Wednesday, May 7, 2014

"This Is My Heart," by Joy Harjo

This is my heart. It is a good heart.
Weaves a membrane of mist and fire.
When we speak love in the flower world
My heart is close enough to sing to you in a language too clumsy
for human words.
This is my head. It is a good head.
Whirs inside with a swarm of worries.
What is the source of this mystery?
Why can’t I see it right here, right now,
as real as these hands hammering
the world together?
This is my soul. It is a good soul.
It tells me, “Come here, forgetful one.”
And we sit together.
We cook a little something to eat,
then a sip of something sweet,
for memory, for memory.
This is my song. It is a good song.
It walked forever the border of fire and water,
climbed ribs of desire to sing to you.
Its new wings quiver with vulnerability.
Come lie next to me.
Put your head here.
My heart is close enough to sing.

Monday, May 5, 2014

Collected poems of William Carlos Williams

Marriage

William Carlos Williams1883 - 1963
So different, this man
And this woman:
A stream flowing 
In a field.

A Love Song

William Carlos Williams1883 - 1963
What have I to say to you
When we shall meet?
Yet—
I lie here thinking of you.

The stain of love
Is upon the world.
Yellow, yellow, yellow,
It eats into the leaves,
Smears with saffron
The horned branches that lean
Heavily
Against a smooth purple sky.

There is no light—
Only a honey-thick stain
That drips from leaf to leaf
And limb to limb
Spoiling the colours
Of the whole world.

I am alone.
The weight of love
Has buoyed me up
Till my head
Knocks against the sky.

See me!
My hair is dripping with nectar—
Starlings carry it
On their black wings.
See, at last
My arms and my hands
Are lying idle.

How can I tell
If I shall ever love you again
As I do now?

Winter Trees

William Carlos Williams1883 - 1963
All the complicated details
of the attiring and
the disattiring are completed!
A liquid moon
moves gently among
the long branches.
Thus having prepared their buds
against a sure winter
the wise trees
stand sleeping in the cold.

Queen-Anne’s-Lace

William Carlos Williams1883 - 1963
Her body is not so white as
anemone petals nor so smooth—nor
so remote a thing. It is a field
of the wild carrot taking
the field by force; the grass
does not raise above it.
Here is no question of whiteness,
white as can be, with a purple mole
at the center of each flower.
Each flower is a hand’s span
of her whiteness. Wherever
his hand has lain there is
a tiny purple blemish. Each part
is a blossom under his touch
to which the fibres of her being
stem one by one, each to its end,
until the whole field is a
white desire, empty, a single stem,
a cluster, flower by flower,
a pious wish to whiteness gone over—
or nothing.

Smell

William Carlos Williams1883 - 1963
Oh strong-ridged and deeply hollowed nose of mine! what will you not be smelling? What tactless asses we are, you and I, boney nose, always indiscriminate, always unashamed, and now it is the souring flowers of the bedraggled poplars: a festering pulp on the wet earth beneath them. With what deep thirst we quicken our desires to that rank odor of a passing springtime! Can you not be decent? Can you not reserve your ardors for something less unlovely? What girl will care for us, do you think, if we continue in these ways? Must you taste everything? Must you know everything? Must you have a part in everything?

To a Poor Old Woman

William Carlos Williams1883 - 1963
munching a plum on 
the street a paper bag
of them in her hand

They taste good to her
They taste good 
to her. They taste
good to her

You can see it by
the way she gives herself
to the one half
sucked out in her hand

Comforted
a solace of ripe plums
seeming to fill the air
They taste good to her

This Is Just To Say

William Carlos Williams1883 - 1963
I have eaten
the plums
that were in
the icebox

and which
you were probably
saving
for breakfast

Forgive me
they were delicious
so sweet
and so cold

The Descent

William Carlos Williams1883 - 1963
The descent beckons
              as the ascent beckoned.                 
                               Memory is a kind      
of accomplishment,                          
              a sort of renewal
                               even
an initiation, since the spaces it opens are new places
              inhabited by hordes
                               heretofore unrealized,
of new kinds—
              since their movements
                               are toward new objectives
(even though formerly they were abandoned).

No defeat is made up entirely of defeat—since
the world it opens is always a place
              formerly
                               unsuspected. A
world lost,
              a world unsuspected,
                               beckons to new places
and no whiteness (lost) is so white as the memory
of whiteness     .

With evening, love wakens
              though its shadows
                               which are alive by reason
of the sun shining—
              grow sleepy now and drop away
                               from desire     .

Love without shadows stirs now
              beginning to awaken
                               as night
advances.

The descent 
              made up of despairs
                               and without accomplishment
realizes a new awakening:
                               which is a reversal
of despair.
              For what we cannot accomplish, what
is denied to love,
              what we have lost in the anticipation—
                               a descent follows,
endless and indestructible     .

Springtime

William Carlos Williams1883 - 1963
Sorrow is my own yard
where the new grass
flames as it has flamed
often before but not
with the cold fire
that closes round me this year.
Thirtyfive years
I lived with my husband.
The plumtree is white today
with masses of flowers.
Masses of flowers
load the cherry branches
and color some bushes
yellow and some red
but the grief in my heart
is stronger than they
for though they were my joy
formerly, today I notice them
and turn away forgetting.
Today my son told me
that in the meadows,
at the edge of the heavy woods
in the distance, he saw
trees of white flowers.
I feel that I would like
to go there
and fall into those flowers
and sink into the marsh near them.

For the Poem Paterson [3. St. Valentine]

William Carlos Williams1883 - 1963
A woman’s breasts
for beauty
A man’s delights
for charm

The rod and cups
of duty
to stave us
from harm!

A woman’s eyes
a woman’s 
thighs and a man’s
straight look:

Cities rotted to
pig-sties
will stand up by
that book!

Landscape With The Fall of Icarus

William Carlos Williams1883 - 1963
According to Brueghel
when Icarus fell
it was spring

a farmer was ploughing
his field
the whole pageantry

of the year was
awake tingling
near

the edge of the sea
concerned 
with itself

sweating in the sun
that melted
the wings’ wax

unsignificantly
off the coast
there was

a splash quite unnoticed
this was
Icarus drowning


"Map Rappin'," by Patricia Smith

for John Coltrane, and forever for Bruce

I always shudder when I pray.

Mama say the Lord enters you in stages,
first like a match lit under your skin,
then like an animal biting through bone
with soft teeth. Mama say lie still
and wait for glory to consume you,
wrap its way into your map
like a lover had his finger on paradise,
knew the way with all his heart, then lost it.
I always shudder when I pray, 
so your name must be a prayer.
Saying your name colors my mouth,
frees loose this river, changes my skin,
turns my spine to string. I pray all the time now.
Amen.

Try not to touch me while I tell you this.
Try not to brush the thick tips of your fingers
against my throat while my throat moves
telling this story. Don't suddenly squeeze
my bare shoulder or travel your mouth
along the flat swell of my belly.
Don't bite at the hollow in my back,
whisper touch my ankles,
or match our skin like spoons.

Don't punctuate this rambling sentence
with your tongue or trace your name
on the backs of my legs,
please don't walk the question
of your breath along my thighs
or draw a map on my quivering breastbone
guiding me to you,
me to you,
me to you,
don't play me
that way

don’t play me

that way

the way the saxman plays his woman,
blowing into her mouth till she cries,
allowing her no breath of her own.
Don’t play me that way, baby, the way
the saxman plays his lady,
that strangling, soft murder—notes like bullets,
riffs like knives and the downbeat slapping
into her. and she sighs.
into her. and she cries.
into her.
and she whines like the night turning.

Let me sit here on the bar stool sipping something bitter.
Let me cross my legs,
slow,
like the colored girls do,
and let me feel your eyes go there.
Let me feed on the glory and grow fat.

Meanwhile, lover, let's fill this wicked church with music.
Let me lean into this story, for once,
without your mouth on me. The music a lit match
under my skin and I dance,
all legs and thunderous and heels too high,
I dance cheap perfume and black nail polish.
Sharkskin congregation, heads pressed,
attitudes too tight, won't scream
until it gets to be too much, won't beg for mercy
until I wreck the landscape with my hips.
Bar stools filling, everybody waiting for the glory
to move through me, fill me with hosannas,
rock me with hallelujahs, to shake these bored bones.
They wait for you, supreme love, to pull me out
onto the dance floor, make me kick my heels above my head.
High heels 'bove my nappy head.

While they wait, I will dance with the saxman,
I will shimmer as he presses my keys.
Him and me boppin', we are wicked church.
So don't play, do not play, did you hear me tell you
not to play me that way?
(The way I pray to be played.)

Mama say the Lord enters you in stages
(Play me that way)
First like a lit match under your skin
(Play me that way) 
Then like an animal biting through bone with soft teeth
(Play me)
Mama says lie still and wait for glory
(that way)
to consume me
(that way)
Press my keys
(that way)
Press my keys
(that way)

Don't pay me no mind, lover.
I always shudder

when I pray.


https://www.youtube.com/watch?v=oFZrEFC5BbY

https://www.youtube.com/watch?v=HI0eRhnRUVs

"I am a light you could read by," by Marge Piercy

A flame from each finger,
my hands are candelabra,
my hair stands in a torch.
Out of my mouth a long flame hovers.
Can’t anyone see, handing me a newspaper?
Can’t anyone see, stamping my book overdue?
I walk blazing along Sixth Avenue,
burning gas blue I buy subway tokens,
a bouquet of coals, I cross the bridge.
Invisible I singe strangers and pass.
Now I am on your street.
How your window flickers.
I come bringing my burning body
like an armful of tigerlilies,
like a votive lantern,
like a roomful of tassels and leopards and grapes
for you to come into,
dance in my burning
and we will flare up together like stars
and fall to sleep. 

"The Guardianship," by Toko Pa

Do not be ready before your time.
There’s no knowing what symmetry
is marshalling itself below this confusion.
First the long attentiveness of listening
must be paid. Don’t brave your way
out of this husk while it serves
to protect your impressionability.
Let yourself be kept a while longer
in these origins
where you are mine alone
and I am only yours.
Let something sweet be made of our secret.
Put not your offering into the world too soon.
Let it ripen in the guardianship
of your trepidation.
Let this fallow time be stretched
For it is in this unreadiness
that beauty takes its form.
Live a season longer in this holy refuge.
Because soon what nectar
is made of our union
will be for all the world to drink,
or not drink.
And you will need to remember what grace
was allowed only
by your long staying hidden.

Read more at: toko-pa.com

"The Way It Is," by William Stafford

There’s a thread you follow. It goes among
things that change.  But it doesn’t change.
People wonder about what you are pursuing.
You have to explain about the thread.
But it is hard for others to see.
While you hold it you can’t get lost.
Tragedies happen; people get hurt
or die; and you suffer and get old.
Nothing you do can stop time’s unfolding.
You don’t ever let go of the thread.

Sunday, May 4, 2014

"Given" and "Pericardium," by Joanna Klink

Given

And I carried to that emptiness
between us the birds
that had been calling out
 
all night. I carried an old
bicycle, a warm meal,
some time to talk.
 
I would have brought
them to you sooner
but was afraid your own
 
hopelessness would keep you
crouched there. If you spring up,
let it not be against me
 
but like a weed or a
fountain. I grant you
the hard spine of your
 
childhood. I grant you
the frowning arc of this morning.
If I could I would grant you
 
a bright throat and even
brighter eyes, this whole hill
of olive trees, its
 
calmness of purpose.
Let me not forget
ever what I owe you.
 
I have loved the love
you felt for those gardens
and I would grant you
 
the always steadying
presence of seeds.
I bring to that trouble
 
between us a bell that might
blur into air. I bring the woods
and a sense of what lives there.
 
Like you, I turn to sunlight for
answers. Like you, I am
not sure where it has gone.
 

Pericardium

Am I not alone, as I thought I was, as I thought
The day was, the hour I walked into, morning
When I felt night fly from my chest where prospect had
Slackened, and close itself off, understanding, as I thought I did,
That the ground would resist my legs and not let them
Break nor let them be released into air as my heart, in its
Muscle, might be released from the body that surrounds it, 
Like someone who, placing a hand on a shoulder’s 
Blade, felt a life move inside an hour and a day 
Break from the day the hour meant something more than weakness, 
More than fear, and flew forward into the depths of 
Prospect, your arms, where you’d been, before me, waiting
For me, the way the body has always been waiting for the heart to sense  
It is housed, it is needed, it will not be harmed.
 

Collected poems of August Kleinzahler

As You Never Bothered to Return My Call

August Kleinzahler
What I had wanted was to be chaste,
sober and uncomfortable
for a sprawling episode on a beach somewhere
dirty, perennially out of fashion;
let the smell of cocoa butter drive deep memory wild
as the sun went down, a parti-colored blur,
examined through a bottle of pop
some kid gave up on only half-way through
and left to go warm in the sand.

The train ride would be long and hot,
and you, you’ve had it with men.
Me . . .
        I’m sickened by the pronoun.
Tenderness seems as far away as Sioux City
and besides, it would have cost too much.
But you should have called,

if only since a preposterous little episode like this
is just the stuff to scare off extra friends,
like soaking their laps with corrosive fizz.
And us . . .
              What an impertinence, us.
We could have played gin rummy and taken a stroll
into town or along the boardwalk, maybe,
                                      with dear old Godzilla,
the first one, the best one, the 1954 one,
reprising his role this one last time, raising himself up
over the horizon at dusk,
and hurrying us to a place we never would have
dreamt of
             going.


Meat

August Kleinzahler
How much meat moves
Into the city each night
The decks of its bridges tremble
In the liquefaction of sodium light
And the moon a chemical orange

Semitrailers strain their axles
Shivering as they take the long curve
Over warehouses and lofts
The wilderness of streets below
The mesh of it
With Joe on the front stoop smoking
And Louise on the phone with her mother

Out of the haze of industrial meadows
They arrive, numberless
Hauling tons of dead lamb
Bone and flesh and offal
Miles to the ports and channels
Of the city’s shimmering membrane
A giant breathing cell
Exhaling its waste
From the stacks by the river
And feeding through the night


The Strange Hours Travelers Keep

August Kleinzahler
The markets never rest
Always they are somewhere in agitation
Pork bellies, titanium, winter wheat
Electromagnetic ether peppered with photons
Treasure spewing from Unisys A-15 J mainframes
Across the firmament
Soundlessly among the thunderheads and passenger jets
As they make their nightlong journeys
Across the oceans and steppes

Nebulae, incandescent frog spawn of information
Trembling in the claw of Scorpio
Not an instant, then shooting away
Like an enormous cloud of starlings

Garbage scows move slowly down the estuary
The lights of the airport pulse in morning darkness
Food trucks, propane, tortured hearts
The reticent epistemologist parks
Gets out, checks the curb, reparks
Thunder of jets
Peristalsis of great capitals

How pretty in her tartan scarf
Her ruminative frown
Ambiguity and Reason
Locked in a slow, ferocious tango
Of if not, why not


Collected poems of Sharon Olds

"Primitive"

I have heard about the civilized, 
the marriages run on talk, elegant and honest, rational. But you and I are 
savages. You come in with a bag, 
hold it out to me in silence. 
I know Moo Shu Pork when I smell it 
and understand the message: I have 
pleased you greatly last night. We sit 
quietly, side by side, to eat, 
the long pancakes dangling and spilling, 
fragrant sauce dripping out, 
and glance at each other askance, wordless, 
the corners of our eyes clear as spear points 
laid along the sill to show 
a friend sits with a friend here. 

"Voices"

                (for Lucille)

Our voices race to the towers, and up beyond
the atmosphere, to the satellite,
slowly turning, then back down
to another tower, and cell. Quincy, 
Toi, Honoree, Sarah, Dorianne, 
Galway. When Athena Elizalex calls, 
I tell her I’m missing Lucille’s dresses,
and her shoes, and Elizabeth says “And she would say,
“Damn! I do look good!'"  After we
hang up, her phone calls me again
from inside her jacket, in the grocery store
with her elder son, eleven, I cannot                        
hear the words, just part of the matter
of the dialogue, it’s about sugar, I am
in her pocket like a spirit. Then I dream it — 
looking at an illuminated city 
from a hill, at night, and suddenly
the lights go out — like all the stars
gone out.  “Well, if there is great sex
in heaven," we used to say, “or even just
sex, or one kiss, what’s wrong
with that?!”  Then I’m dreaming a map of the globe, with
bright pinpoints all over it —
in the States, the Caribbean, Latin America,
in Europe, and in Africa —
everywhere a poem of hers is being
read.  Small comfort.  Not small
to the girl who curled against the wall around the core
of her soul, keeping it alive, with long
labor, then unfolded into the hard truths, the
lucid beauty, of her song.            

                                                       15 Feb ‘10
"Blowjob (Vulgar Slang)"
I never thought of it as a line of work.
I did not think of myself, with my lunch pail,
going to the job and punching my time clock in and out.
Surely that act was not divided 
into management, who were owners,
and staff, who had no share in the profit.
"Job," 
is that what they thought?
That it was boring for us and we couldn't wait 'til we could break for lunch?
They thought that they were rulers commanding us against our will,
there was a thrill in that?
A payback for having to do what mom says when dad's at work
blowing his master?
So that the one who was being given suck after hours
already gave at the office?
It's weird thinking about it from a bosses point of view:
looking down at the working head, 
the alienated labor, 
looking down the pay scale, too.
If they were both engaged in the same act
it wouldn't be a job, would it,
but play. 
Play in the house of the gods of pleasure.
At least "blow" is not a word from commerce
but the golden rule of music:
know, as you would be known.
Blow, as you would be blown.

Listen, at Poets.org



Collected poems of Anne Sexton

"Her Kind"

I have gone out, a possessed witch,
haunting the black air, braver at night;
dreaming evil, I have done my hitch
over the plain houses, light by light:
lonely thing, twelve-fingered, out of mind.
A woman like that is not a woman, quite.
I have been her kind.

I have found the warm caves in the woods,
filled them with skillets, carvings, shelves,
closets, silks, innumerable goods;
fixed the suppers for the worms and the elves:
whining, rearranging the disaligned.
A woman like that is misunderstood.
I have been her kind.

I have ridden in your cart, driver,
waved my nude arms at villages going by,
learning the last bright routes, survivor
where your flames still bite my thigh
and my ribs crack where your wheels wind.
A woman like that is not ashamed to die.
I have been her kind.


"The Truth The Dead Know"

For my Mother, born March 1902, died March 1959
and my Father, born February 1900, died June 1959
Gone, I say and walk from church,
refusing the stiff procession to the grave,
letting the dead ride alone in the hearse.
It is June.  I am tired of being brave.

We drive to the Cape.  I cultivate
myself where the sun gutters from the sky,
where the sea swings in like an iron gate
and we touch.  In another country people die.

My darling, the wind falls in like stones
from the whitehearted water and when we touch
we enter touch entirely.  No one’s alone.
Men kill for this, or for as much.

And what of the dead?  They lie without shoes
in the stone boats.  They are more like stone
than the sea would be if it stopped.  They refuse
to be blessed, throat, eye and knucklebone.


"Wanting To Die"

Since you ask, most days I cannot remember.
I walk in my clothing, unmarked by that voyage.
Then the almost unnameable lust returns.

Even then I have nothing against life.  
I know well the grass blades you mention,
the furniture you have placed under the sun.

But suicides have a special language.
Like carpenters they want to know which tools.
They never ask why build.

Twice I have so simply declared myself,
have possessed the enemy, eaten the enemy,
have taken on his craft, his magic.

In this way, heavy and thoughtful,
warmer than oil or water,
I have rested, drooling at the mouth-hole.

I did not think of my body at needle point.
Even the cornea and the leftover urine were gone.
Suicides have already betrayed the body.

Still-born, they don’t always die,
but dazzled, they can’t forget a drug so sweet
that even children would look on and smile.

To thrust all that life under your tongue!--
that, all by itself, becomes a passion.
Death’s a sad Bone; bruised, you’d say,

and yet she waits for me, year after year,
to so delicately undo an old wound,
to empty my breath from its bad prison.

Balanced there, suicides sometimes meet,
raging at the fruit, a pumped-up moon,
leaving the bread they mistook for a kiss,

leaving the page of the book carelessly open,
something unsaid, the phone off the hook
and the love, whatever it was, an infection.


"Snow White And The Seven Dwarves"

No matter what life you lead
the virgin is a lovely number:
cheeks as fragile as cigarette paper,
arms and legs made of Limoges,
lips like Vin Du Rhône,
rolling her china-blue doll eyes
open and shut.
Open to say, 
Good Day Mama,
and shut for the thrust
of the unicorn.
She is unsoiled.
She is as white as a bonefish.

Once there was a lovely virgin
called Snow White.
Say she was thirteen.
Her stepmother,
a beauty in her own right,
though eaten, of course, by age,
would hear of no beauty surpassing her own.
Beauty is a simple passion,
but, oh my friends, in the end
you will dance the fire dance in iron shoes.
The stepmother had a mirror to which she referred--
something like the weather forecast--
a mirror that proclaimed 
the one beauty of the land.
She would ask,
Looking glass upon the wall,
who is fairest of us all?
And the mirror would reply,
You are the fairest of us all.
Pride pumped in her like poison.

Suddenly one day the mirror replied,
Queen, you are full fair, ‘tis true,
but Snow White is fairer than you.
Until that moment Snow White
had been no more important
than a dust mouse under the bed.
But now the queen saw brown spots on her hand
and four whiskers over her lip
so she condemned Snow White
to be hacked to death.
Bring me her heart, she said to the hunter,
and I will salt it and eat it.
The hunter, however, let his prisoner go
and brought a boar’s heart back to the castle.
The queen chewed it up like a cube steak.
Now I am fairest, she said,
lapping her slim white fingers.

Snow White walked in the wildwood
for weeks and weeks.
At each turn there were twenty doorways
and at each stood a hungry wolf,
his tongue lolling out like a worm.
The birds called out lewdly,
talking like pink parrots,
and the snakes hung down in loops,
each a noose for her sweet white neck.
On the seventh week
she came to the seventh mountain
and there she found the dwarf house.
It was as droll as a honeymoon cottage
and completely equipped with
seven beds, seven chairs, seven forks
and seven chamber pots.
Snow White ate seven chicken livers
and lay down, at last, to sleep.

The dwarfs, those little hot dogs,
walked three times around Snow White,
the sleeping virgin.  They were wise
and wattled like small czars.
Yes.  It’s a good omen,
they said, and will bring us luck.
They stood on tiptoes to watch
Snow White wake up.  She told them
about the mirror and the killer-queen
and they asked her to stay and keep house.
Beware of your stepmother,
they said.
Soon she will know you are here.
While we are away in the mines
during the day, you must not
open the door.

Looking glass upon the wall . . .
The mirror told
and so the queen dressed herself in rags
and went out like a peddler to trap Snow White.
She went across seven mountains.
She came to the dwarf house
and Snow White opened the door
and bought a bit of lacing.
The queen fastened it tightly
around her bodice,
as tight as an Ace bandage,
so tight that Snow White swooned.
She lay on the floor, a plucked daisy.
When the dwarfs came home they undid the lace
and she revived miraculously.
She was as full of life as soda pop.
Beware of your stepmother,
they said.
She will try once more.

Looking glass upon the wall. . .
Once more the mirror told
and once more the queen dressed in rags
and once more Snow White opened the door.
This time she bought a poison comb, 
a curved eight-inch scorpion,
and put it in her hair and swooned again.
The dwarfs returned and took out the comb
and she revived miraculously.
She opened her eyes as wide as Orphan Annie.
Beware, beware, they said,
but the mirror told,
the queen came,
Snow White, the dumb bunny,
opened the door
and she bit into a poison apple
and fell down for the final time.
When the dwarfs returned
they undid her bodice,
they looked for a comb,
but it did no good.
Though they washed her with wine
and rubbed her with butter
it was to no avail.
She lay as still as a gold piece.

The seven dwarfs could not bring themselves
to bury her in the black ground
so they made a glass coffin
and set it upon the seventh mountain
so that all who passed by
could peek in upon her beauty.
A prince came one June day
and would not budge.
He stayed so long his hair turned green
and still he would not leave.
The dwarfs took pity upon him
and gave him the glass Snow White--
its doll’s eyes shut forever--
to keep in his far-off castle.
As the prince’s men carried the coffin
they stumbled and dropped it
and the chunk of apple flew out
of her throat and she woke up miraculously.

And thus Snow White became the prince’s bride.
The wicked queen was invited to the wedding feast
and when she arrived there were
red-hot iron shoes,
in the manner of red-hot roller skates,
clamped upon her feet.
First your toes will smoke
and then your heels will turn black
and you will fry upward like a frog,
she was told.
And so she danced until she was dead,
a subterranean figure,
her tongue flicking in and out
like a gas jet.
Meanwhile Snow White held court,
rolling her china-blue doll eyes open and shut
and sometimes referring to her mirror
as women do.