Poetry

James Wright - "Poems to a Brown Cricket"

1.

I woke,
Just about daybreak, and fell back
In a drowse.
A clean leaf from one of the new cedars
Has blown in through the open window.
How long ago a huge shadow of wings pondering and hovering
leaned down
To comfort my face.
I don’t care who loved me.
Somebody did, so I let myself alone.
I will stand watch for you, now.
I lay here awake a long time before I looked up
And found you sunning yourself asleep
In the Secret Life of Jakob Boehme
Left open on the desk.


2.

Our friends gave us their love
And this room to sleep in.
Outside now, not a sound.
Instead of rousing us out for breakfast,
Our friends love us and grant us our loneliness.
We shall waken again
When the courteous face of the old horse David
Appears at our window,
To snuffle and cough gently.
He, too, believes we may long for
One more dream of slow canters across the prairie
Before we come home to our strange bodies
And rise from the dead.



3.

As for me, I have been listening,
For an hour or so, now, to the scampering ghosts
Of Sioux ponies, down the long road
Toward South Dakota.
They just brought me home, leaning forward, by both hands
clinging
To the joists of the magnificent dappled feathers
Under their wings.


4.

As for you, I won’t press you to tell me
Where you have gone.
I know. I know how you love to edge down
The long trails of canyons.
At the bottom, along willow shores, you stand, waiting for twilight,
In the silence of deep grass.
You are safe there, guarded, for you know how the dark faces
Of the cliffs forbid easy plundering
Of their beautiful pueblos:
White cities concealed delicately in their chasms
As the new eggs of the mourning dove
In her ground nest,
That only the spirit hunters
Of the snow can find.

5.

Brown cricket, you are my friend’s name.
I will send back my shadow for your sake, to stand guard
On the solitude of the mourning dove’s young.
Here, I will stand by you, shadowless,
At the small golden door of your body till you wake
In a book that is shining.


Margaret Ray - "Garden State"

The world smells green & wet & today I
am in a postlapsarian good mood 
as I meander by the Raritan canal, 
no longer moving in a deadly torpor 
like a winter fly, but thinking once again 
(the warming weather) about sex in a good way, 
how all those smells you’re supposed to be ashamed of 
or wash away smell good once you know a thing or two, 
& it’s finally humid enough, this second day 
after the rains, it is spring in New Jersey, 
I itch my eyes freely & blink down on gnats 
that seem determined to die in my field of 
so-close-I-can’t-see-them, & people are out
look at all their beautiful bodies, so many 
ankles & knees, clicking whizz of bike wheels, 
car exhaust hanging in the thick air, 
helmets pressing sweaty hair to sticky foreheads, 
a racket of motors on the other side of these trees, 
early evening: the light just now is furtive, holy, 
this is no prologue but the thing itself, the mud 
& the grease & the grass & the wet asphalt 
on one of those steaming, streaming, sunlit evenings 
after a week of rain that brought out the frogs 
to cover the road up the hill. There they were. 
No one knew where they were going.

(from https://poets.org/poem/garden-state)

Wallace Stevens - "A Rabbit as King of the Ghosts"

The difficulty to think at the end of day,   
When the shapeless shadow covers the sun   
And nothing is left except light on your fur—

There was the cat slopping its milk all day,   
Fat cat, red tongue, green mind, white milk   
And August the most peaceful month.

To be, in the grass, in the peacefullest time,   
Without that monument of cat,   
The cat forgotten in the moon;

And to feel that the light is a rabbit-light,   
In which everything is meant for you   
And nothing need be explained;

Then there is nothing to think of. It comes of itself;
And east rushes west and west rushes down,
No matter. The grass is full

And full of yourself. The trees around are for you,   
The whole of the wideness of night is for you,   
A self that touches all edges,

You become a self that fills the four corners of night.
The red cat hides away in the fur-light
And there you are humped high, humped up,

You are humped higher and higher, black as stone—
You sit with your head like a carving in space   
And the little green cat is a bug in the grass.

- Wallace Stevens

Robert Hass - "Paschal Lamb"

Paschal Lamb

Well, David had said–it was snowing outside and his voice contained
many registers of anger, disgust, and wounded justice, I think it's crazy.
I'm not going to be a sacrificial lamb.

In Greece sometimes, a friend told me, when she walked on the high
road above the sea back to her house from the village in the dark, and
the sky seemed immense, the moon terribly bright, she wondered if her
life would be a fit gift.

And there is that poor heifer in the poem by Keats, all decked out in
ribbons and flowers, no terror in the eyes, no uncontrollable slobber of
mucus at the muzzle, since she didn't understand the festivities.

And years later, after David had quit academic life, he actually
bought a ranch in Kentucky near a town called Pleasantville, and
began to raise sheep.

When we visited that summer and the nights were shrill with crickets
and the heat did not let up, we traded stories after dinner and he told us
again the story about his first teaching job and the vice president.

When he bought the place, he had continued his subscription to The
Guardian and Workers Vanguard, but they piled up in a corner un-
read. He had a mortgage to pay. He didn't know a thing about raising
animals for slaughter, and so he read The American Sheepman with an
intensity of concentration he had never even approximated when he
was reading political theory for his Ph.D. orals.

The vice president of the United States, after his term in office,
accepted a position as a lecturer in political science at a small college in
his home district, where David had just taken his first job. The dean
brought Hubert Humphrey around to introduce him to the faculty.
When they came to David's office, the vice president, expensively
dressed, immensely hearty, extended his hand and David did not feel
he could take it because he believed the man was a war criminal; and
not knowing any way to avoid the awkwardness, he said so, which
was the beginning of his losing the job at that college.

But that was the dean's doing. The vice president started to cry. He had
the hurt look, David said, of a kicked dog with a long, unblemished
record of loyalty and affection, this man who had publicly defended,
had praised the terror bombing of villages full of peasants. He seemed
to David unimaginably empty of inner life if he could be hurt rather
than affronted by a callow young man making a stiffly moral gesture in
front of two men his father's age. David said that he had never looked
at another human being with such icy, wondering detachment, and that
he hadn't liked the sensation.

And so in the high-ceilinged kitchen, in the cricket-riddled air drenched
with the odor of clover, we remembered Vic Doyno in the snow in Buffalo,
in the days when the war went on continuously like a nightmare in our
waking and sleeping hours.

Vic had come to work flushed with excitement at an idea he had had in
the middle of the night. He had figured out how to end the war. It was
a simple plan. Everyone in the country–in the world, certainly a lot
of Swedish and English students would go along–who was opposed
to the war would simply cut off the little finger on the left hand and
send it to the president. Imagine! They would arrive slowly at first, the
act of one or two maniacs, but the news would hit the newspapers and
the next day there would be a few more. And the day after that more.
And on the fourth day there would be thousands. And on the fifth day,
clinics would be set up–organized by medical students in Madison,
San Francisco, Stockholm, Paris–to deal with the surgical procedure
safely and on a massive scale. And on the sixth day, the war would stop.
It would stop. The helicopters at Bien Hoa would sit on the airfields
in silence like squads of disciplined mosquitoes. Peasants, worried and
curious because peasants are always worried and curious, would stare
up curiously into the unfamiliar quiet of a blue, cirrus-drifted sky. And
years later we would know each other by those missing fingers. An
aging Japanese businessman minus a little finger on his left hand would
notice the similarly mutilated hand of his cab driver in Chicago, and
they would exchange a fleeting unspoken nod of fellowship.

And it could happen. All we had to do to make it happen–Vic had
said, while the water for tea hissed on the hot plate in David's chilly
office and the snow came down thick as cotton batting, was cut off our
little fingers right now, take them down to the department secretary, and
have her put them in the mail.

- Robert Hass

James Wright - "To the Muse"

It is all right. All they do
Is go in by dividing
One rib from another. I wouldn’t
Lie to you. It hurts
Like nothing I know. All they do
Is burn their way in with a wire.
It forks in and out a little like the tongue
Of that frightened garter snake we caught
At Cloverfield, you and me, Jenny
So long ago.

I would lie to you
If I could.
But the only way I can get you to come up
Out of the suckhole, the south face
Of the Powhatan pit, is to tell you
What you know:

You come up after dark, you poise alone
With me on the shore.
I lead you back to this world.

Three lady doctors in Wheeling open
Their offices at night.
I don’t have to call them, they are always there.
But they only have to put the knife once
Under your breast.
Then they hang their contraption.
And you bear it.

It’s awkward a while. Still, it lets you
Walk about on tiptoe if you don’t
Jiggle the needle.
It might stab your heart, you see.
The blade hangs in your lung and the tube
Keeps it draining.
That way they only have to stab you
Once. Oh Jenny.

I wish to God I had made this world, this scurvy
And disastrous place. I
Didn’t, I can’t bear it
Either, I don’t blame you, sleeping down there
Face down in the unbelievable silk of spring,
Muse of black sand,
Alone.

I don’t blame you, I know
The place where you lie.
I admit everything. But look at me.
How can I live without you?
Come up to me, love,
Out of the river, or I will
Come down to you.

- James Wright, from Shall We Gather at the River

Anti-war Poem

“It’s 5 below zero in Iowa City tonight.

This year I found a warm room
That I could go to 
                                  be alone in

& never have to fight.”

- Ted Berrigan, from “Anti-war Poem”

Ruth Stone - "Curtains"

Curtains

Putting up new curtains, other windows intrude. As though it is that first winter in Cambridge when you and I had just moved in. Now cold borscht alone in a bare kitchen. What does it mean if I say this years later? Listen, last night I am on a crying jag with my landlord, Mr. Tempesta. I sneaked in two cats. He screams, "No pets! No pets!" I become my Aunt Virginia, proud but weak in the head. I remember Anna Magnani. I throw a few books. I shout. He wipes his eyes and opens his hands. OK OK keep the dirty animals but no nails in the walls. We cry together. I am so nervous, he says. I want to dig you up and say, look, it's like the time, remember, when I ran into our living room naked to get rid of that fire inspector. See what you miss by being dead?


- Ruth Stone

Patty Nash - from "Lübeck"

from Lübeck

The wheel of history is being turned

Terns skim the wetlands which are evaded by the tiller 

The tiller is the lever which turns the wheel

The wheel levers the tiller and is attached to the rudder

The rudder maneuvers the ship like a shark fin

Fine establishment you’ve got here 

Her? Oh, she’s my sister


- Patty Nash

Louise Glück - "Otis"

Otis

A beautiful morning; nothing
died in the night.
The Lights are putting up their bean tepees.
Rebirth! Renewal! And across the yard,
very quietly, someone is playing Otis Redding.

Now the great themes
come together again: I am twenty-three, riding the subways
in pursuit of Chassler, of my lost love, clutching
my own record, because I have to hear
this exact sound no matter where I land, no matter
whose apartment—whose apartments
did I visit that summer? I have no idea
where I’m going, about to leave New York, to live
in paradise, as I have then
no concept of change, no slightest sense of what would
happen to Chassler, to obsessive need, my one thought being
the only grief that touched mine was Otis’ grief.

Look, the tepees
are standing: Steven
has balanced them the first try.
Now the seeds go in, there is Anna
sitting in the dirt with the open packet.

This is the end, isn’t it?
And you are here with me again, listening with me: the sea
no longer torments me; the self
I wished to be is the self I am.


- Louise Glück

Tuvia Rubner

My Father

That every night my father
shone like the window in the ark.

That every night I was like a shadow
clinging to the wings of his light.

Tonight my father sweeps over me
as over a candle the dark.

Sundress - Wu Xia, trans. by Eleanor Goodman

The packing area is flooded with light
the iron I'm holding
collects all the warmth of my hands

I want to press the straps flat
so they won't dig into your shoulders when you wear it
and then press up from the waist
a lovely waist
where someone can lay a fine hand
and on the tree-shaded lane
caress a quiet kind of love
last I'll smooth the dress out
to iron the pleats to equal widths
so you can sit by a lake or on a grassy lawn
and wait for a breeze
like a flower

Soon when I get off work
I'll wash my sweaty uniform
and the sundress will be packed and shipped
to a fashionable store
it will wait just for you
unknown girl
I love you


- Wu Xia (2016)
trans. Eleanor Goodman

Philip Larkin - "First Sight"

Lambs that learn to walk in snow
When their bleating clouds the air
Meet a vast unwelcome, know
Nothing but a sunless glare.
Newly stumbling to and fro
All they find, outside the fold,
Is a wretched width of cold.

As they wait beside the ewe,
Her fleeces wetly caked, there lies
Hidden round them, waiting too,
Earth's immeasureable surprise.
They could not grasp it if they knew,
What so soon will wake and grow
Utterly unlike the snow.

- Philip Larkin

"Devotion: Rimbaud" - by Bruce Smith

To my brother: in his khaki habit like the one the missionaries wore
who were sent to the windy end of empire to serve and secure,
he turns in his cubicle, he rends a veil with his pencil,
he moves a decimal, he breaks and sets code like bone.
For the poor.

To my brother: in jail in his Wu Wear and absolutes—
everything’s a knife—there’s no such thing as silence
as John Cage said when there was irony and random
was a tunnel under the symphony of another century.
For the violated.

To Emma: that demon who was Linnaeus or Levi-Strauss
in another life, publishing the ideologies and taxonomies of smell—
fox, rot, scat, gall, goat, and once a rasher of bacon.
For the cherubim. For the kin.

To the debutant I was: a glistening fly in winter.
For the fevers of children.

To the man at 60: a turnip disinterred, a peasant in snow with bad shoes.
For the cult of the exaggerated girl.

To the rich: chattering dolphins in a sea of benzene.
For the afflicted.

Tonight, in the untowered downtown of Syracuse, the currency
hardens to the gray slugs the slot machine spits out and as the ghost
fish smell in the low haphazard heaven, I make this vow to look around. 
For the ones to my right and my left. 

"Breathing Space, July" - Tomas Transtromer

The one who's lying on his back under the tall trees
is also up there within them. He's flowing out into thousands of twigs,
swaying to and fro,
sitting in an ejector seat that lets go in slow motion.

The one who's standing down by the docks squints at the water.
The docks age faster than people.
They have silver-gray lumber and stones in their gut.
The glaring light pounds all the way in.

The one who's traveling all day in an open boat
over the glittering bays
will fall asleep at last inside a blue lamp
while the islands crawl like huge moths over the glass.

- Tomas Transtromer, trans. Patty Crane (2023)