headed into the vast unknown,
and you might just tolerate all of this
as you waited patiently for shots to ring out
in a ravine where the man was hiding
or for a tall, raven-haired woman to appear in a doorway.
But this is a poem, not a novel,
and the only characters here are you and I,
alone in an imaginary room
which will disappear after a few more lines,
leaving us no time to point guns at one another
or toss all our clothes into a roaring fireplace.
I ask you: who needs the man on the train
and who cares what his black valise contains?
We have something better than all this turbulence
lurching toward some ruinous conclusion.
I mean the sound that we will hear
as soon as I stop writing and put down this pen.
I once heard someone compare it
to the sound of crickets in a field of wheat
or, more faintly, just the wind
over that field stirring things that we will never see.
If this were a novel,
it would begin with a character,
a man alone on a southbound train
or a young girl on a swing by a farmhouse.
And as the pages turned, you would be told
that it was morning or the dead of night,
and I, the narrator, would describe
for you the miscellaneous clouds over the farmhouse
and what the man was wearing on the train
right down to his red tartan scarf,
and the hat he tossed onto the rack above his head,
as well as the cows sliding past his window.
Eventually—one can only read so fast—
you would learn either that the train was bearing
the man back to the place of his birth
or that he was headed into the vast unknown,
and you might just tolerate all of this
as you waited patiently for shots to ring out
in a ravine where the man was hiding
or for a tall, raven-haired woman to appear in a doorway.
But this is a poem, not a novel,
and the only characters here are you and I,
alone in an imaginary room
which will disappear after a few more lines,
leaving us no time to point guns at one another
or toss all our clothes into a roaring fireplace.
I ask you: who needs the man on the train
and who cares what his black valise contains?
We have something better than all this turbulence
lurching toward some ruinous conclusion.
I mean the sound that we will hear
as soon as I stop writing and put down this pen.
I once heard someone compare it
to the sound of crickets in a field of wheat
or, more faintly, just the wind
over that field stirring things that we will never see.
Wednesday, November 24, 2010
866. Coda - Jason Shinder
.
And now I know what most deeply connects us
after that summer so many years ago,
and it isn’t poetry, although it is poetry,
and it isn’t illness, although we have that in common,
and it isn’t gratitude for every moment,
even the terrifying ones, even the physical pain,
though we are halfway through
it, or even the way you describe the magnificence
of being alive, catching a glimpse,
in the store window, of your blowing hair and chapped lips,
though it is beautiful, it is; but it is
that you’re my friend out here on the far reaches
of what humans can find out about each other.
And now I know what most deeply connects us
after that summer so many years ago,
and it isn’t poetry, although it is poetry,
and it isn’t illness, although we have that in common,
and it isn’t gratitude for every moment,
even the terrifying ones, even the physical pain,
though we are halfway through
it, or even the way you describe the magnificence
of being alive, catching a glimpse,
in the store window, of your blowing hair and chapped lips,
though it is beautiful, it is; but it is
that you’re my friend out here on the far reaches
of what humans can find out about each other.
Thursday, November 18, 2010
865. Hineni - Stanley F. Chyet
.
here I am again
without much to offer by way of moral worth
I’ve a rich collection of defeats
maybe that’s to your liking?
I don’t know, do you?
if I’m to be quite frank
your likes and dislikes have never been
all that clear to me
presumably love is something you’re in favor of
and I’ve found it possible to love
but never without a certain anguish
whether that’s the way you intended it
or that’s a problem all my own
I can’t say, can you?
I’ve never wanted to pain others
I’ve never wanted to pain myself
I guess I can plead good intentions
but I needn’t tell you about good intentions
and the road to hell
I’ve often wondered: did you yourself intend
when you got it all going
that to live would be so complicated
to find a way in the world so hazardous?
did you have any idea at all
that living would involve such confusion
and such heartbreak?
I can’t be sure any of this will mean much to you
I can’t even be sure that your exist
as more than a figment of my own mysterious psyche
it’s a risk to open up to you
who knows, I may be branding myself a terrible fool
but whats not a risk? what’s guaranteed to be foolproof?
so here I am again
praying for some modest bravery
so that I can go on saying to you: here
I am again
here I am again
without much to offer by way of moral worth
I’ve a rich collection of defeats
maybe that’s to your liking?
I don’t know, do you?
if I’m to be quite frank
your likes and dislikes have never been
all that clear to me
presumably love is something you’re in favor of
and I’ve found it possible to love
but never without a certain anguish
whether that’s the way you intended it
or that’s a problem all my own
I can’t say, can you?
I’ve never wanted to pain others
I’ve never wanted to pain myself
I guess I can plead good intentions
but I needn’t tell you about good intentions
and the road to hell
I’ve often wondered: did you yourself intend
when you got it all going
that to live would be so complicated
to find a way in the world so hazardous?
did you have any idea at all
that living would involve such confusion
and such heartbreak?
I can’t be sure any of this will mean much to you
I can’t even be sure that your exist
as more than a figment of my own mysterious psyche
it’s a risk to open up to you
who knows, I may be branding myself a terrible fool
but whats not a risk? what’s guaranteed to be foolproof?
so here I am again
praying for some modest bravery
so that I can go on saying to you: here
I am again
Friday, November 12, 2010
864. Candles - C. P. Cavafy
Translated from the Greek by Edmund Keeley and Philip Sherrard
Days to come stand in front of us
like a row of lighted candles—
golden, warm, and vivid candles.
Days gone by fall behind us,
a gloomy line of snuffed-out candles;
the nearest are smoking still,
cold, melted, and bent.
I don’t want to look at them: their shape saddens me,
and it saddens me to remember their original light.
I look ahead at my lighted candles.
I don’t want to turn for fear of seeing, terrified,
how quickly that dark line gets longer,
how quickly the snuffed-out candles proliferate.
Days to come stand in front of us
like a row of lighted candles—
golden, warm, and vivid candles.
Days gone by fall behind us,
a gloomy line of snuffed-out candles;
the nearest are smoking still,
cold, melted, and bent.
I don’t want to look at them: their shape saddens me,
and it saddens me to remember their original light.
I look ahead at my lighted candles.
I don’t want to turn for fear of seeing, terrified,
how quickly that dark line gets longer,
how quickly the snuffed-out candles proliferate.
Friday, November 05, 2010
863. The Laboratory - Wislawa Szymborska
Translated by Walter Whipple
Did it all
happen in the laboratory?
Beneath one lamp by day
and billions by night?
Are we a trial generation?
Poured from one beaker to another,
shaken in retorts,
observed by something more than an eye,
each one individually
taken by forceps?
Or maybe otherwise:
no interventions.
The transformations occur on their own
in accordance with a plan.
The needle draws
the expected zigzags.
Maybe until now there was nothing interesting in us.
The control monitors are seldom switched on,
except when there's a war, and a rather big one at that,
several flights over the lump of clay called Earth,
or significant movements from point A to point B.
Or perhaps thus:
they only have a taste for episodes.
Look! a little girl on a big screen
is sewing a button to her sleeve.
The monitors begin to shriek,
personnel come running in.
Oh, what short of tiny creature
with a little heart beating on the inside!
What graceful dignity
in the way she draws the thread!
Someone calls out in rapture:
Tell the Boss,
and let him come see for himself!
Did it all
happen in the laboratory?
Beneath one lamp by day
and billions by night?
Are we a trial generation?
Poured from one beaker to another,
shaken in retorts,
observed by something more than an eye,
each one individually
taken by forceps?
Or maybe otherwise:
no interventions.
The transformations occur on their own
in accordance with a plan.
The needle draws
the expected zigzags.
Maybe until now there was nothing interesting in us.
The control monitors are seldom switched on,
except when there's a war, and a rather big one at that,
several flights over the lump of clay called Earth,
or significant movements from point A to point B.
Or perhaps thus:
they only have a taste for episodes.
Look! a little girl on a big screen
is sewing a button to her sleeve.
The monitors begin to shriek,
personnel come running in.
Oh, what short of tiny creature
with a little heart beating on the inside!
What graceful dignity
in the way she draws the thread!
Someone calls out in rapture:
Tell the Boss,
and let him come see for himself!
Friday, October 22, 2010
862. The City - C. P. Cavafy
Translated from the Greek by Edmund Keeley and Philip Sherrard
You said: “I’ll go to another country, go to another shore,
find another city better than this one.
Whatever I try to do is fated to turn out wrong
and my heart lies buried as though it were something dead.
How long can I let my mind moulder in this place?
Wherever I turn, wherever I happen to look,
I see the black ruins of my life, here,
where I’ve spent so many years, wasted them, destroyed then totally.”
You won’t find a new country, won’t find another shore.
This city will always pursue you.
You will walk
the same streets, grow old
in the same neighborhoods,
will turn gray in these same houses
You will always end up in this city. Don’t hope for things elsewhere:
there is no ship for you, there is no road.
As you’ve wasted your life here, in this small corner,
you’ve destroyed it everywhere else in the world.
Friday, October 08, 2010
Sunday, September 05, 2010
860. Black Maps - Mark Strand
.
Not the attendance of stones,
nor the applauding wind,
shall let you know
you have arrived,
not the sea that celebrates
only departures,
nor the mountains,
nor the dying cities.
Nothing will tell you
where you are.
Each moment is a place
you’ve never been.
You can walk
believing you cast
a light around you.
But how will you know?
The present is always dark.
Its maps are black,
rising from nothing,
describing,
in their slow ascent
into themselves,
their own voyage,
its emptiness,
the bleak, temperate
necessity of its completion.
As they rise into being
they are like breath.
And if they are studied at all
it is only to find,
too late, what you thought
were concerns of yours
do not exist.
Your house is not marked
on any of them,
nor are your friends,
waiting for you to appear,
nor are your enemies,
listing your faults.
Only you are there,
saying hello
to what you will be,
and the black grass
is holding up the black stars.
Not the attendance of stones,
nor the applauding wind,
shall let you know
you have arrived,
not the sea that celebrates
only departures,
nor the mountains,
nor the dying cities.
Nothing will tell you
where you are.
Each moment is a place
you’ve never been.
You can walk
believing you cast
a light around you.
But how will you know?
The present is always dark.
Its maps are black,
rising from nothing,
describing,
in their slow ascent
into themselves,
their own voyage,
its emptiness,
the bleak, temperate
necessity of its completion.
As they rise into being
they are like breath.
And if they are studied at all
it is only to find,
too late, what you thought
were concerns of yours
do not exist.
Your house is not marked
on any of them,
nor are your friends,
waiting for you to appear,
nor are your enemies,
listing your faults.
Only you are there,
saying hello
to what you will be,
and the black grass
is holding up the black stars.
Thursday, July 22, 2010
859. At Great Pond - Mary Oliver
.
At Great Pond
the sun, rising,
scrapes his orange breast
on the thick pines,
and down tumble
a few orange feathers into
the dark water.
On the far shore
a white bird is standing
like a white candle —
or a man, in the distance,
in the clasp of some meditation —
while all around me the lilies
are breaking open again
from the black cave
of the night.
Later, I will consider
what I have seen —
what it could signify —
what words of adoration I might
make of it, and to do this
I will go indoors to my desk—
I will sit in my chair —
I will look back
into the lost morning
in which I am moving, now,
like a swimmer,
so smoothly,
so peacefully,
I am almost the lily —
almost the bird vanishing over the water
on its sleeves of night.
At Great Pond
the sun, rising,
scrapes his orange breast
on the thick pines,
and down tumble
a few orange feathers into
the dark water.
On the far shore
a white bird is standing
like a white candle —
or a man, in the distance,
in the clasp of some meditation —
while all around me the lilies
are breaking open again
from the black cave
of the night.
Later, I will consider
what I have seen —
what it could signify —
what words of adoration I might
make of it, and to do this
I will go indoors to my desk—
I will sit in my chair —
I will look back
into the lost morning
in which I am moving, now,
like a swimmer,
so smoothly,
so peacefully,
I am almost the lily —
almost the bird vanishing over the water
on its sleeves of night.
858. Love at First Sight (1)- Wislawa Szymborska
Translated from the Polish by Walter Whipple
Both are convinced
that a sudden surge of emotion bound them together.
Beautiful is such a certainty,
but uncertainty is more beautiful.
Because they didn't know each other earlier, they suppose that
nothing was happening between them.
What of the streets, stairways and corridors
where they could have passed each other long ago?
I'd like to ask them
whether they remember-- perhaps in a revolving door
ever being face to face?
an "excuse me" in a crowd
or a voice "wrong number" in the receiver.
But I know their answer:
no, they don't remember.
They'd be greatly astonished
to learn that for a long time
chance had been playing with them.
Not yet wholly ready
to transform into fate for them
it approached them, then backed off,
stood in their way
and, suppressing a giggle,
jumped to the side.
There were signs, signals:
but what of it if they were illegible.
Perhaps three years ago,
or last Tuesday
did a certain leaflet fly
from shoulder to shoulder?
There was something lost and picked up.
Who knows but what it was a ball
in the bushes of childhood.
There were doorknobs and bells
on which earlier
touch piled on touch.
Bags beside each other in the luggage room.
Perhaps they had the same dream on a certain night,
suddenly erased after waking.
Every beginning
is but a continuation,
and the book of events
is never more than half open.
Both are convinced
that a sudden surge of emotion bound them together.
Beautiful is such a certainty,
but uncertainty is more beautiful.
Because they didn't know each other earlier, they suppose that
nothing was happening between them.
What of the streets, stairways and corridors
where they could have passed each other long ago?
I'd like to ask them
whether they remember-- perhaps in a revolving door
ever being face to face?
an "excuse me" in a crowd
or a voice "wrong number" in the receiver.
But I know their answer:
no, they don't remember.
They'd be greatly astonished
to learn that for a long time
chance had been playing with them.
Not yet wholly ready
to transform into fate for them
it approached them, then backed off,
stood in their way
and, suppressing a giggle,
jumped to the side.
There were signs, signals:
but what of it if they were illegible.
Perhaps three years ago,
or last Tuesday
did a certain leaflet fly
from shoulder to shoulder?
There was something lost and picked up.
Who knows but what it was a ball
in the bushes of childhood.
There were doorknobs and bells
on which earlier
touch piled on touch.
Bags beside each other in the luggage room.
Perhaps they had the same dream on a certain night,
suddenly erased after waking.
Every beginning
is but a continuation,
and the book of events
is never more than half open.
857. A Man Adrift on a Slim Spar - Stephen Crane
A man adrift on a slim spar
A horizon smaller than the rim of a bottle
Tented waves rearing lashy dark points
The near whine of froth in circles.
God is cold.
The incessant raise and swing of the sea
And growl after growl of crest
The sinkings, green seething, endless
The upheaval half-completed.
God is cold.
The seas are in the hollow of The Hand;
Oceans may be turned to a spray
Raining down through the stars
Because of a gesture of pity toward a babe.
Oceans may become grey ashes,
Die with a long moan and a roar
Amid the tumult of the fishes
And the cries of the ships,
Because The Hand beckons the mice.
A horizon smaller than a doomed assassin’s cap,
Inky, surging tumults
A reeling, drunken sky and no sky
A pale hand sliding from a polished spar.
God is cold.
The puff of a coat imprisoning air:
A face kissing the water-death
A weary slow sway of a lost hand
And the sea, the moving sea, the sea.
God is cold.
Friday, June 11, 2010
856. Music Is in the Piano Only When It Is Played - Jack Gilbert
.
We are not one with this world. We are not
the complexity our body is, nor the summer air
idling in the big maple without purpose.
We are a shape the wind makes in these leaves
as it passes through. We are not he wood
any more than the fire, but the heat which is a marriage
between the two. We are certainly not the lake
nor the fish in it, but the something that is
pleased by them. We are the stillness when
a mighty Mediterranean noon subtracts even the voices of
insects by the broken farmhouse. We are evident
when the orchestra plays, and yet are not part
of the strings or brass. Like the song that exists
only in the singing, and is not the singer.
God does not live among the church bells
but is briefly resident there. We are occasional
like that. A lifetime of easy happiness mixed
with pain and loss, trying always to name and hold
on to the enterprise under way in our chest.
Reality is not what we marry as a feeling. It is what
walks up the dirt path, through the excessive heat
and giant sky, the sea stretching away.
He continues past the nunnery to the old villa
where he will sit on the terrace with her, their sides
touching. In the quiet that is the music of that place,
which is the difference between silence and windlessness.
We are not one with this world. We are not
the complexity our body is, nor the summer air
idling in the big maple without purpose.
We are a shape the wind makes in these leaves
as it passes through. We are not he wood
any more than the fire, but the heat which is a marriage
between the two. We are certainly not the lake
nor the fish in it, but the something that is
pleased by them. We are the stillness when
a mighty Mediterranean noon subtracts even the voices of
insects by the broken farmhouse. We are evident
when the orchestra plays, and yet are not part
of the strings or brass. Like the song that exists
only in the singing, and is not the singer.
God does not live among the church bells
but is briefly resident there. We are occasional
like that. A lifetime of easy happiness mixed
with pain and loss, trying always to name and hold
on to the enterprise under way in our chest.
Reality is not what we marry as a feeling. It is what
walks up the dirt path, through the excessive heat
and giant sky, the sea stretching away.
He continues past the nunnery to the old villa
where he will sit on the terrace with her, their sides
touching. In the quiet that is the music of that place,
which is the difference between silence and windlessness.
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