725. The Old Writers' Welcome to the New - William Stafford

.
Somewhere out there new light
is crossing a field. Our time, long
preparing for this, carefully comes near.
Without our knowing, our lives
have bent steadily toward this field,
and now we approach and bow down.

All that we welcomed and then forsook,
or lost by weakness, or by cruel time—
friends grown cold, family turned away,
Katherine whose face reflects even yet
when a train goes by, and old Lief
looking at us toward the end from his kennel—
these were needed so that this future could arrive.

Glad for this field, welcoming new light,
we embrace the loss and regret we must pay
all through our years, that Now may arrive,
that our story come true and be what it is,
again and again.

But oh our loves, happy goodbyes.

724. Welcome - Stephen Dunn

.
if you believe nothing is always what's left
after a while, as I did,
If you believe you have this collection
of ungiven gifts, as I do (right here
behind the silence and the averted eyes)
If you believe an afternoon can collapse
into strange privacies—
how in your backyard, for example,
the shyness of flowers can be suddenly
overwhelming, and in the distance
the clear goddamn of thunder
personal, like a voice,
If you believe there's no correct response
to death, as I do; that even in grief
(where I've sat making plans)
there are small corners of joy
If your body sometimes is a light switch
in a house of insomniacs
If you can feel yourself straining
to be yourself every waking minute
If, as I am, you are almost smiling . . .

723. I Laugh And Cry With The Same Eyes - James Kavanaugh

.
I laugh and cry with the same eyes,
Love and hate with the same heart.
I feel my rage and my gentleness,
My sanity and suicide.
When I hide my anger, my joy doesn't seem real.
When I hide my fear, my strength is a fraud.
If I only laugh, I leave no place for your pain.
If I only shout, I leave no place for your tenderness.
I want to be all of myself,
So you can be all of yourself,
And together we can be whole.

721. We Knew The World Backwards And Forwards - Wislawa Szymborska

Translated from the Polish by Joanna Trzeciak

We knew the world backwards and forwards
So small it fit in a handshake
So easy it could be described in a smile
As plain as the echoes of old truths and a prayer

History did not greet us with triumphant fanfare
It flung dirty sand in our eyes
Ahead of us were distant roads leading nowhere
Poisoned wells, bitter bread

The spoils of war is our knowledge of the world
So large it fits in a handshake
So hard it could be described in a smile
As strange as the echoes of old truths and a prayer.

720. The Printer's Error - Aaron Fogel

.
Fellow compositors
and pressworkers!

I, Chief Printer
Frank Steinman,
having worked fifty-
seven years at my trade,
and served five years
as president
of the Holliston
Printer's Council,
being of sound mind
though near death,
leave this testimonial
concerning the nature
of printers' errors.

First: I hold that all books
and all printed
matter have
errors, obvious or no,
and that these are their
most significant moments,
not to be tampered with
by the vanity and folly
of ignorant, academic
textual editors.
Second: I hold that there are
three types of errors, in ascending
order of importance:
One: chance errors
of the printer's trembling hand
not to be corrected incautiously
by foolish professors
and other such rabble
because trembling is part
of divine creation itself.
Two: silent, cool sabotage
by the printer,
the manual laborer
whose protests
have at times taken this
historical form,
covert interferences
not to be corrected
censoriously by the hand
of the second and far
more ignorant saboteur,
the textual editor.
Three: errors
from the touch of God,
divine and often
obscure corrections
of whole books by
nearly unnoticed changes
of single letters
sometimes meaningful but
about which the less said
by preemptive commentary
the better.
Third: I hold that all three
sorts of error,
errors by chance,
errors by workers' protest,
and errors by
God's touch,
are in practice the
same and indistinguishable.

Therefore I,
Frank Steinman,
typographer
for thirty-seven years,
and cooperative Master
of the Holliston Guild
eight years,
being of sound mind and body
though near death
urge the abolition
of all editorial work
whatsoever
and manumission
from all textual editing
to leave what was
as it was, and
as it became,
except insofar as editing
is itself an error, and

therefore also divine.

719. Waking At 3 a.m. - William Stafford

.
Even in the cave of the night when you
wake and are free and lonely,
neglected by others, discarded, loved only
by what doesn't matter—even in that
big room no one can see,
you push with your eyes till forever
comes in its twisted figure eight
and lies down in your head.

You think water in the river;
you think slower than the tide in
the grain of the wood; you become
a secret storehouse that saves the country,
so open and foolish and empty.

You look over all that the darkness
ripples across. More than has ever
been found comforts you. You open your
eyes in a vault that unlocks as fast
and as far as your thought can run.
A great snug wall goes around everything,
has always been there, will always
remain. It is a good world to be
lost in. It comforts you. It is
all right. And you sleep.

718. Essy On The Personal - Stephen Dunn

.
Because finally the personal
is all that matters,
we spend years describing stones,
chairs, abandoned farmhouses--
until we're ready. Always
it's a matter of precision,
what it feels like
to kiss someone or to walk
out the door. How good it was
to practice on stones
which were things we could love
without weeping over. How good
someone else abandoned the farmhouse,
bankrupt and desperate.
Now we can bring a fine edge
to our parents. We can hold hurt
up to the sun for examination.
But just when we think we have it,
the personal goes the way of
belief. What seemed so deep
begins to seem naive, something
that could be trusted
because we hadn't read Plato
or held two contradictory ideas
or women in the same day.
Love, then, becomes an old movie.
Loss seems so common
it belongs to the air,
to breath itself, anyone's.
We're left with style, a particular
way of standing and saying,
the idiosyncratic look
at the frown which means nothing
until we say it does. Years later,
long after we believed it peculiar
to ourselves, we return to love.
We return to everything
strange, inchoate, like living
with someone, like living alone,
settling for the partial, the almost
satisfactory sense of it.

717. Wait - Galway Kinnell

(to someone contemplating suicide)

Wait, for now.
Distrust everything, if you have to.
But trust the hours. Haven't they
carried you everywhere, up to now?
Personal events will become interesting again.
Hair will become interesting.
Pain will become interesting.
Buds that open out of season will become lovely again.
Second-hand gloves will become lovely again,
their memories are what give them
the need for other hands. And the desolation
of lovers is the same: that enormous emptiness
carved out of such tiny beings as we are
asks to be filled; the need
for the new love is faithfulness to the old.

Wait.
Don't go too early.
You're tired. But everyone's tired.
But no one is tired enough.
Only wait a while and listen:
music of hair,
music of pain,
music of looms weaving all our loves again.
Be there to hear it, it will be the only time,
most of all to hear,
the flute of your whole existence,
rehearsed by the sorrows, play itself into total exhaustion.

716. Scouting - Philip Levine

.
I'm the man who gets off the bus
at the bare junction of nothing
with nothing, and then heads back
to where we've been as though
the future were stashed somewhere
in that tangle of events we call
"Where I come from." Where I
came from the fences ran right
down to the road, and the lone woman
leaning back on her front porch as she
quietly smoked asked me what did
I want. Confused as always, I
answered, "Water," and she came to me
with a frosted bottle and a cup,
shook my hand, and said, "Good lick."
That was forty years ago, you say,
when anything was possible. No,
it was yesterday, the gray icebox
sat on the front porch, the crop
was tobacco and not yet in, you
could hear it sighing out back.
The rocker gradually slowed as
she came toward me but never
stopped and the two of us went on
living in time. One of her eyes
had a pale cast and looked nowhere
or into the future where without
regrets she would give up the power
to grant life, and I would darken
like wood left in the rain and then
fade into only a hint of the grain.
I went higher up the mountain
until my breath came in gasps,
my sight darkened, and I slept
to the side of the road to waken
chilled in the sudden July cold,
alone and well. What is it like
to come to, nowhere, in darkness,
not knowing who you are, not
caring if the wind calms, the stars
stall in their sudden orbits,
the cities below go on without
you screaming and singing?
I don't have the answer. I'm
scouting, getting the feel
of the land, the way the fields
step down the mountainsides
hugging their battered, sagging
wire fences to themselves as though
both day and night they needed
to know their limits. Almost still
the silent dogs wound into sleep,
the gray cabins breathing steadily
in moonlight, tomorrow wakening
slowly in the clumps of mountain oak
and pine where streams once ran
down the little white rock gullies.
You can feel the whole country
wanting to waken into a child's dream,
you can feel the moment reaching
back to contain your life and forward
to whatever the dawn brings you to.
In the dark you can love this place.

715. Myrtle - John Ashbery

.
How funny your name would be
if you could follow if back to where
the first person thought of saying it,
naming himself that, or maybe
some other persons thought of it
and named that person. It would
be like following a river to its source,
which would be impossible. Rivers have no source.
They just automatically appear at a place
where they get wider, and soon a real
river comes along, with fish and debris,
regal as you please, and someone
has already given it a name: St. Benno
(saints are popular for this purpose) or, or
some other name, the name of his
long-lost girlfriend, who comes
at longlast to impersonate that river,
on a stage, her voice clanking
like its bed, her clothing of sand
and pasted paper, a piece of real technology,
while all along she is thinking, I can
do what I want to do. But I want to stay here.

714. Yusef Komunyakaa - Facing It

.
My black face fades,
hiding inside the black granite.
I said I wouldn't,
dammit: No tears.
I'm stone. I'm flesh.
My clouded reflection eyes me
like a bird of prey, the profile of night
slanted against morning. I turn
this way--the stone lets me go.
I turn that way--I'm inside
the Vietnam Veterans Memorial
again, depending on the light
to make a difference.
I go down the 58,022 names,
half-expecting to find
my own in letters like smoke.
I touch the name Andrew Johnson;
I see the booby trap's white flash.
Names shimmer on a woman's blouse
but when she walks away
the names stay on the wall.
Brushstrokes flash, a red bird's
wings cutting across my stare.
The sky. A plane in the sky.
A white vet's image floats
closer to me, then his pale eyes
look through mine. I'm a window.
He's lost his right arm
inside the stone. In the black mirror
a woman's trying to erase names:
No, she's brushing a boy's hair.