941. Could Have - Wislawa Szymborska

Translated from the Polish by Stanislaw Baranczak and Clare Cavanagh

It could have happened.
It had to happen.
It happened earlier. Later.
Nearer. Farther off.
It happened, but not to you.

You were saved because you were the first.
You were saved because you were the last.
Alone. With others.
On the right. The left.
Because it was raining. Because of the shade.
Because the day was sunny.

You were in luck–––there was a forest.
You were in luck–––there were no trees.
You were in luck–––a rake, a hook, a beam, a brake,
a jamb, a turn, a quarter inch, an instant.
You were in luck–––just then a straw went floating by.

As a result, because, although, despite.
What would have happened if a hand, a foot,
within an inch, a hairsbreadth from
an unfortunate coincidence.

So you're here? Still dizzy from another dodge, close shave, reprieve?
One hole in the net and you slipped through?
I couldn't be more shocked or speechless.
Listen,
how your heart pounds inside me.


(Thank you missprincesscouture)

940. James Joyce - Jorge Luis Borges

Translated from the Spanish by Stephen Kessler

 

In one day of mankind are all the days
of time, from that unimaginable
first day of time, when a formidable
God prearranged the days and agonies,
to that other day when the perpetual river
of earthly time flows round to its headwaters,
the Eternal, and is extinguished in the present,
the future, the past, the passing—what is now mine.
The story of the world is told from dawn
to darkness. From the depths of night I've seen
at my feet the wanderings of the Jews,
Carthage destroyed, Hell, and Heaven's bliss.
Grant me, Lord, the courage and the joy
I need to scale the summit of this day.
                        —Cambridge, 1968

939. Freedom - William Stafford

 .
Freedom is not following a river.
Freedom is following a river,
    though, if you want to.
It is deciding now by what happens now.
It is knowing that luck makes a difference.

No leader is free, no follower is free—
    the rest of us can often be free.
Most of the world are living by
creeds too odd, chancy, and habit forming
    to be worth arguing about by reason.

If you are oppressed, wake up about
four in the morning: most places,
you can usually be free some of the time
    if you wake up before other people.

938. Places We Love - Ivan V. Lalić

Translated from the Serbo-Croat by Francis R. Jones

Places we love exist only through us,
Space destroyed is only illusion in the constancy of time,
Places we love we can never leave,
Places we love together, together, together,

And is this room really a room, or an embrace,
And what is beneath the window: a street or years?
And the window is only the imprint left by
The first rain we understood, returning endlessly,

And this wall does not define the room, but perhaps the night
Your son began to move in your sleeping blood,
A son like a butterfly of flame in your hall of mirrors,
The night you were frightened by your own light,

And this door leads into any afternoon
Which outlives it, forever peopled
With your casual movements, as you stepped,
Like fire into copper, into my only memory;

When you go, space closes over like water behind you,
Do not look back: there is nothing outside you,
Space is only time visible in a different way,
Places we love we can never leave.

937. Why I Wake Early - Mary Oliver

.
Hello, sun in my face.
Hello, you who make the morning
and spread it over the fields
and into the faces of the tulips
and the nodding morning glories,
and into the windows of, even, the
miserable and the crotchety—

best preacher that ever was,
dear star, that just happens
to be where you are in the universe
to keep us from ever-darkness,
to ease us with warm touching,
to hold us in the great hands of light—
good morning, good morning, good morning.

Watch, now, how I start the day
in happiness, in kindness.

936. Everyone Sang - Siegfried Sassoon

.
Everyone suddenly burst out singing;

And I was filled with such delight

As prisoned birds must find in freedom,

Winging wildly across the white

Orchards and dark-green fields; on--on--and out of sight.



Everyone's voice was suddenly lifted;

And beauty came like the setting sun:

My heart was shaken with tears; and horror

Drifted away ... O, but Everyone

Was a bird; and the song was wordless; the singing will never be done.

935. Chess - Jorge Luis Borges

Translated from the Spanish by Alastair Reid

    I
Set in their studious corners, the players
move the gradual pieces. Until dawn
the chessboard keeps them in its strict confinement
with its two colors set at daggers drawn.

Within the game itself the forms give off
their magic rules: Homeric castle, knight
swift to attack, queen warlike, king decisive,
slanted bishop, and attacking pawns.

Eventually, when the players have withdrawn,
when time itself has finally consumed them,
the ritual certainly will not be done.

It was in the East this war took fire.
Today the whole earth is its theater.
Like the game of love, this game goes on forever.

    II
Faint-hearted king, sly bishop, ruthless queen,
straightforward castle, and deceitful pawn—
over the checkered black and white terrain
they seek out and begin their armed campaign.

They do not know it is the player’s hand
that dominates and guides their destiny.
They do not know an adamantine fate
controls their will and lays the battle plan.

The player too is captive of caprice
(the words are Omar’s) on another ground
where black nights alternate with white days.

God moves the player, he in turn the piece.
But what god beyond God begins the round
of dust and time and sleep and agonies?

934. The Reassurance - Thom Gunn

.
About ten days or so

After we saw you dead

You came back in a dream.

I'm alright now you said.

And it was you, although

You were fleshed out again:

You hugged us all round then,

And gave your welcoming beam.

How like you to be so kind,

Seeking to reassure.

And, yes, how like my mind

To make itself secure.


(Thank you Karthika)

933. Detail - Eamon Grennan

.
I was watching a robin fly after a finch—the smaller
chirping with excitement, the bigger, its breast blazing, silent
in light-winged earnest chase—when, out of nowhere
over the chimneys and the shivering front gardens,
flashes a sparrowhawk headlong, a light brown burn
scorching the air from which it simply plucks
like a ripe fruit the stopped robin, whose two or three
cheeps of terminal surprise twinkle in the silence
closing over the empty street when the birds have gone
about their business, and I began to understand
how a poem can happen: you have your eye on a small
elusive detail, pursuing its music, when a terrible truth
strikes and your heart cries out, being carried off.

932. The Dead - Billy Collins

The dead are always looking down on us, they say.

while we are putting on our shoes or making a sandwich,

they are looking down through the glass bottom boats of heaven

as they row themselves slowly through eternity.

They watch the tops of our heads moving below on earth,

and when we lie down in a field or on a couch,

drugged perhaps by the hum of a long afternoon,

they think we are looking back at them,

which makes them lift their oars and fall silent

and wait, like parents, for us to close our eyes.

931. The Work of Happiness - May Sarton

.
I thought of happiness how it is woven
Out of the silence in the empty house each day,
And how it is not sudden and it is not given
But is creation itself like the growth of a tree.
No one has seen it happen, but inside the bark
Another circle is growing in the expanding ring.
No one has heard the root go deeper in the dark,
But the tree is lifted by this inward work,
And its plumes shine, and its leaves are glittering.

So happiness is woven out of the peace of hours,
And strikes its roots deep in the house alone.
The old chest in the corner, cool waxed floors,
White curtains softly and continually blown
As the free air moves quietly about the room,
A shelf of books, a table, and the whitewashed wall -
These are the dear familiar gods of home,
And here the work of faith can best be done.
The growing tree is green and musical

For what is happiness but growth in peace,
The timeless sense of time when furniture
Has stood a life's span in a single place;
And as the air moves, so the old dreams stir
The shining leaves of present happiness.
No one has heard thought or listened to a mind,
But where people have lived in inwardness
The air is charged with blessing and does bless;
Windows look out on mountains and the walls are kind.

May Sarton (1912-1995)
from As Does New Hampshire, 1967
(found in http://lettersfromahillfarm.blogspot.com/)

930. A Funeral - Wislawa Szymborska

Wislawa Szymborska - A Funeral
Translated from the Polish by Mikołaj Sekrecki

"so suddenly, who would've expected this"
"stress and cigarettes, I was warning him"
"fair to middling, thanks"
"unwrap these flowers"
"his brother snuffed because of his ticker too, must be running in the family"
"I'd never recognise you with your beard"
"it's all his fault, he was always up to some funny business"
"the new one was to give a speech, can't see him, though"
"Kazek's in Warsaw and Tadek abroad"
"you're the only wise one here, having an umbrella"
"it won't help him now that he was the most talented of them all"
"that's a connecting room. Baśka won't like it"
"he was right, true, but that's not the reason for"
"with door varnishing, guess how much"
"two eggs and a spoonful of sugar"
"none of his business, what was the point then"
"blue and small sizes only"
"five times and never a single answer"
"I'll give your that, I could've, but so could you"
"so good at least she had that job"
"I've no idea, must be relatives"
"the priest, very much like Belmondo"
"I've never been to this part of the cemetery"
"I saw him in my dream last week, must've been a premonition"
"pretty, that little daughter"
"we're all going to end up this way"
"give mine to the widow, I've got to hurry to"
"but still it sounded more solemn in Latin"
"you can't turn back the clock"
"goodbye"
"how about a beer"
"give me a ring, we'll have a chat"
"number four or number twelve"
"me, this way"
"we, that way".

929. Fog-Horn - W. S. Merwin

.
Surely that moan is not the thing
That men thought they were making, when they
Put it there, for their own necessities.
That throat does not call to anything human
But to something men had forgotten,
That stirs under fog. Who wounded that beast
Incurably, or from whose pasture               
Was it lost, full grown, and time closed round it
With no way back? Who tethered its tongue
So that its voice could never come
To speak out in the light of clear day,
But only when the shifting blindness
Descends and is acknowledged among us,
As though from under a floor it is heard,
Or as though from behind a wall, always
nearer than we had remembered? If it
Was we that gave tongue to this cry
What does it bespeak in us, repeating
And repeating, insisting on something
That we never meant. We only put it there
To give warning of something we dare not
Ignore, lest we should come upon it
Too suddenly, recognize it too late,
As our cries were swallowed up and all hands lost.

928. Wash - John Updike

.
For seven days it rained that June:
A storm half out to sea kept turning around like a dog
        trying to settle himself on a rug:
We were the fleas that complained in his hair.

On the eighth day, before I had risen,
My neighbors' clothes has rushed into all the back yards
And lifted up their arms in praise.

From an upstairs window it seemed prehistorical:
Through the sheds and fences and vegetable gardens,
Workshirts and nightgowns, long-soaked in the cellar,

Underpants, striped towels, diapers, child's overalls,
bibs and black bras thronging the sunshine
With hosannas of cotton and hallelujahs of wool.

927. Inversely, as the Square of Their Distances Apart - Kenneth Rexroth

.
It is impossible to see anything
In this dark: but I know this is me, Rexroth,
Plunging through the night on a chilling planet.
It is warm and busy in this vegetable
Darkness where invisible deer feed quietly.
The sky is warm and heavy, even the trees
Over my head cannot be distinguished,
But I know they are knobcone pines, that their cones
Endure unopened on the branches at last
To grow imbedded in the wood, waiting for fire
To open them and reseed the burned forest.
And I am waiting, alone, in the mountains,
In the forest, in the darkness, and the world
Falls swiftly on its measured ellipse.

926. Dust of Snow - Robert Frost

.
The way a crow
Shook down on me
The dust of snow
From a hemlock tree

Has given my heart
A change of mood
And saved some part
Of a day I had rued.

925. Rhapsody Part 7 - Mary Oliver

.
If you are in the garden, I will dress myself in leaves.
If you are in the sea I will slide into that
smooth blue nest, I will talk fish, I will adore salt.
But if you are sad, I will not dress myself in desolation.
I will present myself with all the laughters I can muster.
And if you are angry I will come, calm and steady, with
some small and easy story.

Promises, promises, promises! The tongue jabbers, the heart

strives, fails, strives again. The world is perfect.

Love, however,
is an opera, a history, a long walk, that

includes falling and rising, falling and rising, while

the heart stays as sweet as a peach, as radiant and

grateful as the deep leaved hills.

924. Simple Song - Marge Piercy

.
When we are going toward someone we say
you are just like me
your thoughts are my brothers
word matches word
how easy to be together.

When we are leaving someone we say
how strange you are
we cannot communicate
we can never agree
how hard, hard and weary to be together.

We are not different nor alike
but each strange in his leather body
sealed in skin and reaching out clumsy hands
and loving is an act
that cannot outlive
the open hand
the open eye
the door in the chest standing open.

923. For Georgia - Lenore Horowitz

(Georgia O'Keeffe)
 From: (http://www.womencandoit.com/)


Lines map your face,

and eyes like blue stars

set my compass

to your north,

pull me,

as you follow coyote

to trick him,

make your own image

his mirror.
You fill my world with color,

shape it,

scrubbed clean

in your own truth,

with courage,

steady, certain,

lodestone of my own desire

to show how light and shadow fall

across my world,

according to my dreams.

Listen! Coyote howls a lonely song,

yet looks for me

in his own night sky.

922. Break of Day - Jorge Luis Borges

Translated from the Spanish by Stephen Kessler

In the deep night of the universe
scarcely contradicted by the streetlamps
a lost gust of wind
has offended the taciturn streets
like the trembling premonition
of the horrible dawn that prowls
the ruined suburbs of the world.
Curious about the shadows
and daunted by the threat of dawn,
I recalled the dreadful conjecture
of Schopenhauer and Berkeley
which declares that the world
is a mental activity,
a dream of souls,
without foundation, purpose, weight or shape.
And since ideas
are not eternal like marble
but immortal like a forest or a river,
the preceding doctrine
assumed another form as the sun rose,
and in the superstition of that hour
when light like a climbing vine
begins to implicate the shadowed walls,
my reason gave way
and sketched the following fancy:
If things are void of substance
and if this teeming Buenos Aires
is no more than a dream
made up by souls in a common act of magic,
there is an instant
when its existence is gravely endangered
and that is the shuddering instant of daybreak,
when those who are dreaming of the world are few
and only the ones who have been up all night retain,
ashen and barely outlined,
the image of the streets
that later others will define.
The hour when the tenacious dream of life
runs the risk of being smashed to pieces,
the hour when it would be easy for God
to level His whole handiwork!

But again the world has been spared.
Light roams the streets inventing dirty colors
and with a certain remorse
for my complicity in the day’s rebirth
I ask my house to exist,
amazed and icy in the white light
as one bird halts the silence
and the spent night
stays on in the eyes of the blind.

921. Monticello - May Sarton

 .
This legendary house, this dear enchanted tomb,
Once so supremely lived in, and for life designed,
Will none of moldy death nor give it room,
Charged with the presence of a living mind.

Enter, and touch the temper of a lively men.
See, it is spacious, intimate and full of light.
The eye, pleased by detail, is nourished by the plan;
Nothing is here for show, much for delight.

All the joys of invention and of craft and wit,
Are freely granted here, all given rein,
But taut within the classic form and ruled by it,
Elegant, various, magnificent — and plain,

Europe become implacable American!
Yet Mozart could have been as happy here,
As Monroe riding from his farm again,
As well as any silversmith or carpenter —

As well as we, for whom this elegance,
This freedom in a form this peaceful grace,
Is not our heritage, although it happened once:
We read the future, not the past, upon his face.


Another version? (found in common-place.org)

This legendary house, this dear enchanted tomb,
Once so supremely lived in, and for life designed,
Will none of moldy death nor give it room,
Charged with the presence of a living mind.

All the joys of invention and craft and wit,
Are freely granted here, all given rein,
But taut within the classic form and ruled by it,
Elegant, various, magnificent—and plain.

The time must come when, from the people's heart,
Government grows to meet the stature of a man,
And freedom finds its form, that great unruly art,
And the state is a house designed by Jefferson.

920. Palais de Chaillot Inscriptions

Translated by ?

THE PASSERBY MUST DECIDE
IF I AM TOMB OR TREASURE HOUSE
ELOQUENT OR MUTE
THE CHOICE IS YOURS MY FRIEND
DO NOT ENTER WITHOUT DESIRE

EVERY MAN CREATES UNWITTINGLY
AS HE BREATHES
BUT THE ARTIST FEELS HIMSELF CREATE
THE DOING ABSORBS HIS WHOLE BEING
HIS CHOSEN SUFFERING GIVES HIM STRENGTH

WITHIN THESE CONSECRATED WALLS
I WELCOME AND PROTECT THE WORK
OF THE ARTIST'S MIRACULOUS HAND
EQUAL AND RIVAL OF HIS THOUGHT
THE ONE IS NOTHING WITHOUT THE OTHER

RARE THINGS BEAUTIFUL THINGS
HERE SKILLFULLY DISPLAYED
TEACH THE EYE TO BEHOLD
AS IF NEVER SEEN TILL NOW
THE VERY THINGS OF THIS WORLD

919. Along the Way - Lenore Horowitz

 From: (http://www.womencandoit.com/)

Along the way,

a moment shimmers into being,

frames itself

to image where you are.

You see it in an instant, 

set aperture and shutter to best expose

the secret unfolding in your lens

in clearest hues of light and shadow.


Some images are signposts,

a mark of where you’ve been,

and others, guides

to where you’ve yet to go.

Destination never was the point,

for any line is many points,

each an opportunity

to stop

and turn

and look at what you find,

and what finds you,

along the way.

It only matters how

—not when or where,

or even what—

you see.

With each exposure

grows an attitude of seeing

not the surface,

but the light 
which opens,

pulsing from the center.

These images together

make a luminous arrangement,

a constellation to brighten midnight skies

for those you’ve met,

and known,

and loved

along your way.

918. Miracle Fair - Wislawa Szymborska

Translated from the Polish by Joanna Trzeciak (1)

Commonplace miracle:
that so many commonplace miracles happen.

An ordinary miracle:
in the dead of night
the barking of invisible dogs.

One miracle out of many:
a small, airy cloud
yet it can block a large and heavy moon.

Several miracles in one:
an alder tree reflected in the water,
and that it's backwards left to right
and that it grows there, crown down
and never reaches the bottom,
even though the water is shallow.

An everyday miracle:
winds weak to moderate
turning gusty in storms.

First among equal miracles:
cows are cows.

Second to none:
just this orchard
from just that seed.

A miracle without a cape and top hat:
scattering white doves.

A miracle, for what else could you call it:
today the sun rose at three-fourteen
and will set at eight-o-one.

A miracle, less surprising than it should be:
even though the hand has fewer than six fingers,
it still has more than four.

A miracle, just take a look around:
the world is everywhere.

An additional miracle, as everything is additional:
the unthinkable
is thinkable.

Translated from the Polish by Stanislaw Baranczak and Clare Cavanagh (2)

The commonplace miracle:
that so many common miracles take place.

The usual miracle:
invisible dogs barking
in the dead of night

One of many miracles:
a small and airy cloud
is able to upstage the massive moon.

Several miracles in one:
an alder is reflected in the water
and is reversed from left to right
and grows from crown to root
and never hits the bottom
though the water isn't deep.

A run-of-the-mill miracle:
winds mild to moderate
turning gusty in storms.

A miracle in the first place:
cows will be cows.

Next but not least:
just this cherry orchard
from just this cherry pit.

A miracle minus top hat and tails:
fluttering white doves.

A miracle (what else can you call it):
the sun rose today at three fourteen A.M.
and will set tonight at one past eight.

A miracle that's lost on us:
the hand actually has fewer than six fingers
but still it's got more than four.

A miracle, just take a look around:
the inescapable earth.

An extra miracle, extra and ordinary:
the unthinkable
can be thought.

917. A Dream of Trees - Mary Oliver

 .
There is a thing in me that dreamed of trees,
A quiet house, some green and modest acres
A little way from every troubling town,
A little way from factories, schools, laments.
I would have time, I thought, and time to spare,
With only streams and birds for company,
To build out of my life a few wild stanzas.
And then it came to me, that so was death,
A little way away from everywhere.

There is a thing in me still dreams of trees,
But let it go. Homesick for moderation,
Half the world’s artists shrink or fall away.
If any find solution, let him tell it.
Meanwhile I bend my heart toward lamentation
Where, as the times implore our true involvement,
The blades of every crisis point the way.

I would it were not so, but it is.
Who ever made music of a mild day?

916. Shadows - D. H. Lawrence

.

And if tonight my soul may find her peace

in sleep, and sink in good oblivion,

and in the morning wake like a new-opened flower

then I have been dipped again in God, and new-created.

And if, as weeks go round, in the dark of the moon

my spirit darkens and goes out, and soft strange gloom

pervades my movements and my thoughts and words

then I shall know that I am walking still

with God, we are close together now the moon’s in shadow.

And if, as autumn deepens and darkens

I feel the pain of falling leaves, and stems that break in storms

and trouble and dissolution and distress

and then the softness of deep shadows folding,

folding around my soul and spirit, around my lips

so sweet, like a swoon, or more like the drowse of a low, sad song

singing darker than the nightingale, on, on to the solstice

and the silence of short days, the silence of the year, the shadow,

then I shall know that my life is moving still

with the dark earth, and drenched

with the deep oblivion of earth’s lapse and renewal.

And if, in the changing phases of man’s life

I fall in sickness and in misery

my wrists seem broken and my heart seems dead

and strength is gone, and my life

is only the leavings of a life:

and still, among it all, snatches of lovely oblivion, and snatches of renewal

odd, wintry flowers upon the withered stem, yet new, strange flowers

such as my life has not brought forth before, new blossoms of me

then I must know that still

I am in the hands of the unknown God,

he is breaking me down to his own oblivion

to send me forth on a new morning, a new man.

915. Year's End - Jorge Luis Borge

Translated from the Spanish by W. S. Merwin

Neither the symbolic detail
of a three instead of a two,
nor that rough metaphor
that hails one term dying and another emerging,
nor the fulfillment of an astronomical process
muddle and undermine
the high plateau of this night
making us wait
for the twelve irreparable strokes of the bell.
The real cause
is our murky pervasive suspicion
of the enigma of Time,
it is our awe at the miracle
that, though the chances are infinite
and through we are
drops in Heraclitus’ river,
allows something in us to endure,
never moving.

914. Toy Camera - Lenore Horowitz

.
If only life could be like that

sometimes,
just blurred at the edges,

slightly out of focus,

a tiny bit fogged,

and those people in your frame

caught looking,

harmless, like cartoon characters,

and the surprises
you couldn’t see

when you snapped the shutter,

guessing at focus, exposure—

how the sun glows softly,

and shadows spread like coffee,

and all life’s multitude of grays

shimmer like silk scarves

and dance in summer’s breeze.

913. Now I Become Myself - May Sarton

.
Now I become myself. It’s taken
Time, many years and places;
I have been dissolved and shaken,
Worn other people’s faces,
Run madly, as if Time were there,
Terribly old, crying a warning,
“Hurry, you will be dead before–”
(What? Before you reach the morning?
Or the end of the poem is clear?
Or love safe in the walled city?)
Now to stand still, to be here,
Feel my own weight and density!
The black shadow on the paper
Is my hand; the shadow of a word
As thought shapes the shaper
Falls heavy on the page, is heard.
All fuses now, falls into place
From wish to action, word to silence,
My work, my love, my time, my face
Gathered into one intense
Gesture of growing like a plant.
As slowly as the ripening fruit
Fertile, detached, and always spent,
Falls but does not exhaust the root,
So all the poem is, can give,
Grows in me to become the song,
Made so and rooted by love.
Now there is time and Time is young.
O, in this single hour I live
All of myself and do not move.
I, the pursued, who madly ran,
Stand still, stand still, and stop the sun!

912. From March 1979 - Tomas Tranströmer

Tomas Tranströmer - From March 1979
Translated from the Swedish by Robin Robertson

Sick of those who come with words, words but no language,
I make my way to the snow-covered island.

Wilderness has no words. The unwritten pages
stretch out in all directions.

I come across this line of deer-slots in the snow: a language,
language without words.


Tomas Tranströmer - From March 1979
Translated from the Swedish by Robin Fulton

Weary of all who come with words, words but no language
I make my way to the snow-covered island.
The untamed has no words.
The unwritten pages spread out on every side!
I come upon the tracks of deer in the snow.
Language but no words.

911. The Peace of Wild Things - Wendell Berry

.
When despair for the world grows in me
and I wake in the night at the least sound
in fear of what my life and my children's lives may be,
I go and lie down where the wood drake
rests in his beauty on the water, and the great heron feeds.
I come into the peace of wild things
who do not tax their lives with forethought
of grief. I come into the presence of still water.
And I feel above me the day-blind stars
waiting with their light. For a time
I rest in the grace of the world, and am free.

910. A Maze Me - Naomi Shihab

 .
Life is a tangle of
twisting paths.
Some short.
Some long.
There are dead ends.
And there are choices.
And wrong turns,
and detours,
and yield signs,
and instruction booklets,
and star maps,
and happiness,
and loneliness.
And friends.
And sisters.
And love.
And poetry.

Life is a maze.
You are a maze.
Amazed.
And amazing.

909. into the strenuous briefness - e.e. cummings

 .
into the strenuous briefness
Life:
handorgans and April
darkness, friends

i charge laughing.
Into the hair-thin tints
of yellow dawn,
into the women-coloured twilight

i smilingly glide. I
into the big vermilion departure
swim, sayingly;

(Do you think?) the
i do, world
is probably made
of roses & hello:

(of solongs and, ashes)

908. Look To This Day - Kalidasa

(Sanskrit poet)

Look to this day
For it is the very life of life.
In its brief course lie all
The verities and realities of your existence:
The glory of action,
The bliss of growth,
The splendour of beauty,
For yesterday is but a dream
And tomorrow is only a vision;
But today well lived makes
Every yesterday a dream of happiness,
And every tomorrow a vision of hope.
Look well, therefore, to this day

907. Under One Small Star - Wislawa Szymborska

Under One Small Star (1)
Translated from the Polish by Stanislaw Baranczak and Clare Cavanagh

My apologies to chance for calling it necessity.
My apologies to necessity if I'm mistaken, after all.
Please, don't be angry, happiness, that I take you as my due.
May my dead be patient with the way my memories fade.
My apologies to time for all the world I overlook each second.
My apologies to past loves for thinking that the latest is the first.
Forgive me distant wars for bringing flowers home.
Forgive me, open wounds, for pricking my finger.
I apologize for my record of minutes to those who cry from the depths.
I apologize to those who wait in railway stations for being asleep today at five a.m.
Pardon me, hounded hope, for laughing from time to time.
Pardon me, deserts, that I don't rush to you bearing a spoonful of water.
And you, falcon, unchanging year after year, always in the same cage,
your gaze always fixed on the same point in space,
forgive me, even if it turns out you were stuffed.
My apologies to the felled tree for the table's four legs.
My apologies to great questions for small answers.
Truth, please don't pay me much attention.
Dignity, please be magnanimous.
Bear with me, O mystery of existence, as I pluck the occasional thread from your train.
Soul, don't take offence that I've only got you now and then.
My apologies to everything that I can't be everywhere at once.
My apologies to everyone that I can't be each woman and each man.
I know I won't be justified as long as I live,
since I myself stand in my own way.
Don't bear me ill will, speech, that I borrow weighty words,
then labour heavily so that they may seem light.

Under A Certain Little Star (2)
Translated from the Polish by Joanna Trzeciak

My apologies to chance for calling it necessity.
My apologies to necessity in case I'm mistaken.
Don't be angry, happiness, that I take you for my own.
May the dead forgive me that their memory's but a flicker.
My apologies to time for the quantity of world overlooked per second.
My apologies to an old love for treating a new one as the first.
Forgive me, open wounds, for pricking my finger.
My apologies for the minuet record, to those calling out from the abyss.
My apologies to those in train stations for sleeping soundly at five in the morning.
Pardon me, hounded hope, for laughing sometimes.
Pardon me, deserts, for not rushing in with a spoonful of water.
And you O hawk, the same bird for years in the same cage,
staring, motionless, always at the same spot,
absolve me even if you happen to be stuffed.
My apologies to the tree felled for four table legs.
My apologies to large questions for small answers.
Truth, do not pay me too much attention.
Solemnity, be magnanimous toward me.
Bear with me, O mystery of being, for pulling threads from your veil.
Soul, don't blame me that I've got you so seldom.
My apologies to everything that I can't be everywhere.
My apologies to all for not knowing how to be every man and woman.
I know that as long as I live nothing can excuse me,
since I am my own obstacle.
Do not hold it against me, O speech, that I borrow weighty words,
and then labor to make them light.

       

906. Parallax - Lenore Horowitz

 From: (http://www.womencandoit.com/)

You never know

What will change the world-

a word lightly spoken,

a touch from a stranger,

a glance from a woman

in a red dress,

or a flower opening in your garden.

What you do know

down deep in your bones

is that the cells have

lined up in a new arrangement,

muscles grown

where before was weak and hollow,

and when you woke up this morning,

something else was on your mind

because the old furniture had moved

around to make room.

A momentary alignment of planets

has opened a door somewhere.

You never know how or when,

only that it means

Everything.

905. Credo - Maxine Kumin

.
I believe in magic. I believe in the rights
of animals to leap out of our skins
as recorded in the Kiowa legend:
Directly there was a bear where the boy had been

as I believe in the resurrected wake-robin,
first wet knob of trillium to knock
in April at the underside of earth's door
in central New Hampshire where bears are

though still denned up at that early greening.
I believe in living on grateful terms
with the earth, with the black crumbles
of ancient manure that sift through my fingers

when I topdress the garden for winter. I believe
in the wet strings of earthworms aroused out of season
and in the bear, asleep now in the rock cave
where my outermost pasture abuts the forest.

I cede him a swale of chokecherries in August.
I give the sow and her cub as much yardage
as they desire when our paths intersect
as does my horse shifting under me

respectful but not cowed by our encounter.
I believe in the gift of the horse, which is magic,
their deep fear-snorts in play when the wind comes up,
the ballet of nip and jostle, plunge and crow hop.

I trust them to run from me, necks arched in a full
swan's S, tails cocked up over their backs
like plumes on a Cavalier's hat. I trust them
to gallop back, skid to a stop, their nostrils

level with my mouth, asking for my human breath
that they may test its intent, taste the smell of it.
I believe in myself as their sanctuary
and the earth with its summer plumes of carrots,

its clamber peas, beans, masses of tendrils
as mine. I believe in the acrobatics of boy
into bear, the grace of animals
in my keeping, the thrust to go on.

904. The Swan - Mary Oliver

Did you too see it, drifting, all night, on the black river?

Did you see it in the morning, rising into the silvery air -

An armful of white blossoms,

A perfect commotion of silk and linen as it leaned

into the bondage of its wings; a snowbank, a bank of lilies,

Biting the air with its black beak?

Did you hear it, fluting and whistling

A shrill dark music – like the rain pelting the trees – like a waterfall

Knifing down the black ledges?

And did you see it, finally, just under the clouds -

A white cross Streaming across the sky, its feet

Like black leaves, its wings Like the stretching light of the river?

And did you feel it, in your heart, how it pertained to everything?

And have you too finally figured out what beauty is for?

And have you changed your life?

903. The Healing Time - Pesha Gertler

Finally on my way to yes
I bump into
all the places
where I said no
to my life
all the untended wounds
the red and purple scars
those hieroglyphs of pain
carved into my skin, my bones,
those coded messages
that send me down
the wrong street
again and again
where I find them
the old wounds
the old misdirections
and I lift them
one by one
close to my heart
and I say   holy
        holy.

902. That I Not Be A Restless Ghost - Margaret Mead

(to her daughter)

That I not be a restless ghost
Who haunts your footsteps as they pass
Beyond the point where you have left
Me standing in the new spring grass,

You must be free to take a path
Whose end I feel no need to know,
No irking fever to be sure
You went where I would have you go. . . .

So you can go without regret
Away from this familiar land
Leaving your kiss upon my hair
And all the future in your hands.

Those who would fence the future in
Between two walls of well-laid stones
But lay a ghost walk for themselves,
A dreary walk for dusty bones. 

901. So Much Happiness - Naomi Shihab Nye

.
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 to share it,
And in that way, be known.

900. Nocturne - Tomas Tranströmer

translated from the Swedish by Robin Fulton

I drive through a village at night, the houses rise up
in the glare of my headlights—they're awake, want to drink.
Houses, barns, signs, abandoned vehicles—now
they clothe themselves in Life.—The people are sleeping:

some can sleep peacefully, others have drawn features
as if training hard for eternity.
They don't dare let go though their sleep is heavy.
They rest like lowered crossing barriers when the mystery draws past.

Outside the village the road stretches far among the forest trees.
And the trees the trees keeping silence in concord with each other.
They have a theatrical color, like firelight.
How distinct each leaf! They follow me home.

I lie down to sleep I see strange pictures
and signs scribbling themselves behind my eyelids
on the wall of the dark. Into the slit between wakefulness and dream
a large letter tries to push itself in vain.

899. To Be Found - Willow Pearson

.
We are always looking for the mirror

by which we might see

our true Self

Look closely.

There is no place that mirror is not

Yet the vastness that we are

cannot be captured

in a single image

Through that One, see all beings

We are always listening for the voice

by which we might hear

our true Heart

Listen closely.

There is no place that voice does not resound

Yet the vastness that we are

cannot be captured

in a single sound

In that one tone, listen

as the whole universe sings back to you

The need to be seen, heard

through sacred reflections, and earthly echoes

is the guiding impulse of our basic sanity

Surrender.

While looking and listening,

as we must and as we will

Remember

the One

who looks and listens

Become the inward mirror of your searching eye

the inner echo of your true heartsong

Become the very Beloved you seek

There is nothing you are not

Nothing.

899. “Any fool can get into an ocean . . .” - Jack Spicer

.
Any fool can get into an ocean
But it takes a Goddess
To get out of one.
What’s true of oceans is true, of course,
Of labyrinths and poems. When you start swimming
Through riptide of rhythms and the metaphor’s seaweed
You need to be a good swimmer or a born Goddess
To get back out of them
Look at the sea otters bobbing wildly
Out in the middle of the poem
They look so eager and peaceful playing out there where the water hardly moves
You might get out through all the waves and rocks
Into the middle of the poem to touch them
But when you’ve tried the blessed water long
Enough to want to start backward
That’s when the fun starts
Unless you’re a poet or an otter or something supernatural
You’ll drown, dear. You’ll drown
Any Greek can get you into a labyrinth
But it takes a hero to get out of one
What’s true of labyrinths is true of course
Of love and memory. When you start remembering.

898. Argos - Michael Collier

.
If you think Odysseus too strong and brave to cry,
that the god-loved, god-protected hero
when he returned to Ithaka disguised,
intent to check up on his wife

and candidly apprize the condition of his kingdom,
steeled himself resolutely against surprise
and came into his land cold-hearted, clear-eyed,
ready for revenge--then you read Homer as I did,

too fast, knowing you'd be tested for plot
and major happenings, skimming forward to the massacre,
the shambles engineered with Telemakhos
by turning beggar and taking up the challenge of the bow.

Reading this way you probably missed the tear
Odysseus shed for his decrepit dog, Argos,
who's nothing but a bag of bones asleep atop
a refuse pile outside the palace gates. The dog is not

a god in earthly clothes, but in its own disguise
of death and destitution is more like Ithaka itself.
And if you returned home after twenty years
you might weep for the hunting dog

you long ago abandoned, rising from the garbage
of its bed, its instinct of recognition still intact,
enough will to wag its tail, lift its head, but little more.
Years ago you had the chance to read that page more closely

but instead you raced ahead, like Odysseus, cocksure
with your plan. Now the past is what you study,
where guile and speed give over to grief so you might stop,
and desiring to weep, weep more deeply.

897. Secure - May Swenson

.
Let us deceive ourselves a little
while   Let us pretend that air
is earth   and falling lie resting
within each other's gaze   Let us

deny that flame consumes   that
fruit ripens   that the wave must
break   Let us forget the circle's
fixed beginning marks to the
instant its ordained end   Let us

lean upon the moment and expect
time to enfold us   space sustain
our weight   Let us be still   and

falling lie face to face and drink
each others breath   Be still
Let us be still   We lie secure

within the careful mind of death

896. Variation on the Door - Margaret Randall

Variation on the Door - Margaret Randall
with Adrienne Rich

There is nothing I would not give
for years or even minutes,
time moving differently in this place we occupy,
memory hoisting itself upright in us.

There is nothing I would give
you or another,
repetition comforts me today,
a long delicate line of pink light parts the sky
and a coyote crossing the road makes you smile.

Knowing you here—a here
distant as voices or a room apart
(working as I work)
our air becoming a single air—
knowing you here holds my body in space,
fixes my mind.

This knowledge neither linear nor perfect
is again and again the door
opening because we have chosen
to walk through, chosen to risk,
remember our names.

Memory walks tall in this dream, memory
and hope.
Nothing can call me home, love,
but to your eyes and hands.

895. The Door - Jane Hirshfield

.
A note waterfalls steadily
through us,
just below hearing.

Or this early light
streaming through dusty glass:
what enters, enters like that,
unstoppable gift.

And yet there is also the other,
the breath-space held between any call
and its answer—

In the querying
first scuff of footstep,
the wood owls' repeating,
the two-counting heart:

A little sabbath,
minnow whose brightness silvers past time.

The rest-note
unwritten,
hinged between worlds,
that precedes change and allows it.

894. For a Wedding on Mount Tamalpais - Jane Hirshfield

 .
July,
and the rich apples
once again falling.

You put them to your lips,
as you were meant to,
enter a sweetness
the earth wants to give.

Everything loves this way,
in gold honey,
in gold mountain grass
that carries lightly the shadow of hawks,
the shadow of clouds passing by.

And the dry grasses,
the live oaks and bays,
taste the apples' deep sweetness
because you taste it, as you were meant to,
tasting the life that is yours,

while below, the foghorns bend to their work,
bringing home what is coming home,
blessing what goes.

893. The Garden - Louise Glück

.
I couldn't do it again,
I can hardly bear to look at it—

in the garden, in light rain
the young couple planting
a row of peas, as though
no one has ever done this before,
the great difficulties have never as yet
been faced and solved—

They cannot see themselves,
in fresh dirt, starting up
without perspective,
the hills behind them pale green, clouded with flowers—

She wants to stop;
he wants to get to the end,
to stay with the thing—

Look at her, touching his cheek
to make a truce, her fingers
cool with spring rain;
in thin grass, bursts of purple crocus—

even here, even at the beginning of love,
her hand leaving his face makes
an image of departure
and they think
they are free to overlook
this sadness.

892. Kindness - Naomi Shihab Nye

.
Before you know what kindness really is
you must lose things,
feel the future dissolve in a moment
like salt in a weakened broth.
What you held in your hand,
what you counted and carefully saved,
all this must go so you know
how desolate the landscape can be
between the regions of kindness.
How you ride and ride
thinking the bus will never stop,
the passengers eating maize and chicken
will stare out the window forever.

Before you learn the tender gravity of kindness,
you must travel where the Indian in a white poncho
lies dead by the side of the road.
You must see how this could be you,
how he too was someone
who journeyed through the night with plans
and the simple breath that kept him alive.

Before you know kindness as the deepest thing inside,
you must know sorrow as the other deepest thing. 
You must wake up with sorrow.
You must speak to it till your voice
catches the thread of all sorrows
and you see the size of the cloth.

Then it is only kindness that makes sense anymore,
only kindness that ties your shoes
and sends you out into the day to mail letters and purchase bread

only kindness that raises its head
from the crowd of the world to say
it is I you have been looking for,
and then goes with you everywhere
like a shadow or a friend.

891. Poem White Page White Page Poem - Muriel Rukeyser

.
Poem   white page   white page poem
something is streaming out of a body in waves
something is beginning from the fingertips
they are starting to declare for my whole life
all the despair and the making music
something like wave after wave
that breaks on a beach
something like bringing the entire life
to this moment
the small waves bringing themselves to white paper
something like light stands up and is alive

890 For a Wedding on Mount Tamalpais - Jane Hirshfield

July,
and the rich apples
once again falling.

You put them to your lips,
as you were meant to,
enter a sweetness
the earth wants to give.

Everything loves this way,
in gold honey,
in gold mountain grass
that carries lightly the shadow of hawks,
the shadow of clouds passing by.

And the dry grasses,
the live oaks and bays,
taste the apples' deep sweetness
because you taste it, as you were meant to,
tasting the life that is yours,

while below, the foghorns bend to their work,
bringing home what is coming home,
blessing what goes.

889. Everything - Mary Oliver

No doubt in Holland,
when van Gogh was a boy,
there were swans drifting
over the green sea
of the meadows, and no doubt
on some warm afternoon
he lay down and watched them,
and almost thought: this is everything.
What drove him
to get up and look further
is what saves this world,
even as it breaks
the hearts of men.
In the mines where he preached,
where he studied tenderness,
there were only men, all of them
streaked with dust.
For years he would reach
toward the darkness.
But no doubt, like all of us,
he finally remembered
everything, including the white birds
weightless and unaccountable,
floating around the towns
of grit and hopelessness––
and this is what would finish him:
not the gloom, which was only terrible,
but those last yellow fields, where clearly
nothing in the world mattered, or ever would,
but the insensible light.

888. A Winter Night - Tomas Tranströmer

.
The storm puts its mouth to the house
and blows to get a tone.
I toss and turn, my closed eyes
reading the storm’s text.

The child’s eyes grow wide in the dark
and the storm howls for him.
Both love the swinging lamps;
both are halfway towards speech.

The storm has the hands and wings of a child.
Far away, travellers run for cover.
The house feels its own constellation of nails
holding the walls together.

The night is calm in our rooms,
where the echoes of all footsteps rest
like sunken leaves in a pond,
but the night outside is wild.

A darker storm stands over the world.
It puts its mouth to our soul
and blows to get a tone. We are afraid
the storm will blow us empty.

887. Olives - Amos Oz

.
Sometimes the taste of these strong olives cured slowly in oil,
with cloves of garlic, bay leaves and chillies and lemon and salt,
conjures a whiff of a bygone age: rocky crannies,
goats, shade and the sound of pipes,
in the tune of the breath of primeval times. The chill of a cave, a hidden cottage
in a vineyard, a lodge in a garden, a slice of barley bread and well water.
You are from there. You have lost your way.
Here is exile. Your death will come, and lay a knowing hand on your shoulder.
Come, it’s time to go home.

886. Portrait Of A Woman - Wislawa Szymborska

Wislawa Szymborska - Portrait Of A Woman (1)
Translated from the Polish by Stanislaw Baranczak and Clare Cavanagh

She must be a variety.
Change so that nothing will change.
It's easy, impossible, tough going, worth a shot.
Her eyes are, as required, deep, blue, gray,
dark merry, full of pointless tears.
She sleeps with him as if she's first in line or the only one on earth.
She'll bear him four children, no children, one.
Naive, but gives the best advice.
Weak, but takes on anything.
A screw loose and tough as nails.
Curls up with Jasper or Ladies'Home Journal.
Can't figure out this bolt and builds a bridge.
Young, young as ever, still looking young.
Holds in her hand a baby sparrow with a broken wing,
her own money for some trip far away,
a meat cleaver, a compress, a glass of vodka.
Where's she running, isn't she exhausted.
Not a bit, a little, to death, it doesn't matter.
She must love him, or she's just plain stubborn.
For better, for worse, for heaven's sake.
      
Wislawa Szymborska - Portrait  Of A Woman (2)
Translated from the Polish by Magnus J. Krynski and Robert a. Maguire

She must be willing to please.
To change so that nothing should change.
It's easy, impossible, hard, worth trying.
Her eyes are if need be now deep blue, now gray,
dark, playful, filled for no reason with tears.
She sleeps with him like some chance acquaintance, like his one and only.
She will bear him four children, no children, one.
Naive yet giving the best advice.
Weak yet lifting the weightiest burdens.
Has no head on her shoulders but will have.
Reads Jaspers and ladies' magazines.
Doesn't know what this screw is for and will build a bridge.
Young, as usual young, as always still young.
Holds in her hands a sparrow with a broken wing,
her own money for a journey long and distant,
a meat-cleaver, poultice, and a shot of vodka.
Where is she running so, isn't she tired?
Not at all, just a bit, very much, doesn't matter.
Either she loves him or has made up her mind to.
For better, for worse, and for heaven's sake.

885. Do Not Expect - Dana Gioia

Do not expect that if your book falls open
to a certain page, that any phrase
you read will make a difference today,
or that the voices you might overhear
when the wind moves through the yellow-green
and golden tent of autumn, speak to you.

Things ripen or go dry. Light plays on the
dark surface of the lake. Each afternoon
your shadow walks beside you on the wall,
and the days stay long and heavy underneath
the distant rumor of the harvest. One
more summer gone,
and one way or another you survive,
dull or regretful, never learning that
nothing is hidden in the obvious
changes of the world, that even the dim
reflection of the sun on tall, dry grass
is more than you will ever understand.

And only briefly then
you touch, you see, you press against
the surface of impenetrable things

884. Face To Face - Tomas Tranströmer

 Face To Face translated by Robin Robertson

In February life stood still.
The birds refused to fly and the soul
grated against the landscape as a boat
chafes against the jetty where it’s moored.

The trees were turned away. The snow’s depth
measured by the stubble poking through.
The footprints grew old out on the ice-crust.
Under a tarpaulin, language was being broken down.

Suddenly, something approaches the window.
I stop working and look up.
The colours blaze. Everything turns around.
The earth and I spring at each other.

Face to Face translated by Robin Fulton

In February living stood still.
The birds flew unwillingly and the soul
chafed against the landscape as a boat
chafes against the pier it lies moored to.

The trees stood with their backs turned to me.
The deep snow was measured with dead straws.
The footprints grew old out on the crust.
Under a tarpaulin language pined.

One day something came to the window.
Work was dropped, I looked up.
The colors flared. Everything turned around.
The earth and I sprang toward each other.

883. Letters From Yorkshire - Maura Dooley

.
In February, digging his garden, planting potatoes,
he saw the first lapwings return and came
indoors to write to me, his knuckles singing

as they reddened in the warmth
It’s not romance, simply how things are.
You out there, in the cold, seeing the seasons

turning, me with my heartful of headlines
feeding words onto a blank screen.
Is your life more real because you dig and sow?

You wouldn’t say so, breaking ice on a waterbutt,
clearing a path through snow. Still, it’s you
who sends me word of that other world

pouring air and light into an envelope. So that
at night, watching the same news in different houses,
our souls tap out messages across the icy miles.

882. Sometimes - Sheenagh Pugh

.
Sometimes things don’t go, after all,
from bad to worse. Some years, muscadel
faces down frost: green thrives; the crops don’t fail,
sometimes a man aims high, and all goes well.

A people sometimes will step back from war;
elect an honest man; decide they care
enough, that they can’t leave some stranger poor.
Some men become what they were born for.

Sometimes our best efforts do not go
amiss; sometimes we do as we meant to.
The sun will sometimes melt a field of sorrow
that seemed hard frozen: may it happen to you.

881. Black Snake - Mary Oliver

.
The flat rock in the center of the garden
heats up every morning in the sun. Black
snake coils himself there neatly. He has
cousins who have teeth that spring up and
down and are full of the sap of death,
but what of that, so have we all. As for
his sporting life, there are many things
he can do and I have seen a few of them:
he can climb a tree and dangle like a red-
eyed rope out of its branches; he can swim;
he can catch a mouse and swallow it like
a soft stone. Also he can lie perfectly
still and stare with his lidless eyes in
the greatest hope: that you will not notice
him. If you do, however, he will loft his
chin and extrude the fray of his tongue,
which many find frightening. But tell me,
if you would praise the world, what is it
you would leave out? Besides, he is only
hoping that you will let him live his life.


And now that you have seen him, he looks
shyly at nothing and streams away into the
grass, his long body swaying like a suddenly
visible song.

880. Writing A Curriculum Vita - Wislawa Szymborska

Writing A Curriculum Vita (1)
Translated from Polish by Graźyna Drabik and Austin Flint

What must you do?
You must submit an application
and enclose a Curriculum Vitae.

Regardless of how long your life is,
the Curriculum Vitae should be short.

Be concise, select facts.
Change landscapes into addresses
and vague memories into fixed dates.

Of all your loves, mention only the marital,
and of the children, only those who were born.

It's more important who knows you
than whom you know.
Travels––only if abroad.
Affiliations––to what, not why.
Awards––but not for what.

Write as if you never talked with yourself,
as if you looked at yourself from afar.

Omit dogs, cats, and birds,
mementos, friends, dreams.

State price rather than value,
title rather than content.
Shoe size, not where one is going,
the one you are supposed to be.

Enclose a photo with one ear showing.
What counts is its shape, not what it hears.

What does it hear?
The clatter of machinery that shreds paper.

Writing A Résumé (2)
Translated from the Polish by Stanislaw Baranczak and Clare Cavanagh

What needs to be done?
fill out the application
and enclose the résumé.

Regardless of the length of life,
a résumé is best kept short.

concise, well-chosen facts are de rigueur.
Landscapes are replaced by addresses,
shaky memories give way to unshakable dates.

Of all your loves, mention only the marriage;
of all your children, only those who were born.

Who knows you matters more than whom you know.
Trips only if taken abroad.
Memberships in what but without why.
Honors, but not how they were earned.

Write as if you'd never talked to yourself
and always kept yourself at arm's length.

Pass over in silence your dogs, cats, birds,
dusty keepsakes, friends, and dreams.

Price, not worth,
and title, not what's inside.
His shoe size, not where he's off to,
that one you pass off as yourself.
In addition, a photograph with one ear showing.
What matters is its shape, not what it hears.
What is there to hear, anyway?
The clatter of paper shredders.

879. The Country - Billy Collins

.
I wondered about you
when you told me never to leave
a box of wooden, strike-anywhere matches
lying around the house because the mice

might get into them and start a fire.
But your face was absolutely straight
when you twisted the lid down on the round tin
where the matches, you said, are always stowed.

Who could sleep that night?
Who could whisk away the thought
of the one unlikely mouse
padding along a cold water pipe

behind the floral wallpaper
gripping a single wooden match
between the needles of his teeth?
Who could not see him rounding a corner.

the blue tip scratching against a rough-hewn beam,
the sudden flare, and the creature
for one bright, shining moment
suddenly thrust ahead of his time—

now a fire-starter, now a torch-bearer
in a forgotten ritual, little brown druid
illuminating some ancient night.
Who could fail to notice,

lit up in the blazing insulation,
the tiny looks of wonderment on the faces
of his fellow mice, one-time inhabitants
of what once was your house in the country?

878. The Cure At Troy (Excerpt) - Seamus Heaney

.
Human beings suffer,
they torture one another,
they get hurt and get hard.
No poem or play or song
can fully right a wrong
inflicted or endured.

The innocent in gaols
beat on their bars together.
A hunger-striker's father
stands in the graveyard dumb.
The police widow in veils
faints at the funeral home.

History says, Don't hope
on this side of the grave.
But then, once in a lifetime
the longed for tidal wave
of justice can rise up,
and hope and history rhyme.

So hope for a great sea-change
on the far side of revenge.
Believe that a further shore
is reachable from here.
Believe in miracles
and cures and healing wells.

Call the miracle self-healing:
The utter self-revealing
double-take of feeling.
If there's fire on the mountain
Or lightning and storm
And a god speaks from the sky

That means someone is hearing
the outcry and the birth-cry
of new life at its term.
It means once in a lifetime
That justice can rise up
And hope and history rhyme

877. Dear George Orwell - L. E. Sissman

Dear George Orwell,
I never said farewell.
There was too much going on:
Crabgrass in the lawn
and guests to entertain,
Light bantering with pain
(But wait till later on),
Love nightly come and gone.
But always in the chinks
Of my time (or the bank’s),
I read your books again.
In Schraffts’s or on the run
To my demanding clients,
I read you in the silence
Of the spell you spun.
My dearest Englishman,
My stubborn unmet friend,
Who waited for the end
In perfect pain and love
And walked to his own grave
With a warm wink and wave
To all; who would not pull
The trigger on the bull
Elephant, and who
Seeing his foe undo
His pants across the lines,
Did not blow out his brains;
Who served the Hotel X
As low man, slept in spikes
With tramps, in Rowton Houses
With pavement artists, boozers,
Boys, insomniacs;
Who spat on shams and hacks,
Loved in a raddled flat
Passing trains hooted at,
And died for what we are.
Farewell, Eric Blair.

876. I Am Trying To Get At Something Utterly Heart-broken - Anne Dillard

Vincent van Gogh, letters, 1873-1890, edited I. Stone, 
translated Johanna van Gogh

		I

	At the end of the road is a small cottage,
	And over all the blue sky.
I am trying to get at something utterly heart-broken.

	The flying birds, the smoking chimneys,
	And that figure loitering below in the yard–
If we do not learn from this, then from what shall we learn?

	The miners go home in the white snow at twilight
These people are quite black. Their houses are small.
The time for making dark studies is short.	

	A patch of brown heath through which a white
	Path leads, and sky just delicately tinged,
	Yet somewhat passionately brushed.
We who try our best to live, why do we not live more? 

		II

	The branches of poplars and willows rigid like wire.
It may be true that there is no God here,
But there must be one not far off.	

	A studio with a cradle, a baby’s high chair.
Those colors which have no name
Are the real foundation of everything.

	What I want is more beautiful huts far away on the heath.
If we are tired, isn’t it then because
We have already walked a long way?

	The cart with the white horse brings
	a wounded man home from the mines.
Bistre and bitumen, well applied,
Make the colouring ripe and mellow and generous.

		III

	A ploughed field with clods of violet earth;
	Over all a yellow sky with a yellow sun.
So there is every moment something that moves one intensely.

	A bluish-grey line of trees with a few roofs.
I simply could not restrain myself or keep
My hands off it or allow myself to rest.

	A mother with her child, in the shadow
	Of a large tree against the dune.
To say how many green-greys there are is impossible.

	I love so much, so very much, the effect
	Of yellow leaves against green trunks.
This is not a thing that I have sought,
But has come across my path and I have seized it.


	

875. To Make A Summer - Josephine Miles

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.

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”

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.

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.

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

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.

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.

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.

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.

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.

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

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.

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!

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.

861. Charles the great - Henri Kadusco

.
Charles the great has come at last,
Come at last to stay.
He knows not where he’s going, though
He thinks he knows the way.

He thinks he knows the way to love,
Through flowered fields and highways.
He does not know what love is or
That I will love him always.

A pretty girl there waits for Charles,
To ease the pain and kiss his eyes,
To circle him with chains of love,
To show him love and make him wise.

Charles the great might disappear
while thinking you can see him.
But life is short and art is long,
And she can live without him.

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.

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.

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.

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.

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.