Poetry

David Ferry - "Your Personal God" (trans. from Horace, Epistles 11.2 lines 180-89)

Jewels, marble, ivory, paintings, beautiful Tuscan
Pottery, silver, Gaetulian robes dyed purple—
Many there are who’d love to have all of these things.
There are some who don’t care about them in the least.
Why one twin brother lives for nothing but pleasure,
And loves to fool around even more than Herod
Loves his abundant gardens of date-trees, while
The other twin brother works from morning to night
Improving his farm, ploughing and clearing the lands,
Pruning and planting, working his ass off, only
The genius knows, the personal god who knows
And controls the birth star of every person
There is in the world. Your personal god is the god
Who dies in a sense when your own breath gives out,
And yet lives on, after you die, to be
The personal god of somebody other than you;
Your personal god, whose countenance changes as
He looks at you, smiling sometimes, sometimes not.

From "Song of Myself" - Walt Whitman

I think I could turn and live with animals, they are so placid and self-contain'd,
I stand and look at them long and long.

They do not sweat and whine about their condition,
They do not lie awake in the dark and weep for their sins,
They do not make me sick discussing their duty to God,
Not one is dissatisfied, not one is demented with the mania of owning things,
Not one kneels to another, nor to his kind that lived thousands of years ago,
Not one is respectable or unhappy over the whole earth.

Jessica Scicchitano, from "Prepare This Place for Bed"

“….One October long ago the singsong

of trick-or-treat made me so aware of the body,

how our homes are our body, how you’re choosing another

body. Barns in my hands, bobby pins—my whole body

is a womb. Prepare this place for bed.


My mother calls and says she’s going to the Frick this weekend, as if everyone

knows what the Frick is, the cross streets, its smell of manure

the horse carriages leave behind.

I feel like my body hasn’t left that moment long ago

when my mother opened her mouth and pain flew in,

how synonymous it became to vulnerability. Waiting for this train,

I am and am not a woman, in a suit.”

From "Admonitions to a Special Person" - Anne Sexton

“…Watch out for love
(unless it is true,
and every part of you says yes including the toes),
it will wrap you up like something in a sheet,
and your shout won't be heard
and none of your running will end.

Love? Be it man. Be it woman.
It must be a wave you want to glide in on,
give your body to it, give your laugh to it,
give, when the gravelly sand takes you,
your tears to the land. To love another is something
like prayer and can't be planned, you just fall
into its arms because your belief undoes your disbelief."

Wallace Stevens - "The Snow Man"

One must have a mind of winter
To regard the frost and the boughs
Of the pine-trees crusted with snow;

And have been cold a long time
To behold the junipers shagged with ice,
The spruces rough in the distant glitter

Of the January sun; and not to think
Of any misery in the sound of the wind,
In the sound of a few leaves,

Which is the sound of the land
Full of the same wind
That is blowing in the same bare place

For the listener, who listens in the snow,
And, nothing himself, beholds
Nothing that is not there and the nothing that is.

Robert Hass - "A Sunset"

A Sunset

The sky tonight on the top of the ridge
Was bruise-colored, a yellow-brown
That is one definition of the word “sordid,”
Which, I think, used to describe
That color, carries neither a moral
Nor an aesthetic judgment. The sky
At dusk was sordid and then brightened
And softened to a glowing peach
Of brief but astonishing beauty,
If you happened to be paying attention.
I could take a hard right here
To the angry adolescent boy in Texas
Who shot and killed nineteen children
With a high-powered weapon my culture
Put into his hands. How to enter
The hive of that mind and undo what
The imagination had done there?
He wore a flak jacket, bought two rifles
At a local store, one of which fires forty rounds
A minute. He had it specifically in mind
To kill children of that age, the lithe-
Bodied young in their end-of-term clothing.
The connective tissue in this veering
Is the idea that it is the experience of beauty,
Not rules, not fear of consequences
Or reverence for authority, that informs
Our moral sense. This may be where
John Ashbery would introduce a non sequitur,
Not from aversion to responsibility
But from a sense he no doubt had
That there was a kind of self-importance
In the introduction of morality to poetry
And that one might, therefore, be better off
Practicing one’s art in more or less
The spirit of the poor juggler in the story
Of Christmas who, having no gift to bring
To the infant god, crept into the church
In the night and faced the crèche and juggled.

Play, beauty, the impulse to reproduce it,
The impulse to evoke and bring to rage
And then to stillness the violence
In our natures. One does not,
The argument is, watch “Lear” and then
Go out and kill someone. The next veering,
Undertaken without cynicism but
In a spirit of frankness (leaving aside
Plato’s originary arguments), would be
To introduce the collection of records
They found in Adolf Hitler’s bunker.
There were more than a hundred
Of them: Wagner, of course, the operas
Especially, but also Mussorgsky,
Rachmaninoff. He must have turned,
To rest his mind, from reports on the success
Of Zyklon B to the concertos of Rachmaninoff.
Monet might be the counter-argument.
I’ve read that, in his distress at hearing
Descriptions of the violence of the earlier war,
The mud and excrement and rotting bodies
And barbed wire, poison gas, the rows
On rows of young men hurled by their officers
At one another’s cannons and machine guns,
He rose one morning, walked down to his studio
By the pond at Giverny, and began
To paint the water lilies and kept painting them
As long as his hand could hold a brush.

It’s late. I need to return to the subject
Of that boy’s mind and the art we practice.
And the sunset—peach to dull gold which faded
To what felt, for just a second, for less
Than a second, a blessed and arriving silence,
And then a pale green at the skyline,
And then dark. And it was Monday night.

Plato’s idea, I think, was that beauty
Was an ordering of elements the world offered
And that the harmonies in that order
Taught the soul the good. A later culture
Would say that boy was taken by a demon
And study ways to exorcise it. The devil
Had a name: it was the love of evil.
And us? Is there a practice of the arts
That would install, inform, would
Deeply root a culture that would form
A mind or heart in which those young bodies
On the classroom floor had become
Unimaginable, from a love of the good
As ordinary as the children’s tennis shoes?
Probably not. Do we need to be able
To touch that mind? At that age?
It could have come from being laughed at.
Once. Or perhaps there was a sexual thrill
In putting on the costume, carrying
The rifle, saying I Am Doom as he strode
Across the parking lot. Is there a way
To undo the stew of computer games
And horror films and superhero fantasies
That gave a language to the moral injury
He wanted to inflict? Or the culture
Of resentment and fear that put the weapon
In his hands? Those people run governments.
Here’s another hard right turn. Think
Of how Walt Whitman loved this country,
Loved the President who died. Imagined
Himself as a hand brushing a fly from the brow
Of a sleeping child. In the dark
I thought of a radiant ordinariness
That burned, that burned and burned.

- Robert Hass

"August" - Algernon Charles Swinburne

There were four apples on the bough,
Half gold half red, that one might know
The blood was ripe inside the core;
The colour of the leaves was more
Like stems of yellow corn that grow
Through all the gold June meadow’s floor.

The warm smell of the fruit was good
To feed on, and the split green wood,
With all its bearded lips and stains
Of mosses in the cloven veins,
Most pleasant, if one lay or stood
In sunshine or in happy rains.

There were four apples on the tree,
Red stained through gold, that all might see
The sun went warm from core to rind;
The green leaves made the summer blind
In that soft place they kept for me
With golden apples shut behind.

The leaves caught gold across the sun,
And where the bluest air begun,
Thirsted for song to help the heat;
As I to feel my lady’s feet
Draw close before the day were done;
Both lips grew dry with dreams of it.

In the mute August afternoon
They trembled to some undertune
Of music in the silver air;
Great pleasure was it to be there
Till green turned duskier and the moon
Coloured the corn-sheaves like gold hair.

That August time it was delight
To watch the red moons wane to white
’Twixt grey seamed stems of apple-trees;
A sense of heavy harmonies
Grew on the growth of patient night,
More sweet than shapen music is.

But some three hours before the moon
The air, still eager from the noon,
Flagged after heat, not wholly dead;
Against the stem I leant my head;
The colour soothed me like a tune,
Green leaves all round the gold and red.

I lay there till the warm smell grew
More sharp, when flecks of yellow dew
Between the round ripe leaves had blurred
The rind with stain and wet; I heard
A wind that blew and breathed and blew,
Too weak to alter its one word.

The wet leaves next the gentle fruit
Felt smoother, and the brown tree-root
Felt the mould warmer: I too felt
(As water feels the slow gold melt
Right through it when the day burns mute)
The peace of time wherein love dwelt.

There were four apples on the tree,
Gold stained on red that all might see
The sweet blood filled them to the core:
The colour of her hair is more
Like stems of fair faint gold, that be
Mown from the harvest’s middle floor.

"Degrees of Gray in Phillipsburg" - Richard Hugo

You might come here Sunday on a whim.   
Say your life broke down. The last good kiss   
you had was years ago. You walk these streets   
laid out by the insane, past hotels   
that didn’t last, bars that did, the tortured try   
of local drivers to accelerate their lives.   
Only churches are kept up. The jail   
turned 70 this year. The only prisoner   
is always in, not knowing what he’s done.

The principal supporting business now   
is rage. Hatred of the various grays   
the mountain sends, hatred of the mill,   
The Silver Bill repeal, the best liked girls   
who leave each year for Butte. One good   
restaurant and bars can’t wipe the boredom out.   
The 1907 boom, eight going silver mines,   
a dance floor built on springs—
all memory resolves itself in gaze,
in panoramic green you know the cattle eat   
or two stacks high above the town,   
two dead kilns, the huge mill in collapse   
for fifty years that won’t fall finally down.

Isn’t this your life? That ancient kiss
still burning out your eyes? Isn’t this defeat
so accurate, the church bell simply seems
a pure announcement: ring and no one comes?   
Don’t empty houses ring? Are magnesium   
and scorn sufficient to support a town,   
not just Philipsburg, but towns
of towering blondes, good jazz and booze   
the world will never let you have
until the town you came from dies inside?

Say no to yourself. The old man, twenty   
when the jail was built, still laughs   
although his lips collapse. Someday soon,   
he says, I’ll go to sleep and not wake up.   
You tell him no. You’re talking to yourself.   
The car that brought you here still runs.   
The money you buy lunch with,
no matter where it’s mined, is silver   
and the girl who serves your food
is slender and her red hair lights the wall.

- Richard Hugo

James Wright - "The Journey"

Anghiari is medieval, a sleeve sloping down   
A steep hill, suddenly sweeping out
To the edge of a cliff, and dwindling.
But far up the mountain, behind the town,   
We too were swept out, out by the wind,   
Alone with the Tuscan grass.

Wind had been blowing across the hills
For days, and everything now was graying gold   
With dust, everything we saw, even
Some small children scampering along a road,   
Twittering Italian to a small caged bird.   
We sat beside them to rest in some brushwood,   
And I leaned down to rinse the dust from my face.

I found the spider web there, whose hinges   
Reeled heavily and crazily with the dust,
Whole mounds and cemeteries of it, sagging   
And scattering shadows among shells and wings.   
And then she stepped into the center of air   
Slender and fastidious, the golden hair
Of daylight along her shoulders, she poised there,   
While ruins crumbled on every side of her.   
Free of the dust, as though a moment before   
She had stepped inside the earth, to bathe herself.

I gazed, close to her, till at last she stepped   
Away in her own good time.

Many men
Have searched all over Tuscany and never found   
What I found there, the heart of the light   
Itself shelled and leaved, balancing   
On filaments themselves falling. The secret
Of this journey is to let the wind   
Blow its dust all over your body,
To let it go on blowing, to step lightly, lightly
All the way through your ruins, and not to lose
Any sleep over the dead, who surely   
Will bury their own, don’t worry.

- James Wright

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”