2024-11-06

 
--Rae Armantrout

for WCW

Sorrow is my corner store
where jack-o’-lantern balloons
get high on the last helium.

The endcap is gold today
with numbered bags
of Werther’s Original.

No one is Werther.

Last night a newscaster
mentioned an “elderly victim.”
Don’t call me that.

I’m old
and obdurate.

 


2024-11-04

 
[ November ; Jacek Yerka ]



2024-11-02


--Maitreyabandhu

He saw a blue light entering his heart
coming from a man he couldn’t see
but knew was standing in the stars above
the playing field behind his house. The light
came like a curl of candle smoke and lit
a cooking-apple tree inside his head
where he’d built a den and brought flowers
in a broken mug without its handle.
He could see the usual things – the laurel hedge,
the path that marked the border of his world –
but no river murmured powerful thoughts,
no wind of meaning blew among the stars,
no nature’s heart beat full against his own,
just apple branches lit up in the dark.

 


2024-10-31

 
--Maitreyabandhu

Strange that you should come
like that, without any form at all,
carrying no symbolic implements,
without smile or frown
or any commotion,
as if you had been there all the time,
like a pair of gloves left in a pocket.

As if I had been looking that way,
into the wide blue yonder, and you were
beside me, enduring my hard luck stories
with infinite patience. Not even waiting –
the tree outside my window
doesn’t wait, nor the ocean-wedge
with its new, precise horizon – just there
like the shadow of a church

or a quiet brother.
And how I saw you, in the mess of things,
was as a slant of grey,
the perfect grey of house dust,
an absolute neutral, with no weaving,
no shimmer of cobalt
and light-years away from Byzantium.

Grey. And I want to add, like light,
as if a skylight opened in my skull,
and into the darkness fell
a diagonal of pure Bodmin Moor.
But even that’s too bright,
too world-we’re-busy-in.
Call it ‘dust’ then, or the bloom
of leaf-smoke from an autumn fire.


2024-10-29

 
--Maitreyabandhu

The man was sitting by the kitchen window.
Outside, the trees were full of nervous birds,
nodding their heads or flicking up their tails
in gestures of defiance. A pheasant walked
along a hedge, his copper coat restrained,
even the sun held back behind the trees.
The man was watching ladybirds climb up
the windowpane: so many on the walls,
so many huddled near the lights! They fell
down on their backs as if they'd taken ether.

The house stood in the corner of a field
with woodpigeons, always woodpigeons, in twos
or squadrons in the trees; and a robin singing
from a post, his song as bright as teaspoons.
The sun rose in pale and broken stripes,
then set in a perfect orange ball. Nothing
happened inside the house. The man took off
his glasses when he slept, drank two strong cups
of coffee every day, and walked around
the garden with his scarf around his neck.

He wanted signs of life: the sound of someone
closing a drawer or slipping on a jacket;
but no-one pressed the gravel drive or opened
the kitchen door. A patch of sunlight swivelled
round the room, brightening the kettle's spout.
The man lay down and wrote inspiring things
on little scraps of card. He thought he heard
a hare snuffling in the grass, an owl
hooting in the night. But then the taps
ran dry and the blue pilot light went out.


2024-10-27

 
[ Wood with Beech Trees ; Piet Mondrian (1899) ]


2024-10-25

 
--Maurice Manning

A gang of crows was chasing off
a hawk. The little stream was laughing
and shushing itself. The hawk's reflection
briefly blurred a pool of water
and then the pool went back to waiting
for nothing or the next reflection.
The maple trees were yellow and red,
but redder farther up the stream.
I wanted especially to share
the cloud of redder leaves upstream
with the little girl I had with me,
but she was sleeping. Walking home,
I thought the willow trees around
the pond were standing up like brooms
to sweep the sky. That was the voice
in my head describing the willow trees
as brooms, a thought to stop the world
for a moment's moment. She might have thought
the willows looked like lashes winking
around a deep-green eye,
but as I say, she was asleep
for this excursion in the world.
And she hasn't told me yet about
the voice inside her head. For the moment
that voice is learning how to listen
to its own mysterious silence. I expect
it's like a sanctuary in there
with a candle glowing at the back of the room
and violets dotting the grass outside.


2024-10-23

 
--Maurice Manning

You wouldn't have believed it, how
the man, a little touched perhaps,

set his hands together and prayed
for happiness, yet not his own;

he meant his people, by which he meant
not people really, but trees and cows,

the dirty horses, dogs, the fox
who lived at the back of his place with her kits,

and the very night who settled down
to rock his place to sleep, the place

he tried so hard to tend he found
he mended fences in his sleep.

He said to the you above, who, let's
be honest, doesn't say too much,

I need you now up there to give
my people happiness, you let

them smile and know the reason; hear
my prayer, Old Yam. The you who's you

might laugh at that, and I agree,
it's funny to make a prayer like that,

the down-home words and yonder reach
of what he said; and calling God

the Elder Sweet Potato, shucks,
that's pretty funny, and kind of sad.


2024-10-21

 
--Maurice Manning

Well, this is nothing new, nothing
to rattle the rafters in the noggin,

this moment of remembering
and its kissing cousin the waking dream.

I wonder if I'll remember it?
I've had a vision of a woman

reclining underneath a tree:
she's about half naked and little by little

I'm sprinkling her burial mounds
with grass. This is the kind of work

I like. It lets me remember, and so
I do. I remember the time I laid

my homemade banjo in the fire
and let it burn. There was nothing else

to burn and the house was cold;
the cigar box curled inside the flames.

But the burst of heat was over soon,
and once the little roar was done,

I could hear the raindrops plopping up
the buckets and kettles, scattered out

like little ponds around the room.
It was night and I was a boy, alone

and left to listen to that old music.
I liked it. I've liked it ever since.

I loved the helpless people I loved.
That's what a little boy will do,

but a grown man will turn it all
to sadness and let it soak his heart

until he wrings it out and dreams
about another kind of love,

some afternoon beneath a tree.
Burial mounds—that's hilarious.


2024-10-19

[ from Tales of Mystery and Imagination by Edgar Allan Poe; Harry Clarke ]


2024-10-17

 
--Li-Young Lee

Li-Young, don’t feel lonely
when you look up
into great night and find
yourself the far face peering
hugely out from between
a star and a star. All that space
the nighthawk plunges through,
homing, all that distance beyond embrace,
what is it but your own infinity.
 
And don’t be afraid
when, eyes closed, you look inside you
and find night is both
the silence tolling after stars
and the final word
that founds all beginning, find night,
 
abyss and shuttle,
a finished cloth
frayed by the years, then gathered
in the songs and games
mothers teach their children.
 
Look again
and find yourself changed
and changing, now the bewildered honey
 
fallen into your own hands,
now the immaculate fruit born of hunger.
Now the unequaled perfume of your dying.
And time? Time is the salty wake
of your stunned entrance upon
no name.


2024-10-15

 
--Li-Young Lee

That scraping of iron on iron when the wind   
rises, what is it? Something the wind won’t   
quit with, but drags back and forth.
Sometimes faint, far, then suddenly, close, just   
beyond the screened door, as if someone there   
squats in the dark honing his wares against   
my threshold. Half steel wire, half metal wing,   
nothing and anything might make this noise   
of saws and rasps, a creaking and groaning
of bone-growth, or body-death, marriages of rust,   
or ore abraded. Tonight, something bows
that should not bend. Something stiffens that should   
slide. Something, loose and not right,   
rakes or forges itself all night.


2024-10-13

 
--Li-Young Lee

1.
Through the night   
the apples
outside my window   
one by one let go   
their branches and   
drop to the lawn.
I can’t see, but hear
the stem-snap, the plummet
through leaves, then
the final thump against the ground.

Sometimes two   
at once, or one   
right after another.
During long moments of silence
I wait
and wonder about the bruised bodies,   
the terror of diving through air, and   
think I’ll go tomorrow
to find the newly fallen, but they
all look alike lying there
dewsoaked, disappearing before me.

2.
I lie beneath my window listening   
to the sound of apples dropping in

the yard, a syncopated code I long to know,
which continues even as I sleep, and dream I know

the meaning of what I hear, each dull   
thud of unseen apple-

body, the earth   
falling to earth

once and forever, over   
and over.


2024-10-11

 
[ October Evening ; Leon Spilliaert (1912) ]
 

2024-10-09

 
--Ursula K. Le Guin

Years do odd things to identity.
What does it mean to say
I am that child in the photograph
at Kishamish in 1935?
Might as well say I am the shadow
of a leaf of the acacia tree
felled seventy years ago
moving on the page the child reads.
Might as well say I am the words she read
or the words I wrote in other years,
flicker of shade and sunlight
as the wind moves through the leaves.


2024-10-07

 
--Ross Gay

If you find yourself half naked
and barefoot in the frosty grass, hearing,
again, the earth's great, sonorous moan that says
you are the air of the now and gone, that says
all you love will turn to dust,
and will meet you there, do not
raise your fist. Do not raise
your small voice against it. And do not
take cover. Instead, curl your toes
into the grass, watch the cloud
ascending from your lips. Walk
through the garden's dormant splendor.
Say only, thank you.
Thank you.



2024-10-05

 

You'll be driving along depressed when suddenly
a cloud will move and the sun will muscle through
and ignite the hills. It may not last. Probably
won't last. But for a moment the whole world
comes to. Wakes up. Proves it lives. It lives—
red, yellow, orange, brown, russet, ocher, vermilion,
gold. Flame and rust. Flame and rust, the permutations
of burning. You're on fire. Your eyes are on fire.
It won't last, you don't want it to last. You 
can't stand any more. But you don't want it to stop. 
It's what you've come for. It's what you'll
come back for. It won't stay with you, but you'll 
        remember that it felt like nothing else you've felt
        or something you've felt that also didn't last.

--from Leaves; Lloyd Schwartz


2024-10-03

 
[ Landscape with Trees ; Vincent van Gogh ]
 

2024-10-01


--Dmitry Blizniuk

Here, in the countryside, death is simple and unpretentious.
It goes without makeup, and
a chipped log rattles
under a dented axe.
This low, big-boned tree stump
(be careful, watch your step)
is a guillotine for chickens.
Feathers and down are stuck in the notches in the wood,
like last unlit cigarettes before execution,
or unsent letters to beloved ones…
And autumn birches pose nude around the house:
armfuls of freckles are thrown up to the clouds
and hang there,
on the long, equine face of October.


 

2024-09-29

 
--Dmitry Blizniuk

There’s something about destiny
that resembles a dentist’s work:
sterility, perseverance, carefulness,
consistent cruelty,
disposable whiteness.
One day, you enter the kitchen and suddenly realize
that you’ve lost forever
this smiley summer,
this milky cloudy planet,
this slim nervous woman with green eyes.
And you put on the final movement of the Moonlight Sonata,
having no faith at all in art.
You throw a lousy witch into a fire,
expecting her to spit, swear, kick her legs.
Hah! The angered melody will soar up,
emitting smoke, the smell of sackcloth,
and the fume of uncombed felty gold of the hair.
And frightened, you close yourself off,
but the music will seep in even through the shuttered windows.
Its poisonous vapor will worm its way in.
Your body will start sweating at once,
getting covered with small drops of fright,
like hot chicken meat in a clear bag.
Oh, great music,
you work wonders
and nightmares.


2024-09-27

 
--Dmitry Blizniuk

Someone walks within the word Autumn,
walks on high red heels,
one floor above,
one understanding above.
Someone stops at the window,
pulls the curtains open,
and secretly admires the suntanned horsemen of the falling leaves
that prance, rearing up on their hind legs, golden and flared.
The willow at the lamp post has lost its mind;
it mourns with bowed head,
dropping green saliva on the ants.
Then, later,
late at night,
the moon will come up,
it will be thin like an eyelid —
a teacher with a birthmark on her face
will take a crowd of stars-second-graders
on a trip above the night city.


2024-09-25

 
[ Enso (the flowers smell but disappear) ; Zenkei Shibayama ]
 


2024-09-23

 
When the immense drugged universe explodes
In a cascade of unendurable colour
And leaves us gasping naked,
This is no more than the ectasy of chaos:
Hold fast, with both hands, to that royal love
Which alone, as we know certainly, restores
Fragmentation into true being.

--Robert Graves; Ecstasy of Chaos


2024-09-21

 
--Donald Justice

The lights in the theater fail. The long racks
Of costumes abandoned by the other dancers
Trouble Celeste. The conductor asks
If she is sad because autumn is coming on,

But when autumn comes she is merely pregnant and bored.
On her way back from the holidays, a man
Who appears to have no face rattles the door
To her compartment. How disgusting, she thinks;

How disgusting it always must be to grow old.
Dusk falls, and a few drops of rain.
On the train window trembles the blurred
Reflection of her own transparent beauty,

And through this, beautiful ruined cities passing,
Dark forests, and people everywhere
Pacing on lighted platforms, some
Beating their children, some apparently dancing.

The costumes of the dancers sway in the chill darkness.
Now sinking into sleep is like sinking again
Into the lake of her youth. Her parents
Lean from the rail of a ferryboat waving, waving,

As the boat glides farther out across the waves.
No one, it seems, is meeting her at the station.
The city is frozen. She warms herself
In the pink and scented twilight of a bar.

The waiter who serves her is young. She nods assent.
The conversation dies in bed. Later,
She hurries off to rehearsal. In the lobby,
Dizzy still with the weight of her own body,

She waits, surrounded by huge stills of herself
And bright posters announcing events to come.
Her life—she feels it closing about her now
Like a small theater, empty, without lights.


2024-09-19

 
--James Davis May

It’s rare, but it happens:
A waterspout forms near land
and raptures the fish to the sky.

We’re not quite sure what happens next.
Well, we know that many die, 
that some are shredded by the winds,

that some are frozen into chunks of ice, 
and that some, some survive
even after the cyclone stops,

and they exist up there a while. 
Maybe they’re pummeled 
but supported by the currents

in the clouds, the way you keep
a tennis ball in the air
with a single racket—kept up 

until they aren’t and fall,
and even then some survive
to drown on land. What must it be like

to die after that ascension?
Before, life was so much hunger 
and short-lived satisfaction, 

but mostly buoyancy 
without knowing that word 
or any word. Yes, they’re dumb, 

but surely they know or sense 
something is ending,
one eye focused on the ground

the other on the lost sky—   
and the water an absence, 
a memory they can’t remember,

while that human sound of wonder
starts up when they’re found
and can’t, I imagine, help them. 


2024-09-17

 
[ Dream ; Yasuo Kuniyoshi (1922) ]
 

2024-09-15

 
--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.


2024-09-13

 
--William E. Stafford

You will walk toward the mirror,
closer and closer, then flow
into the glass. You will disappear
some day like that, being
more real, more true, at last.

You learn what you are, but slowly,
a child, a woman, a man,
a self often shattered, and pieces
put together again, till the end:
you halt, the glass opens--

A surface, an image, a past.




2024-09-11

 
Everything that happens is the message:
you read an event and be one and wait,
like breasting a wave, all the while knowing
by living, though not knowing how to live...
And sometimes no one is calling but we turn up
eye and ear—suddenly we fall into
sound before it begins, the breathing
so still it waits there under the breath—
And then the green of leaves calls out, hills
where they wait or turn, clouds in their frenzied
stillness unfolding their careful words:
“Everything counts. The message is the world.”

— William Stafford, from "A Message From Space"


2024-09-09

 
[ Houses ; Vasile Dobrian (1932) ]