In Flanders Fields
In Flanders fields the poppies blow
Between the crosses, row on row
That mark our place; and in the sky
The larks, still bravely singing, fly
Scarce heard amid the guns below.

We are the Dead. Short days ago
We lived, felt dawn, saw sunset glow,
Loved and were loved, and now we lie
In Flanders fields.

Take up our quarrel with the foe:
To you from failing hands we throw
The torch; be yours to hold it high.
If ye break faith with us who die
We shall not sleep, though poppies grow
In Flanders fields.

--------------------------------------------------------------------------------

The name of John McCrae (1872-1918) may seem out of place in the distinguished company of World War I poets, but he is remembered for what is probably the single best-known and popular poem from the war, "In Flanders Fields." He was a Canadian physician and fought on the Western Front in 1914, but was then transferred to the medical corps and assigned to a hospital in France . He died of pneumonia while on active duty in 1918. His volume of poetry, In Flanders Fields and Other Poems, was published in 1919.

The Sentence
by Anna Akhmatova

And the stone word fell
On my still-living breast.
Never mind, I was ready.
I will manage somehow.

Today I have so much to do:
I must kill memory once and for all,
I must turn my soul to stone,
I must learn to live again—

Unless . . . Summer's ardent rustling
Is like a festival outside my window.
For a long time I've foreseen this
Brilliant day, deserted house.

Translated from the Russian by Judith Hemschemeyer

The Improvement
by John Ashbery

Is that where it happens?
Only yesterday when I came back, I had this
diaphanous disaffection for this room, for spaces,
for the whole sky and whatever lies beyond.
I felt the eggplant, then the rhubarb.
Nothing seems strong enough for
this life to manage, that sees beyond
into particles forming some kind of entity—
so we get dressed kindly, crazy at the moment.
A life of afterwords begins.

We never live long enough in our lives
to know what today is like.
Shards, smiling beaches,
abandon us somehow even as we converse with them.
And the leopard is transparent, like iced tea.

I wake up, my face pressed
in the dewy mess of a dream. It mattered,
because of the dream, and because dreams are by nature sad
even when there's a lot of exclaiming and beating
as there was in this one. I want the openness
of the dream turned inside out, exploded
into pieces of meaning by its own unasked questions,
beyond the calculations of heaven. Then the larkspur
would don its own disproportionate weight,
and trees return to the starting gate.
See, our lips bend.

Musée des Beaux Arts
by W. H. Auden

About suffering they were never wrong,
The Old Masters: how well they understood
Its human position; how it takes place
While someone else is eating or opening a window or just walking dully along;
How when the aged are reverently, passionately waiting
For the miraculous birth, there always must be
Children who did not specially want it to happen, skating
On a pond at the edge of the wood:
They never forgot
That even the dreadful martyrdom must run its course
Anyhow in a corner, some untidy spot
Where the dogs go on with their doggy life and the torturer's horse
Scratches its innocent behind on a tree.
In Brueghel's Icarus, for instance: how everything turns away
Quite leisurely from the disaster; the ploughman may
Have heard the splash, the forsaken cry,
But for him it was not an important failure; the sun shone
As it had to on the white legs disappearing into the green
Water; and the expensive delicate ship that must have seen
Something amazing, a boy falling out of the sky,
Had somewhere to get to and sailed calmly on.

At the Fishhouses
by Elizabeth Bishop

Although it is a cold evening,
down by one of the fishhouses
an old man sits netting,
his net, in the gloaming almost invisible,
a dark purple-brown,
and his shuttle worn and polished.
The air smells so strong of codfish
it makes one's nose run and one's eyes water.
The five fishhouses have steeply peaked roofs
and narrow, cleated gangplanks slant up
to storerooms in the gables
for the wheelbarrows to be pushed up and down on.
All is silver: the heavy surface of the sea,
swelling slowly as if considering spilling over,
is opaque, but the silver of the benches,
the lobster pots, and masts, scattered
among the wild jagged rocks,
is of an apparent translucence
like the small old buildings with an emerald moss
growing on their shoreward walls.
The big fish tubs are completely lined
with layers of beautiful herring scales
and the wheelbarrows are similarly plastered
with creamy iridescent coats of mail,
with small iridescent flies crawling on them.
Up on the little slope behind the houses,
set in the sparse bright sprinkle of grass,
is an ancient wooden capstan,
cracked, with two long bleached handles
and some melancholy stains, like dried blood,
where ironwork has rusted.

The old man accepts a Lucky Strike.
He was a friend of my grandfather.
We talk of the decline in the population
and of codfish and herring
while he waits for a herring boat to come in.
There are sequins on his vest and on his thumb.
He has scraped the scales, the principal beauty,
from unnumbered fish with that black old knife,
the blade of which is almost worn away.

Down at the water's edge, at the place
where they haul up the boats, up the long ramp
descending into the water, thin silver
tree trunks are laid horizontally
across the gray stones, down and down
at intervals of four or five feet.
Cold dark deep and absolutely clear,
element bearable to no mortal,
to fish and to seals. . . One seal particularly
I have seen here evening after evening.
He was curious about me. He was interested in music;
like me a believer in total immersion,
so I used to sing him Baptist hymns.
I also sang "A Mighty Fortress Is Our God."
He stood up in the water and regarded me
steadily, moving his head a little.
Then he would disappear, then suddenly emerge
almost in the same spot, with a sort of shrug
as if it were against his better judgment.
Cold dark deep and absolutely clear,
the clear gray icy water . . . Back, behind us,
the dignified tall firs begin.
Bluish, associating with their shadows,
a million Christmas trees stand
waiting for Christmas. The water seems suspended
above the rounded gray and blue-gray stones.
I have seen it over and over, the same sea, the same,
slightly, indifferently swinging above the stones,
icily free above the stones,
above the stones and then the world.
If you should dip your hand in,
your wrist would ache immediately,
your bones would begin to ache and your hand would burn
as if the water were a transmutation of fire
that feeds on stones and burns with a dark gray flame.
If you tasted it, it would first taste bitter,
then briny, then surely burn your tongue.
It is like what we imagine knowledge to be:
dark, salt, clear moving, utterly free,
drawn from the cold hard mouth
of the world, derived from the rocky breasts
forever, flowing and drawn, and since
our knowledge is historical, flowing, and flown.

The Emigrant Irish
by Eavan Boland

Like oil lamps, we put them out the back —

of our houses, of our minds. We had lights
better than, newer than and then

a time came, this time and now
we need them. Their dread, makeshift example:

they would have thrived on our necessities.
What they survived we could not even live.
By their lights now it is time to
imagine how they stood there, what they stood with,
that their possessions may become our power:
Cardboard. Iron. Their hardships parceled in them.
Patience. Fortitude. Long-suffering
in the bruise-colored dusk of the New World .

And all the old songs. And nothing to lose.

We Real Cool
by Gwendolyn Brooks

THE POOL PLAYERS.
SEVEN AT THE GOLDEN SHOVEL.

We real cool. We
Left school. We

Lurk late. We
Strike straight. We

Sing sin. We
Thin gin. We

Jazz June. We
Die soon.

My Last Duchess
by Robert Browning

That's my last duchess painted on the wall,
Looking as if she were alive. I call
That piece a wonder, now: Frà Pandolf's hands
Worked busily a day, and there she stands.
Will't please you sit and look at her? I said
"Frà Pandolf" by design, for never read
Strangers like you that pictured countenance,
The depth and passion of its earnest glance,
But to myself they turned (since none puts by
The curtain I have drawn for you, but I)
And seemed as they would ask me, if they durst,
How such a glance came there; so, not the first
Are you to turn and ask thus. Sir, 'twas not
Her husband's presence only, called that spot
Of joy into the Duchess' cheek: perhaps
Frà Pandolf chanced to say "Her mantle laps
"Over my lady's wrist too much," or "Paint
"Must never hope to reproduce the faint
"Half-flush that dies along her throat": such stuff
Was courtesy, she thought, and cause enough
For calling up that spot of joy. She had
A heart—how shall I say?—too soon made glad,
Too easily impressed; she liked whate'er
She looked on, and her looks went everywhere.
Sir, 'twas all one! My favor at her breast,
The dropping of the daylight in the West,
The bough of cherries some officious fool
Broke in the orchard for her, the white mule
She rode with round the terrace—all and each
Would draw from her alike the approving speech,
Or blush, at least. She thanked men—good! but thanked
Somehow—I know not how—as if she ranked
My gift of a nine-hundred-years-old name
With anybody's gift. Who'd stoop to blame
This sort of trifling? Even had you skill
In speech—which I have not—to make your will
Quite clear to such an one, and say, "Just this
"Or that in you disgusts me; here you miss,
"Or there exceed the mark"—and if she let
Herself be lessoned so, nor plainly set
Her wits to yours, forsooth, and make excuse,
—E'en then would be some stooping; and I choose
Never to stoop. Oh sir, she smiled, no doubt,
Whene'er I passed her; but who passed without
Much the same smile? This grew; I gave commands;
Then all smiles stopped together. There she stands
As if alive. Will't please you rise? We'll meet
The company below, then. I repeat,
The Count your master's known munificence
Is ample warrant that no just pretense
Of mine for dowry will be disallowed;
Though his fair daughter's self, as I avowed
At starting, is my object. Nay we'll go
Together down, sir. Notice Neptune , though,
Taming a sea-horse, thought a rarity,
Which Claus of Innsbruck cast in bronze for me!

Ay, Ay, Ay de la Grifa Negra
by Julia de Burgos

Ay, ay, ay, that am kinky-haired and pure black
kinks in my hair, Kafir in my lips;
and my flat nose Mozambiques .

Black of pure tint, I cry and laugh
the vibration of being a black statue;
a chunk of night, in which my white
teeth are lightning;
and to be a black vine
which entwines in the black
and curves the black nest
in which the raven lies.
Black chunk of black in which I sculpt myself,
ay, ay, ay, my statue is all black.

They tell me that my grandfather was the slave
for whom the master paid thirty coins.
Ay, ay, ay, that the slave was my grandfather
is my sadness, is my sadness.
If he had been the master
it would be my shame:
that in men, as in nations,
if being the slave is having no rights
being the master is having no conscience.

Ay, ay, ay wash the sins of the white King
in forgiveness black Queen.

Ay, ay, ay, the race escapes me
and buzzes and flies toward the white race,
to sink in its clear water;
or perhaps the white will be shadowed in the black.

Ay, ay, ay my black race flees
and with the white runs to become bronzed;
to be one for the future,
fraternity of America !

The Canterbury Tales
by Geoffrey Chaucer

from The General Prologue

Whan that Aprill with his showres soote
the droughte of March hath perced to the roote,
And bathed every veine in swich licour,
Of which vertu engendred is the flowr;
Whan Zephyrus eek with his sweete breeth
Inspired hath in every holt and heeth
The tendre croppes, and the yonge sonne
Hath in the Ram his halve cours yronne,
And smale fowles maken melodye
That sleepen al the night with open y?-
So priketh hem Nature in hir corages-
Thanne longen folk to goon on pilgrimages,
And palmeres for to seeken straunge strondes
To ferne halwes, couthe in sondry londes;
And specially from every shires ende
Of Engelonde to Canterbury they wende,
The holy blisful martyr for to seeke
That hem hath holpen whan that they were seke.

At Melville's Tomb
by Hart Crane

Often beneath the wave, wide from this ledge
The dice of drowned men's bones he saw bequeath
An embassy. Their numbers as he watched,
Beat on the dusty shore and were obscured.

And wrecks passed without sound of bells,
The calyx of death's bounty giving back
A scattered chapter, livid hieroglyph,
The portent wound in corridors of shells.

Then in the circuit calm of one vast coil,
Its lashings charmed and malice reconciled,
Frosted eyes there were that lifted altars;
And silent answers crept across the stars.

Compass, quadrant and sextant contrive
No farther tides . . . High in the azure steeps,
Monody shall not wake the mariner.
This fabulous shadow only the sea keeps.

#254 ("'Hope' is the thing with feathers –")
by Emily Dickinson

"Hope" is the thing with feathers –
That perches in the soul –
And sings the tune without the words –
And never stops – at all –

And sweetest – in the Gale – is heard –
And sore must be the storm –
That could abash the little Bird
That kept so many warm –

I've heard it in the chillest land –
And on the strangest Sea –
Yet, never, in Extremity,
It asked a crumb – of Me.

I'm Nobody! Who are you? (288)
by Emily Dickinson

I'm Nobody! Who are you?
Are you—Nobody—Too?
Then there's a pair of us!
Don't tell! they'd advertise—you know!

How dreary—to be—Somebody!
How public—like a Frog—
To tell one's name—the livelong June—
To an admiring Bog!

#333 ("The Grass so little has to do –")
by Emily Dickinson

The Grass so little has to do –
A Sphere of simple Green –
With only Butterflies to brood
And Bees to entertain –

And stir all day to pretty Tunes
The Breezes fetch along –
And hold the Sunshine in its lap
And bow to everything –

And thread the Dews, all night, like Pearls –
And make itself so fine
A Duchess were too common
For such a noticing –

And even when it dies – to pass
In Odors so divine –
Like Lowly spices, lain to sleep –
Or Spikenards, perishing –

And then, in Sovereign Barns to dwell –
And dream the Days away,
The Grass so little has to do
I wish I were a Hay –

Little Brown Baby
by Paul Laurence Dunbar

Little brown baby wif spa'klin' eyes,

Come to yo' pappy an' set on his knee.
What you been doin', suh—makin' san' pies?

Look at dat bib—you's ez du'ty ez me.
Look at dat mouf—dat's merlasses, I bet;

Come hyeah, Maria, an' wipe off his han's.
Bees gwine to ketch you an' eat you up yit,

Bein' so sticky an sweet—goodness lan's!

Little brown baby wif spa'klin' eyes,

Who's pappy's darlin' an' who's pappy's chile?
Who is it all de day nevah once tries

Fu' to be cross, er once loses dat smile?
Whah did you git dem teef? My, you's a scamp!

Whah did dat dimple come f'om in yo' chin?
Pappy do' know you—I b'lieves you's a tramp;

Mammy, dis hyeah's some ol' straggler got in!

Let's th'ow him outen de do' in de san',

We do' want stragglers a-layin' 'roun' hyeah;
Let's gin him 'way to de big buggah-man;

I know he's hidin' erroun' hyeah right neah.
Buggah-man, buggah-man, come in de do',

Hyeah's a bad boy you kin have fu' to eat.
Mammy an' Pappy do' want him no mo',

Swaller him down f'om his haid to his feet!

Dah, now, I t'ought dat you'd hug me up close.

Go back, ol buggah', you sha'n't have dis boy.
He ain't no tramp, ner no straggler, of co'se;

He's pappy's pa'dner an' palymate an' joy.
Come to you' pallet now—go to yo' res';

Wisht you could allus know ease an' cleah skies;
Wisht you could stay jes' a chile on my breas'—

Little brown baby wif' spa'klin' eyes!

The Party
by Paul Laurence Dunbar

Dey had a gread big pahty down to Tom's de othah night;
Was I dah? You bet! I nevah in my life see sich a sight;
All de folks f'om fou' plantations was invited, an' dey come,
Dey come troopin' thick ez chillun when dey hyeahs a fife an' drum.
Evahbody dressed deir fines'—Heish yo' mouf an' git away,
Ain't seen no sich fancy dressin' sence las' quah'tly meetin' day;
Gals all dressed in silks an' satins, not a wrinkle ner a crease,
Eyes a-battin', teeth a shinin', haih breshed back ez slick ez grease;
Sku'ts all tucked an' puffed an' ruffled, evah blessed seam an' stitch;
Ef you'd seen 'em wif dier mistus, couldn't swahed to which was which.
Men all dressed up in Prince Alberts, swaller-tails 'u'd tek yo' bref!
I cain't tell you nothing' 'bout it, y' ought to see it fu' yo'se'f.
Who was dah? Now who you askin'? How you 'spect I gwine to know?
You mus' think I stood an' counted evahbody at de do'.
Ole man Babah's house-boy Isaac, brung dat gal, Malindy Jane,
Huh a'hangin' to his elbow, him a-struttin' wif a cane;
My, but Hahvey Hones was jealous! seemed to stick him lak a tho'n;
But he laughed with Viney Cahteh, tryin' ha'd to not let on,
But a pusson would'a' noticed f'om de d'rection of his look,
Dat he was watchin' ev'ry step dat Ike an' Lindy took.
Ike he foun' a cheer an' asked huh: "Won't you set down?" wif a smile,
An' she answe'd up a-bowin', "Oh, I reckon 't ain't wuth while."
Dat was jes' fu' style, I reckon, 'cause she sot down jes' de same,
An' she stayed dah 'twell he fetched huh fu' to jine some so't o' game;
Den I hyeahd huh sayin' propah, ez she riz to go away,
"Oh, you raly mu's excuse me, fu' I hardly keers to play."
But I seen huh in a minute wif de othahs on de flo',
An' dah wasn't any one o' dem a-playin' any mo';
Comin' down de flo' a-bowin' an' a-swayin' an' a-swingin',
Puttin' on huh high-toned mannah all de time dat she was singin':
"Oh, swing Johnny up an' down, swing him all aroun'
Swing Johnny up an' down, swing him all aroun',
Oh, Swing Johnny up an' down, swing him all aroun'
Fa' you well, my dahlin'."
Had to laff at ole man Johnson, he's a caution now, you bet—
Hittin' clost onto a hunderd, but he's spry an' nimble yet;
He 'lowed how a-so't o' gigglin', "I ain't ole, I'll let you see,
D' ain't no use in gittin' feeble, now you youngstahs jes' watch me,"
An' he grabbed ole Aunt Marier—weighs th'ee hunderd mo' er less,
An' he spun huh 'roun' de cabin swinging' Johnny lak de res'.
Evahbody laffed an' hollahed: "Go it! Swing huh, Uncle Jim!"
An' he swung huh too, I reckon, lak a youngstah, who but him.
Dat was bettah'n young Scott Thomas, tryin' to be so awful smaht.
You know when dey gits to singin' an' dey comes to dat ere paht:
"In some lady's new brick house,
In some lady's gyahden.
Ef you don't let me out, I will jump out,
So fa' you well, my dahlin'."
Den dey's got a ciircle 'roun' you, an' you's got to break de line;
Well, dat dahky was so anxious, lak to bust hisse'f a-tryin';
Kep' on blund'rin' 'roun' an' foolin' 'twell he giv' one gread big jump,
Broke de line, an lit head-fo'most in de fiah-place right plump;
Hit 'ad fiah in it, mind you; well, I thought my soul I'd bust,
Tried my best to keep f'om laffin', but hit seemed like die I must!
Y' ought to seen dat man a-scramblin' f'om de ashes an' de grime.
Did it bu'n him! Sich a question, why he didn't give it time;
Th'ow'd dem ashes and dem cindahs evah which -a-way I guess,
An' you nevah did, I reckon, clap yo' eyes on sich a mess;
Fu' he sholy made a picter an' a funny one to boot,
Wif his clothes all full o' ashes an' his face all full o' soot.
Well, hit laked to stopped de pahty, an' I reckon lak ez not
Dat it would ef Tom's wife, Mandy, hadn't happened on de spot,
To invite us out to suppah—well, we scrambled to de table,
An' I'd lak to tell you 'bout it—what we had—but I ain't able,
Mention jes' a few things, dough I know I hand't orter,
Fu' I know 't will staht a hank'rin' an' yo' mouf'll 'mence to worter.
We had wheat bread white ez cotton an' a egg pone jes' like gol',
Hog jole, bilin' hot an' steamin' roasted shoat an' ham sliced cold—
Look out! What's de mattah wif you? Don't be fallin' on de flo';
Ef it's go'n' to 'fect you dat way, I won't tell you nothin' mo'.
Dah now—well, we had hot chittlin's—now you's tryin' ag'in to fall,
Cain't you stan' to hyeah about it? S'pose you'd been an' seed it all;
Seed dem gread big sweet pertaters, layin' by de possum's side,
Seed dat coon in all his gravy, reckon den you'd up and died!
Mandy 'lowed "you all mus' 'scuse me, d' wa'n't much upon my she'ves,
But I's done my bes' to suit you, so set down an' he'p yo'se'ves."
Tom, he 'lowed: "I don't b'lieve in 'pologisin' an' perfessin',
Let 'em tek it lak dey ketch it. Eldah Thompson, ask de blessin'."
Wish you'd seed dat colo'ed preachah cleah his th'oat an' bow his head;
One eye shet, an' one eye open,—dis is evah wud he said:
"Lawd, look down in tendah mussy on sich generous hea'ts ez dese;
Make us truly thankful, amen. Pass dat possume, ef you please!"
Well, we eat and drunk ouah po'tion, 'twell dah wasn't nothin' lef',
An' we felt jexs' like new sausage, we was mos' nigh stuffed to def!
Tom, he knowed how we'd be feelin', so he had de fiddlh 'roun',
An' he made us cleah de cabin fu' to dance dat suppah down.
Jim, de fiddlah, chuned his fiddle, put some rosum on his bow,
Set a pine box on de table, mounted it an' let huh go!
He's a fiddlah, now I tell you, an' he made dat fiddle ring,
'Twell de ol'est an' de lamest had to give deir feet a fling.
Jigs, cotillions, reels an' breakdowns, cordrills an' a waltz er two;
Bless yo' soul, dat music winged 'em an' dem people lak to flew.
Cripple Joe, de old rheumatic, danced dat flo' f'om side to middle,
Th'owed away his crutch an' hopped it; what' rheumatics 'ginst a fiddle?
Eldah Thompson got so tickled dat he lak to los' his grace,
had to tek bofe feet an' ho' dem so's to keep 'em in deir place.
An' de Christuns an' de sinnahs go so mixed up on dat flo',
Dat I don't' see how dey'd pahted ef de trump had chanced to blow.
Well, we danced dat way an' capahed in de mos' redic'lous way,
'Twell de roostahs in de bahnyard cleahed deir th'oats an' crowed fu' day.
Y'ought to been dah, fu' I tell you evahthing was rich an' prime,
An' dey ain't no use in talkin' we jes' had one scrumptious time!

Concord Hymn
by Ralph Waldo Emerson

By the rude bridge that arched the flood,
Their flag to April's breeze unfurled,
Here once the embattled farmers stood
And fired the shot heard round the world.

The foe long since in silence slept;
Alike the conqueror silent sleeps;
And Time the ruined bridge has swept
Down the dark stream which seaward creeps.

On this green bank, by this soft stream,
We set today a votive stone;
That memory may their deed redeem,
When, like our sires, our sons are gone.

Spirit, that made those heroes dare
To die, and leave their children free,
Bid Time and Nature gently spare
The shaft we raise to them and thee.

The World Is a Beautiful Place
by Lawrence Ferlinghetti

The world is a beautiful place
to be born into
if you don't mind happiness
not always being
so very much fun
if you don't mind a touch of hell
now and then
just when everything is fine
because even in heaven
they don't sing
all the time

The world is a beautiful place
to be born into
if you don't mind some people dying
all the time
or maybe only starving
some of the time
which isn't half bad
if it isn't you

Oh the world is a beautiful place
to be born into
if you don't much mind
a few dead minds
in the higher places
or a bomb or two
now and then
in your upturned faces
or such other improprieties
as our Name Brand society
is prey to
with its men of distinction
and its men of extinction
and its priests
and other patrolmen

and its various segregations
and congressional investigations
and other constipations
that our fool flesh
is heir to

Yes the world is the best place of all
for a lot of such things as
making the fun scene
and making the love scene
and making the sad scene
and singing low songs and having inspirations
and walking around
looking at everything
and smelling flowers
and goosing statues
and even thinking
and kissing people and
making babies and wearing pants
and waving hats and
dancing
and going swimming in rivers
on picnics
in the middle of the summer
and just generally
'living it up'
Yes
but then right in the middle of it
comes the smiling
mortician

'Out, Out—'
by Robert Frost

The buzz saw snarled and rattled in the yard
And made dust and dropped stove-length sticks of wood,
Sweet-scented stuff when the breeze drew across it.
And from there those that lifted eyes could count
Five mountain ranges one behind the other
Under the sunset far into Vermont .
And the saw snarled and rattled, snarled and rattled,
As it ran light, or had to bear a load.
And nothing happened: day was all but done.
Call it a day, I wish they might have said
To please the boy by giving him the half hour
That a boy counts so much when saved from work.
His sister stood beside them in her apron
To tell them "Supper." At the word, the saw,
As if to prove saws knew what supper meant,
Leaped out at the boy's hand, or seemed to leap—
He must have given the hand. However it was,
Neither refused the meeting. But the hand!
The boy's first outcry was a rueful laugh,
As he swung toward them holding up the hand
Half in appeal, but half as if to keep
The life from spilling. Then the boy saw all—
Since he was old enough to know, big boy
Doing a man's work, though a child at heart—
He saw all spoiled. "Don't let him cut my hand off—
The doctor, when he comes. Don't let him, sister!"
So. But the hand was gone already.
The doctor put him in the dark of ether.
He lay and puffed his lips out with his breath.
And then—the watcher at his pulse took fright.
No one believed. They listened at his heart.
Little—less—nothing!—and that ended it.
No more to build on there. And they, since they
Were not the one dead, turned to their affairs.

The Road Not Taken
by Robert Frost

Two roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;

Then took the other, as just as fair,
And having perhaps the better claim,
Because it was grassy and wanted wear;
Though as for that, the passing there
Had worn them really about the same,

And both that morning equally lay
In leaves no step had trodden black.
Oh, I kept the first for another day!
Yet knowing how way leads to way,
I doubted if I should ever come back.

I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I—
I took the one less traveled by,
And that has made all the difference.

 Stopping by Woods on a Snowy Evening
by Robert Frost

Whose woods these are I think I know.
His house is in the village, though;
He will not see me stopping here
To watch his woods fill up with snow.

My little horse must think it queer
To stop without a farmhouse near
Between the woods and frozen lake
The darkest evening of the year.

He gives his harness bells a shake
To ask if there is some mistake.
The only other sound's the sweep
Of easy wind and downy flake.
The woods are lovely, dark, and deep,
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep.

First Memory
by Louise Glück

Long ago, I was wounded. I lived
to revenge myself
against my father, not
for what he was—
for what I was: from the beginning of time,
in childhood, I thought
that pain meant
I was not loved.
It meant I loved.

The Holy Longing
by Johann Wolfgang von Goethe

Tell a wise person, or else keep silent,
because the mass man will mock it right away.
I praise what is truly alive,
what longs to be burned to death.

In the calm water of the love-nights,
where you were begotten, where you have begotten,
a strange feeling comes over you,
when you see the silent candle burning.

Now you are no longer caught in the obsession with darkness,
and a desire for higher love-making sweeps you upward.

Distance does not make you falter.
Now, arriving in magic, flying,
and finally, insane for the light,
you are the butterfly and you are gone.
And so long as you haven't experienced this: to die and so to grow,
you are only a troubled guest on the dark earth.

Translated from the German by Robert Bly

Fishing
by Joy Harjo

This is the longest day of the year, on the Illinois River or a similar river in the same place. Cicadas are part of the song as they praise their invisible ancestors while fish blinking back the relentless sun in Oklahoma circle in the muggy river of life. They dare the fisher to come and get them. Fish too anticipate the game of fishing. Their ancestors perfected the moves, sent down stories that appear as electrical impulse when sunlight hits water. The hook carries great symbology in the coming of age, and is crucial to the making of warriors. The greatest warriors are those who dangle a human for hours on a string, break sacred water for the profanity of air then snap fiercely back into pearly molecules that describe fishness. They smell me as I walk the banks with fishing pole, nightcrawlers and a promise I made to that old friend Louis to fish with him this summer. This is the only place I can keep that promise, inside a poem as familiar to him as the banks of his favorite fishing place. I try not to let the fish see me see them as they look for his tracks on the soft earth made of fossils and ashes. I hear the burble of fish talk: When is that old Creek coming back? He was the one we loved to tease most, we liked his songs and once in awhile he gave us a good run. Last night I dreamed I tried to die, I was going to look for Louis. It was rather comical. I worked hard to muster my last breath, then lay down in the summer, along the banks of the last mythic river, my pole and tackle box next to me. What I thought was my last breath floated off as a cloud making an umbrella of grief over my relatives. How embarrassing when the next breath came, and then the next. I reeled in one after another, as if I'd caught a bucket of suckers instead of bass. I guess it wasn't my time, I explained, and went fishing anyway as a liar and I know most fishers to be liars most of the time. Even Louis when it came to fishing, or even dying. The leap between the sacred and profane is as thin as a fishing line, and is part of the mystery on this river of life, as is the way out. People continue to make warriors in the strangest of times. I save this part of the poem for the fish camp next to the oldest spirits whose dogs bark to greet visitors. It's near Louis's favorite spot where the wisest and fattest fish laze. I'll meet him there.

Those Winter Sundays
by Robert Hayden

Sundays too my father got up early
and put his clothes on in the blueblack cold,
then with cracked hands that ached
from labor in the weekday weather made
banked fires blaze. No one ever thanked him.

I'd wake and hear the cold splintering, breaking.
When the rooms were warm, he'd call,
and slowly I would rise and dress,
fearing the chronic angers of that house,

speaking indifferently to him,
who had driven out the cold
and polished my good shoes as well.
What did I know, what did I know
of love's austere and lonely offices?

God's Grandeur
by Gerard Manley Hopkins

The world is charged with the grandeur of God.
It will flame out, like shining from shook foil;
It gathers to a greatness, like the ooze of oil
Crushed. Why do men then now not reck his rod?
Generations have trod, have trod, have trod;
And all is seared with trade; bleared, smeared with toil;
And wears man's smudge and shares man's smell: the soil
Is bare now, nor can foot feel, being shod.

And for all this, nature is never spent;
There lives the dearest freshness deep down things;
And though the last lights off the black West went
Oh, morning, at the brown brink eastward, springs—
Because the Holy Ghost over the bent
World broods with warm breast and with ah! bright wings.

Diffugere Nives
by A. E. Housman

Horace, Odes, iv, 7

The snows are fled away, leaves on the shaws
     And grasses in the mead renew their birth,
The river to the river-bed withdraws,
     And altered is the fashion of the earth.

The Nymphs and Graces three put off their fear
     And unapparelled in the woodland play.
The swift hour and the brief prime of the year
     Say to the soul, Thou wast not born for aye.

Thaw follows frost; hard on the heel of spring
     Treads summer sure to die, for hard on hers
Comes autumn with his apples scattering;
     Then back to wintertide, when nothing stirs.

But oh, whate'er the sky-led seasons mar,
     Moon upon moon rebuilds it with her beams;
Come we where Tullus and where Ancus are
     And good Aeneas, we are dust and dreams.

Torquatus, if the gods in heaven shall add
     The morrow to the day, what tongue has told?
Feast then thy heart, for what thy heart has had
     The fingers of no heir will ever hold.

When thou descendest once the shades among,
     The stern assize and equal judgment o'er,
Not thy long lineage nor thy golden tongue,
     No, nor thy righteousness, shall friend thee more.

Night holds Hippolytus the pure of stain,
     Diana steads him nothing, he must stay;
And Theseus leaves Pirithous in the chain
     The love of comrades cannot take away.

Dreams
by Langston Hughes

Hold fast to dreams
For if dreams die
Life is a broken-winged bird
That cannot fly.

Hold fast to dreams
For when dreams go
Life is a barren field
Frozen with snow.

Merry-Go-Round
by Langston Hughes

COLORED CHILD AT CARNIVAL

Where is the Jim Crow section
On this merry-go-round,
Mister, cause I want to ride?
Down South where I come from
White and colored
Can't sit side by side.
Down South on the train
There's a Jim Crow car.
On the bus we're put in the back—
But there ain't no back
To a merry-go-round!
Where's the horse
For a kid that's black?

Minstrel Man
by Langston Hughes

Because my mouth
Is wide with laughter
And my throat
Is deep with song,
You do not think
I suffer after
I have held my pain
So long?

Because my mouth
Is wide with laughter,
You do not hear
My inner cry?
Because my feet
Are gay with dancing,
You do not know
I die?

Mother to Son
by Langston Hughes

Well, son, I'll tell you:
Life for me ain't been no crystal stair.
It's had tacks in it,
And splinters,
And boards torn up,
And places with no carpet on the floor—
Bare.
But all the time
I'se been a-climbin' on,
And reachin' landin's,
And turnin' corners,
And sometimes goin' in the dark
Where there ain't been no light.
So, boy, don't you turn back.
Don't you set down on the steps.
'Cause you finds it's kinder hard.
Don't you fall now—
For I'se still goin', honey,
I'se still climbin',
And life for me ain't been no crystal stair.

My People
by Langston Hughes

The night is beautiful,
So the faces of my people.

The stars are beautiful,
So the eyes of my people.

Beautiful, also, is the sun.
Beautiful, also, are the souls of my people

Next Day
by Randall Jarrell

Moving from Cheer to Joy, from Joy to All,
I take a box
And add it to my wild rice, my Cornish game hens.
The slacked or shorted, basketed, identical
Food-gathering flocks
Are selves I overlook. Wisdom, said William James,

Is learning what to overlook. And I am wise
If that is wisdom.
Yet somehow, as I buy All from these shelves
And the boy takes it to my station wagon,
What I've become
Troubles me even if I shut my eyes.

When I was young and miserable and pretty
And poor, I'd wish
What all girls wish: to have a husband,
A house and children. Now that I'm old, my wish
Is womanish:
That the boy putting groceries in my car

See me. It bewilders me he doesn't see me.
For so many years
I was good enough to eat: the world looked at me
And its mouth watered. How often they have undressed me,
The eyes of strangers!
And, holding their flesh within my flesh, their vile

Imaginings within my imagining,
I too have taken
The chance of life. Now the boy pats my dog
And we start home. Now I am good.
The last mistaken,
Ecstatic, accidental bliss, the blind

Happiness that, bursting, leaves upon the palm
Some soap and water—
It was so long ago, back in some Gay
Twenties, Nineties, I don't know . . . Today I miss
My lovely daughter
Away at school, my sons away at school,

My husband away at work—I wish for them.
The dog, the maid,
And I go through the sure unvarying days
At home in them. As I look at my life,
I am afraid
Only that it will change, as I am changing:

I am afraid, this morning, of my face.
It looks at me
From the rear-view mirror, with the eyes I hate,
The smile I hate. Its plain, lined look
Of gray discovery
Repeats to me: "You're old." That's all, I'm old.

And yet I'm afraid, as I was at the funeral
I went to yesterday.
My friend's cold made-up face, granite among its flowers,
Her undressed operated-on, dressed body
Were my face and body.
As I think of her I hear her telling me

How young I seem; I am exceptional;
I think of all I have.
But really no one is exceptional,
No one has anything , I'm anybody,
I stand beside my grave
Confused with my life, that is commonplace and solitary.

 The Song of the Banana Man
by Evan Jones

Touris, white man, wipin his face,
Met me in Golden Grove market place.
He looked at m'ol' clothes brown wid stain ,
An soaked right through wid de Portlan rain,
He cas his eye, turn up his nose,
He says, 'You're a beggar man, I suppose?'
He says, 'Boy, get some occupation,
Be of some value to your nation.'
I said, 'By God and dis big right han
You mus recognize a banana man.

'Up in de hills, where de streams are cool,
An mullet an janga swim in de pool,
I have ten acres of mountain side,
An a dainty-foot donkey dat I ride,
Four Gros Michel, an four Lacatan,
Some coconut trees, and some hills of yam,
An I pasture on dat very same lan
Five she-goats an a big black ram,
Dat, by God an dis big right han
Is de property of a banana man.

'I leave m'yard early-mornin time
An set m'foot to de mountain climb,
I ben m'back to de hot-sun toil,
An m'cutlass rings on de stony soil,
Ploughin an weedin, diggin an plantin
Till Massa Sun drop back o John Crow mountain,
Den home again in cool evenin time,
Perhaps whistling dis likkle rhyme,
(Sung)Praise God an m'big right han
I will live an die a banana man.

'Banana day is my special day,
I cut my stems an I'm on m'way,
Load up de donkey, leave de lan
Head down de hill to banana stan,
When de truck comes roun I take a ride
All de way down to de harbour side—
Dat is de night, when you, touris man,
Would change your place wid a banana man.
Yes, by God, an m'big right han
I will live an die a banana man.

'De bay is calm, an de moon is bright
De hills look black for de sky is light,
Down at de dock is an English ship,
Restin after her ocean trip,
While on de pier is a monstrous hustle,
Tallymen, carriers, all in a bustle,
Wid stems on deir heads in a long black snake
Some singin de sons dat banana men make,
Like, (Sung) Praise God an m'big right han
I will live an die a banana man.

'Den de payment comes, an we have some fun,
Me, Zekiel, Breda and Duppy Son.
Down at de bar near United Wharf
We knock back a white rum, bus a laugh,
Fill de empty bag for further toil
Wid saltfish, breadfruit, coconut oil.
Den head back home to m'yard to sleep,
A proper sleep dat is long an deep.
Yes, by God, an m'big right han
I will live an die a banana man.

'So when you see dese ol clothes brown wid stain,
An soaked right through wid de Portlan rain,
Don't cas your eye nor turn your nose,
Don't judge a man by his patchy clothes,
I'm a strong man, a proud man, an I'm free,
Free as dese mountains, free as dis sea,
I know myself, an I know my ways,
An will sing wid pride to de end o my days
(Sung)Praise God an m'big right han
I will live an die a banana man.'

If
by Rudyard Kipling

If you can keep your head when all about you

Are losing theirs and blaming it on you,
If you can trust yourself when all men doubt you,

But make allowance for their doubting too;
If you can wait and not be tired by waiting,

Or being lied about, don't deal in lies,
Or being hated don't give way to hating,

And yet don't look too good, nor talk too wise:

If you can dream—and not make dreams your master;

If you can think—and not make thoughts your aim;
If you can meet with Triumph and Disaster

And treat those two impostors just the same;
If you can bear to hear the truth you've spoken

Twisted by knaves to make a trap for fools,
Or watch the things you gave your life to, broken,

And stoop and build 'em up with worn-out tools:

If you can make one heap of all your winnings

And risk it on one turn of pitch-and-toss,
And lose, and start again at your beginnings

And never breathe a word about your loss;
If you can force your heart and nerve and sinew

To serve your turn long after they are gone,
And so hold on when there is nothing in you

Except the Will which says to them: "Hold on!"

If you can talk with crowds and keep your virtue,

Or walk with Kings—nor lose the common touch,
If neither foes nor loving friends can hurt you,

If all men count with you, but none too much;
If you can fill the unforgiving minute

With sixty seconds' worth of distance run,
Yours is the Earth and everything that's in it,

And—which is more—you'll be a Man, my son!

 Variations on a Theme by William Carlos Williams
by Kenneth Koch

1
I chopped down the house that you had been saving to live in next summer.
I am sorry, but it was morning, and I had nothing to do
and its wooden beams were so inviting.

2
We laughed at the hollyhocks together
and then I sprayed them with lye.
Forgive me. I simply do not know what I am doing.

3
I gave away the money that you had been saving to live on for the next ten years.
The man who asked for it was shabby
and the firm March wind on the porch was so juicy and cold.

4
Last evening we went dancing and I broke your leg.
Forgive me. I was clumsy and
I wanted you here in the wards, where I am the doctor!

Facing It
by Yusef Komunyakaa

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.

Hornworm: Autumn Lamentation
by Stanley Kunitz

Since that first morning when I crawled
into the world, a naked grubby thing,
and found the world unkind,
my dearest faith has been that this
is but a trial: I shall be changed.
In my imaginings I have already spent
my brooding winter underground,
unfolded silky powdered wings, and climbed
into the air, free as a puff of cloud
to sail over the steaming fields,
alighting anywhere I pleased,
thrusting into deep tubular flowers.

It is not so: there may be nectar
in those cups, but not for me.
All day, all night, I carry on my back
embedded in my flesh, two rows
of little white cocoons,
so neatly stacked
they look like eggs in a crate.
And I am eaten half away.

If I can gather strength enough
I'll try to burrow under a stone
and spin myself a purse
in which to sleep away the cold;
though when the sun kisses the earth
again, I know I won't be there.
Instead, out of my chrysalis
will break, like robbers from a tomb,
a swarm of parasitic flies,
leaving my wasted husk behind.

Sir, you with the red snippers
in your hand, hovering over me,
casting your shadow, I greet you,
whether you come as an angel of death
or of mercy. But tell me,
before you choose to slice me in two:
Who can understand the ways
of the Great Worm in the Sky?

Settling
by Denise Levertov

I was welcomed here—clear gold
of late summer, of opening autumn,
the dawn eagle sunning himself on the highest tree,
the mountain revealing herself unclouded, her snow
tinted apricot as she looked west,
Tolerant, in her steadfastness, of the restless sun
forever rising and setting.
Now I am given
a taste of the grey foretold by all and sundry,
a grey both heavy and chill. I've boasted I would not care,
I'm London-born. And I won't. I'll dig in,
into my days, having come here to live, not to visit.
Grey is the price
of neighboring with eagles, of knowing
a mountain's vast presence, seen or unseen.

Starlight
by Philip Levine

My father stands in the warm evening
on the porch of my first house.
I am four years old and growing tired.
I see his head among the stars,
the glow of his cigarette, redder
than the summer moon riding
low over the old neighborhood. We
are alone, and he asks me if I am happy.
"Are you happy?" I cannot answer
I do not really understand the word,
and the voice, my father's voice, is not
his voice, but somehow thick and choked,
a voice I have not heard before, but
heard often since. He bends and passes
a thumb beneath each of my eyes.
The cigarette is gone, but I can smell
the tiredness that hangs on his breath.
He has found nothing, and he smiles
and holds my head with both his hands.
Then he lifts me to his shoulder,
and now I too am there among the stars,
as tall as he. Are you happy? I say.
He nods in answer, Yes! oh yes! oh yes!
And in that new voice he says nothing,
holding my head tight against his head,
his eyes closed up against the starlight,
as though those tiny blinking eyes
of light might find a tall, gaunt child
holding his child against the promises
of autumn, until the boy slept
never to waken in that world again.

 A Psalm of Life
by Henry Wadsworth Longfellow

'Life that shall send A challenge to its end, And when it comes, say, 'Welcome, friend.''

WHAT THE HEART OF THE YOUNG MAN SAID TO THE PSALMIST
I

Tell me not, in mournful numbers,

Life is but an empty dream!
For the soul is dead that slumbers,

And things are not what they seem.

II

Life is real—life is earnest—

And the grave is not its goal:
Dust thou art, to dust returnest,

Was not spoken of the soul.

III

Not enjoyment, and not sorrow,

Is our destin'd end or way;
But to act, that each to-morrow

Find us farther than to-day.

IV

Art is long, and time is fleeting,

And our hearts, though stout and brave,
Still, like muffled drums, are beating

Funeral marches to the grave.

V

In the world's broad field of battle,

In the bivouac of Life,
Be not like dumb, driven cattle!

Be a hero in the strife!

VI

Trust no Future, howe'er pleasant!

Let the dead Past bury its dead!
Act—act in the glorious Present!

Heart within, and God o'er head!

VII

Lives of great men all remind us

We can make our lives sublime,
And, departing, leave behind us

Footsteps on the sands of time.

VIII

Footsteps, that, perhaps another,

Sailing o'er life's solemn main,
A forlorn and shipwreck'd brother,

Seeing, shall take heart again.

IX

Let us then be up and doing,

With a heart for any fate;
Still achieving, still pursuing,

Learn to labor and to wait.

To His Coy Mistress
by Andrew Marvell

Had we but world enough, and time,
This coyness, lady, were no crime.
We would sit down, and think which way
To walk, and pass our long love's day.
Thou by the Indian Ganges' side
Shoudst rubies find; I by the tide
Of Humber would complain. I would
Love you ten years before the flood,
And you should, if you please, refuse
Till the conversion of the Jews.
My vegetable love should grow
Vaster than empires and more slow;
An hundred years should go to praise
Thine eyes, and on thy forehead gaze;
Two hundred to adore each breast,
But thirty thousand to the rest;
An age at least to every part,
And the last age should show your heart.
For, lady, you deserve this state,
Nor would I love at lower rate.
But at my back I always hear
Time's wingéd chariot hurrying near;
And yonder all before us lie
Deserts of vast eternity.
Thy beauty shall no more be found;
Nor, in thy marble vault, shall sound
My echoing song; then worms shall try
That long-preserved virginity,
And your quaint honor turn to dust,
And into ashes all my lust:
The grave's a fine and private place,
But none, I think, do there embrace.
Now therefore, while the youthful hue
Sits on thy skin like morning dew,
And while thy willing soul transpires
At every pore with instant fires,
Now let us sport us while we may,
And now, like amorous birds of prey,
Rather at once our time devour
Than languish in his slow-chapped power.
Let us roll all our strength and all
Our sweetness up into one ball,
And tear our pleasures with rough strife
Thorough the iron gates of life:
Thus, though we cannot make our sun
Stand still, yet we will make him run.

God's World
by Edna St. Vincent Millay

O world, I cannot hold thee close enough!

Thy winds, thy wide grey skies!

Thy mists, that roll and rise!
Thy woods, this autumn day, that ache and sag
And all but cry with colour! That gaunt crag
To crush! To lift the lean of that black bluff!
World, World, I cannot get thee close enough!

Long have I known a glory in it all,

But never knew I this:

Here such a passion is
As stretcheth me apart,—Lord, I do fear
Thou'st made the world too beautiful this year;
My soul is all but out of me,—let fall
No burning leaf; prithee, let no bird call.

Lycidas
by John Milton

In this Monody the author bewails a learned friend, unfortunately drowned in his passage from Chester on the Irish seas, 1637. And by occasion foretells the ruin of our corrupted clergy then in their height.

Yet once more, O ye laurels and once more
Ye myrtles brown, with ivy never sere,
I come to pluck your berries harsh and crude,
And with forced fingers rude,
Shatter your leaves before the mellowing year.
Bitter constraint, and sad occasion dear,
Compels me to disturb your season due;
For Lycidas is dead, dead ere his prime,
Young Lycidas, and hath not left his peer.
Who would not sing for Lycidas? He knew
Himself to sing, and build the lofty rhyme.
He must not float upon his watery bier
Unwept, and welter to the parching wind,
Without the meed of some melodious tear.
Begin then, sisters of the sacred well
That from beneath the seat of Jove doth spring,
Begin, and somewhat loudly sweep the string.
Hence with denial vain, and coy excuse;
So may some gentle Muse
With lucky words favor my destined urn,
And as he passes turn,
And bid fair peace be to my sable shroud.
For we were nursed upon the selfsame hill,
Fed the same flock, by fountain, shade and rill.
Together both, ere the high lawns appeared
Under the opening eyelids of the morn,
We drove afield, and both together heard
What time the grayfly winds her sultry horn,
Battening our flocks with the fresh dews of night,
Oft till the star that rose an evening bright
Toward Heaven's descent had sloped his westering wheel.
Meanwhile the rural ditties were not mute,
Tempered to th' oaten flute,
Rough satyrs danced, and fauns with cloven heel
From the glad sound would not be absent long,
And old Damoetas loved to hear our song.
But O the heavy change, now thou art gone,
Now thou art gone, and never must return!
Thee, shepherd, thee the woods and desert caves,
With wild thyme and the gadding vine o'ergrown,
And all their echoes mourn.
The willows and the hazel copses green
Shall now no more be seen,
Fanning their joyous leaves to thy soft lays.
As killing as the canker to the rose,
Or taint-worm to the weanling herds that graze,
Or frost to flowers that their gay wardrobe wear,
When first the white thorn blows;
Such, Lycidas, thy loss to shepherd's ear.
Where were ye, nymphs, when the remorseless deep
Closed o'er the head of your loved Lycidas?
For neither were ye playing on the steep,
Where your old Bards, the famous Druids lie,
Nor on the shaggy top of Mona high,
Nor yet where Deva spreads her wizard stream:
Ay me! I fondly dream—
Had ye been there—for what could that have done?
What could the Muse herself that Orpheus bore,
The Muse herself, for her inchanting son
Whom universal Nature did lament,
When by the rout that made the hideous roar,
His gory visage down the stream was sent,
Down the swift Hebrus to the Lesbian shore?
Alas! What boots it with uncessant care
To tend the homely slighted shepherd's trade.
And strictly meditate the thankless Muse?
Were it not better done as others use,
To sport with Amaryllis in the shade,
Or with the tangles of Neaera's hair?
Fame is the spur that the clear spirit doth raise
(That last infirmity of noble mind)
To scorn delights, and live laborious days;
But the fair guerdon when we hope to find,
And think to burst out into sudden blaze,
Comes the blind Fury with th' abhorréd shears,
And slits the thin spun life. "But not the praise,"
Phoebus replied, and touched my trembling ears;
"Fame is no plant that grows on mortal soil,
Nor in the glistering foil
Set off to th' world, nor in broad rumor lies,
But lives and spreads aloft by those pure eyes,
And perfect witness of all-judging Jove;
As he pronounces lastly on each deed,
Of so much fame in Heaven expect thy meed."
O fountain Arethuse, and thou honored flood,
Smooth-sliding Mincius, crowned with vocal reeds,
That strain I heard was of a higher mood.
But now my oat proceeds,
And listens to the herald of the sea
That came in Neptune 's plea.
He asked the waves and asked the felon winds,
"What hard mishap hath doomed this gentle swain?"
And questioned every gust of rugged wings
That blows from off each beakéd promontory;
They knew not of his story,
And sage Hippotade their answer brings,
That not a blast was from his dungeon strayed,
The air was clam, and on the level brine,
Sleek Panope with all her sisters played.
It was that fatal and perfidious bark
Built in th'eclipse and rigged with curses dark,
That sunk so low that sacred head of thine.
Next Camus, reverend sire, went footing slow,
His mantle hairy, and his bonnet sedge,
Inwrought with figures dim, and on the edge
Like to that sanguine flower inscribed with woe.
"Ah! who hath reft," quoth he, "my dearest pledge?"
Last came and last did go
The pilot of the Galilean lake,
Two massy keys he bore of metals twain
(The golden opes, the iron shuts amain).
He shook his mitered locks, and stern bespake:
"How well could I have spared for thee, young swain,
Enow of such as for their bellies' sake,
Creep and intrude, and climb into the fold!
Of other care they little reckoning make,
Than how to scramble at the shearer's feast,
And shove away the worthy bidden guest.
Blind mouths! That scarce themselves know how to hold
A sheep-hook, or have learned aught else the least
That to the faithful herdman's art belongs!
What recks it them? What need they? They are sped;
And when they list, their lean and flashy songs
Grate on their scrannel pipes of wretched straw.
The hungry sheep look up, and are not fed,
But swoln with wind, and the rank mist they draw,
Rot inwardly, and foul contagion spread,
Besides what the grim wolf with privy paw
Daily devours apace, and nothing said.
But that two-handed engine at the door
Stands ready to smite once, and smite no more."
Return, Alpheus , the dread voice is past,
That shrunk thy streams; return, Sicilian muse,
And call the vales, and bid them hither cast
Their bells and flowerets of a thousand hues.
Ye valleys low where the mild whispers use,
Of shades and wanton winds, and gushing brooks,
On whose fresh lap the swart star sparely looks,
Throw hither all your quaint enameled eyes,
That on the green turf suck the honeyed showers,
And purple all the ground with vernal flowers.
Bring the rathe primrose that forsaken dies,
The tufted crow-toe, and pale jessamine,
The white pink, and the pansy freaked with jet,
The glowing violet,
The musk-rose, and the well attired woodbine.
With cowslips wan that hang the pensive head,
And every flower that sad embroidery wears:
Bid amaranthus all his beauty shed,
And daffadillies fill their cups with tears,
To strew the laureate hearse where Lycid lies.
For so to interpose a little ease,
Let our frail thoughts dally with false surmise.
Ay me! Whilst thee the shores and souding seas
Wash far away, where'er thy bones are hurled,
Whether beyond the stormy Hebrides,
Where thou perhaps under the whelming tide
Visit'st the bottom of the monstrous world;
Or whether thou, to our moist vows denied,
Sleep'st by the fable of Bellerus old,
Where the great vision of the guarded mount
Looks toward Namancos and Bayona's hold;
Look homeward angel now, and melt with ruth:
And, O ye dolphins, waft the hapless youth.
Weep no more, woeful shepherds, weep no more,
For Lycidas your sorrow is not dead,
Sunk though he be beneath the watery floor,
So sinks the day-star in the ocean bed,
And yet anon repairs his drooping head,
And tricks his beams, and with new spangled ore,
Flames in the forehead of the morning sky:
So Lycidas sunk low, but mounted high,
Through the dear might of him that walk'd the waves,
Where, other groves and other streams along,
With nectar pure his oozy locks he laves,
And hears the unexpressive nuptial song,
In the blest kingdoms meek of joy and love.
There entertain him all the saints above,
In solemn troops and sweet societies
That sing, and singing in their glory move,
And wipe the tears forever from his eyes.
Now, Lycidas, the shepherds weep no more;
Henceforth thou art the genius of the shore,
In thy large recompense, and shalt be good
To all that wander in that perilous flood.
Thus sang the uncouth swain to th'oaks and rills,
While the still morn went out with sandals gray;
He touched the tender stops of various quills,
With eager thought warbling his Doric lay:
And now the sun had stretched out all the hills,
And now was dropped into the western bay;
At last he rose, and twitched his mantle blue:
Tomorrow to fresh woods, and pastures new.

Piececitos
by Gabriela Mistral

Piececitos de ni?o,
azulosos de frío,
?cómo os ven y no os cubren,
Dios mío!

?Piececitos heridos
por los guijarros todos,
ultrajados de nieves
y lodos!

El hombre ciego ignora
que por donde pasáis,
una flor de luz viva
dejaís;

que allí donde ponéis
la plantita sangrante,
el nardo nace más
fragrante.

Sed, puesto que macháis
por los caminos rectos,
heróicos como sois
perfectos.

Piececitos de ni?o,
dos joyitas sufrientes,
?cómo pasan sin veros
las gentes!

Little Feet
by Gabriela Mistral, tr. Doris Dana

Little feet of children
blue with cold,
how can they see you and not cover you—
dear God!

Little wounded feet
cut by every stone,
hurt by snow
and mire.

Man, blind, does not know
that where you pass,
you leave a flower
of living light.

And where you set
your little bleeding foot,
the spikenard blooms
more fragrant.

Walking straight paths,
be heroic, little feet,
as you are
perfect.

Little feet of children,
two tiny suffering jewels,
how can people pass
and not see you!

The Makers
by Howard Nemerov

Who can remember back to the first poets,
The greatest ones, greater even than Orpheus?
No one has remembered that far back
Or now considers, among the artifacts,
And bones and cantilevered inference
The past is made of, those first and greatest poets,
So lofty and disdainful of renown
They left us not a name to know them by.

They were the ones that in whatever tongue
Worded the world, that were the first to say
Star, water, stone, that said the visible
And made it bring invisibles to view
In wind and time and change, and in the mind
Itself that minded the hitherto idiot world
And spoke the speechless world and sang the towers
Of the city into the astonished sky.

They were the first great listeners, attuned
To interval, relationship, and scale,
The first to say above, beneath, beyond,
Conjurors with love, death, sleep, with bread and wine,
Who having uttered vanished from the world
Leaving no memory but the marvelous
Magical elements, the breathing shapes
And stops of breath we build our Babels of.

Puedo Escribir
by Pablo Neruda

Puedo escribir los versos más tristes esta noche.

Escribir, por ejemplo: 'La noche está estrellada,
y tiritan, azules, los astros, a lo lejos.'

El viento de la noche gira en el cielo y canta.

Puedo escribir los versos más tristes esta noche.
Yo la quise, y a veces ella también me quiso.

En las noches como ésta la tuve entre mis brazos.
La besé tantas veces bajo el cielo infinito.

Ella me quiso, a veces yo también la quería.
Cómo no haber amado sus grandes ojos fijos.

Puedo escribir los versos más tristes esta noche.
Pensar que no la tengo. Sentir que la he perdido.

Oir la noche inmensa, más inmnesa sin ella.
Y el verso cae al alma como al pasto el rocío.

Qué importa que mi amor no pudiera guadarla.
La noche está estrellada y ella no está conmigo.

Eso es todo. A lo lejos alguien canta. A lo lejos.
Mi alma no se contenta con haberla perdido.

Como para acercarla mi mirada la busca.
Mi corazón la busca, y ella no está conmigo.

La misma noche que hace blanquear los mismos árboles.
Nosotros, los de entonces, ya no somos los mismos.

Ya no la quiero, es cierto, pero cuánto la quise.
Mi voz buscaba el viento para tocar su oído.

De otro. Será de otro. Como antes de mis besos.
Su voz, su cuerpo claro. Sus ojos infinitos.

Ya no la quiero, es cierto, pero tal vez la quiero.
Es tan corto el amor, y es tan largo el olvido.

Porque en noches como ésta la tuve entre mis brazos,
mi alma no se contenta con haberla perdido.

Aunque éste sea el último dolor que ella me causa,
y éstos sean los últimos versos que yo le escribo.

Tonight I Can Write
by Pablo Neruda, translated by W.S. Merwin

Tonight I can write the saddest lines.

Write, for example, 'The night is starry
and the stars are blue and shiver in the distance.'

The night wind revolves in the sky and sings.

Tonight I can write the saddest lines.
I loved her, and sometimes she loved me too.

Through nights like this one I held her in my arms.
I kissed her again and again under the endless sky.

She loved me, sometimes I loved her too.
How could one not have loved her great still eyes.

Tonight I can write the saddest lines.
To think that I do not have her. To feel that I have lost her.

To hear the immense night, still more immense without her.
And the verse falls to the soul like dew to the pasture.

What does it matter that my love could not keep her.
The night is starry and she is not with me.

This is all. In the distance someone is singing. In the distance.
My soul is not satisfied that it has lost her.

My sight tries to find her as though to bring her closer.
My heart looks for her, and she is not with me.

The same night whitening the same trees.
We, of that time, are no longer the same.

I no longer love her, that's certain, but how I loved her.
My voice tried to find the wind to touch her hearing.

Another's. She will be another's. As she was before my kisses.
Her voice, her bright body. Her infinite eyes.

I no longer love her, that's certain, but maybe I love her.
Love is so short, forgetting is so long.

Because through nights like this one I held her in my arms
my soul is not satisfied that it has lost her.

Though this be the last pain that she makes me suffer
and these the last verses that I write for her.

Poem
by Frank O'Hara

Lana Turner has collapsed!
I was trotting along and suddenly
it started raining and snowing
and you said it was hailing
but hailing hits you on the head
hard so it was really snowing and
raining and I was in such a hurry
to meet you but the traffic
was acting exactly like the sky
and suddenly I see a headline
LANA TURNER HAS COLLAPSED!
there is no snow in Hollywood
there is no rain in California
I have been to lots of parties
and acted perfectly disgraceful
but I never actually collapsed
oh Lana Turner we love you get up

Dulce et Decorum Est
by Wilfred Owen

Bent double, like old beggars under sacks,
Knock-kneed, coughing like hags, we cursed through sludge,
Till on the haunting flares we turned our backs
And towards our distant rest began to trudge.
Men marched asleep. Many had lost their boots
But limped on, blood-shod. All went lame; all blind;
Drunk with fatigue; deaf even to the hoots
Of tired, outstripped Five-Nines that dropped behind.

Gas! Gas! Quick, boys!—An ecstasy of fumbling,
Fitting the clumsy helmets just in time;
But someone still was yelling out and stumbling
And flound'ring like a man in fire or lime . . .
As under a green sea, I saw him drowning.
In all my dreams, before my helpless sight,
He plunges at me, guttering, choking, drowning.

If in some smothering dreams you too could pace
Behind the wagon that we flung him in,
And watch the white eyes writhing in his face,
His hanging face, like a devil's sick of sin;
If you could hear, at every jolt, the blood
Come gargling from the froth-corrupted lungs,
Obscene as cancer, bitter as the cud
Of vile, incurable sores on innocent tongues,—
My friend, you would not tell with such high zest
To children ardent for some desperate glory,
The old Lie: Dulce et decorum est
Pro patria mori.

Nick and the Candlestick
by Sylvia Plath

I am a miner. The light burns blue.
Waxy stalactites
Drip and thicken, tears

The earthen womb

Exudes from its dead boredom.
Black bat airs

Wrap me, raggy shawls,
Cold homicides.
They weld to me like plums.

Old cave of calcium
Icicles, old echoer.
Even the newts are white,

Those holy Joes.
And the fish, the fish—
Christ! They are panes of ice,

A vice of knives,
A piranha
Religion, drinking

Its first communion out of my live toes.
The candle
Gulps and recovers its small altitude,

Its yellows hearten.
O love, how did you get here?
O embryo

Remembering, even in sleep,
Your crossed position.
The blood blooms clean

In you, ruby.
The pain
You wake to is not yours.

Love, love,
I have hung our cave with roses.
With soft rugs—

The last of Victoriana.
Let the stars
Plummet to their dark address,

Let the mercuric
Atoms that cripple drip
Into the terrible well,

You are the one
Solid the spaces lean on, envious.
You are the baby in the barn.

Polly's Tree
by Sylvia Plath

A dream tree, Polly's tree:
a thicket of sticks,
each speckled twig

ending in a thin-paned
leaf unlike any
other on it

or in a ghost flower
flat as paper and
of a color

vaporish as frost-breath,
more finical than
any silk fan

the Chinese ladies use
to stir robin's egg
air. The silver -

haired seed of the milkweed
comes to roost there, frail
as the halo

rayed round a candle flame,
a will-o'-the-wisp
nimbus, or puff

of cloud-stuff, tipping her
queer candelabrum.
Palely lit by

snuff-ruffed dandelions,
white daisy wheels and
a tiger faced

pansy, it glows. O it's
no family tree,
Polly's tree, nor

a tree of heaven, though
it marry quartz-flake,
feather and rose.

It sprang from her pillow
whole as a cobweb
ribbed like a hand,

a dream tree. Polly's tree
wears a valentine
arc of tear-pearled

bleeding hearts on its sleeve
and, crowning it, one
blue larkspur star.

On a Quiet Night
                       
by Li Po

I saw the moonlight before my couch,
And wondered if it were not frost on the ground.

I raised my head and looked out on the bright moon;

I bowed my head and thought of my far-off home.

On a Quiet Night
                       
by Li Po

I saw the moonlight before my couch,
And wondered if it were not frost on the ground.

I raised my head and looked out on the bright moon;

I bowed my head and thought of my far-off home.

The Raven
by Edgar Allan Poe

Once upon a midnight dreary, while I pondered, weak and weary
Over many a quaint and curious volume of forgotten lore—
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door,
" 'T is some visitor," I muttered, "tapping at my chamber door—
Only this and nothing more."

Ah, distinctly I remember it was in the bleak December;
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow;—vainly I had sought to borrow
From my books surcease of sorrow—sorrow for the lost Lenore—
For the rare and radiant maiden whom the angels name Lenore—
Nameless here for evermore.

And the silken, sad, uncertain rustling of each purple curtain
Thrilled me—filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating,
" 'T is some visitor entreating entrance at my chamber door—
Some late visitor entreating entrance at my chamber door;—
This it is and nothing more."

Presently my soul grew stronger; hesitating then no longer,
"Sir," said I, "or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you"—here I opened wide the door;—
Darkness there and nothing more.

Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortal ever dared to dream before;
But the silence was unbroken, and the stillness gave no token,
And the only word there spoken was the whispered word, "Lenore"
This I whispered, and an echo murmured back the word, "Lenore?"
Merely this and nothing more.

Back into the chamber turning, all my soul within me burning,
Soon again I heard a tapping somewhat louder than before.
"Surely," said I, "surely that is something at my window lattice;
Let me see, then, what thereat is, and this mystery explore—
Let my heart be still a moment, and this mystery explore;—
'T is the wind and nothing more!"

Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately Raven of the saintly days of yore.
Not the least obeisance made he; not a minute stopped or stayed he;
But, with mien of lord or lady, perched above my chamber door—
Perched upon a bust of Pallas just above my chamber door—
Perched, and sat, and nothing more.

Then this ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore,
"Though thy crest be shorn and shaven, thou," I said, "are sure no craven,
Ghastly grim and ancient Raven wandering from the Nightly shore—
Tell me what thy lordly name is on the Night's Plutonian shore!"
Quoth the Raven, "Nevermore."

Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning—little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blessed with seeing bird above his chamber door—
Bird or beast upon the sculptured bust above his chamber door,
With such name as "Nevermore."

But the Raven, sitting lonely on that placid bust, spoke only
That one word, as if his soul in that one word he did outpour.
Nothing farther then he uttered—not a feather then he fluttered—
Till I scarcely more than muttered, "Other friends have flown before—
On the morrow he will leave me, as my Hopes have flown before."
Then the bird said, "Nevermore."

Startled at the stillness broken by reply so aptly spoken,
"Doubtless," said I, "what it utters is its only stock and store
Caught from some unhappy master whom unmerciful Disaster
Followed fast and followed faster till his songs one burden bore—
Till the dirges of his Hope that melancholy burden bore
Of 'Never—nevermore.'"

But the Raven still beguiling all my sad fancy into smiling,
Straight I wheeled a cushioned seat in front of bird and bust and door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore—
What this grim, ungainly, ghastly, gaunt, and ominous bird of yore
Meant in croaking "Nevermore."

This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom's core;
This and more I sat divining, with my head at ease reclining
On the cushion's velvet lining that the lamp-light gloated o'er,
But whose velvet-violet lining with the lamp-light gloating o'er,
She shall press, ah, nevermore!

Then, methought, the air grew denser, perfumed from an unseen censer
Swung by seraphim whose foot-falls tinkled on the tufted floor.
"Wretch," I cried, "thy God hath lent thee—by these angels he hath sent thee
Respite—respite and nepenthe from thy memories of Lenore;
Quaff, oh, quaff this kind of nepenthe and forget this lost Lenore!"
Quoth the Raven, "Nevermore."

"Prophet!" said I, "thing of evil!—prophet still, if bird or devil! —
Whether Tempter sent, or whether tempest tossed thee here ashore,
Desolate, yet all undaunted, on this desert land enchanted—
On this home by Horror haunted—tell me truly, I implore—
Is there—is there balm in Gilead?—tell me—tell me, I implore!"
Quoth the Raven, "Nevermore."

"Prophet!" said I, "thing of evil!—prophet still, if bird or devil!
By that Heaven that bends above us—by that God we both adore—
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels name Lenore—
Clasp a rare and radiant maiden whom the angels name Lenore."
Quoth the Raven, "Nevermore."

"Be that word our sign of parting, bird or fiend!" I shrieked, upstarting—
"Get thee back into the tempest and the Night's Plutonian shore!
Leave no black plume as a token of that lie thy soul hath spoken!
Leave my loneliness unbroken!—quit the bust above my door!
Take thy beak from out my heart, and take thy form from off my door!"
Quoth the Raven, "Nevermore."

And the Raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon's that is dreaming,
And the lamp-light o'er him streaming throws his shadow on the floor;
And my soul from out that shadow that lies floating on the floor Shall be lifted—nevermore!

The Nymph's Reply to the Shepherd
by Sir Walter Raleigh

If all the world and love were young,
And truth in every shepherd's tongue,
These pretty pleasures might me move
To live with thee and be thy love.

Time drives the flocks from field to fold
When rivers rage and rocks grow cold,
And Philomel becometh dumb;
The rest complains of cares to come.

The flowers do fade, and wanton fields
To wayward winter reckoning yields;
A honey tongue, a heart of gall,
Is fancy's spring, but sorrow's fall.

Thy gowns, thy shoes, thy beds of roses,
Thy cap, thy kirtle, and thy posies
Soon break, soon wither, soon forgotten—
In folly ripe, in season rotten.

Thy belt of straw and ivy buds,
Thy coral clasps and amber studs,
All these in me no means can move
To come to thee and be thy love.

But could youth last and love still breed,
Had joys no date nor age no need,
Then these delights my mind might move
To live with thee and be thy love.

 from Sonnets to Orpheus
by Rainer Maria Rilke

13

Sei allem Abschied voran, als w?re er hinter
dir, wie der Winter, der eben geht.
Denn unter Wintern ist einer so endlos Winter,
dass, überwinternd, dein Herz überhaupt übersteht.

Sei immer tot in Eurydike—, singender steige,
preisender steige zurück in den reinen Bezug.
Hier, unter Schwindenden, sei, im Reiche der Neige,
sei ein klingendes Glas, das sich im Klang schon zerschlug.

Sei—und wisse zugleich des Nicht-Seins Bedingung,
den unendlichen Grund deiner innigen Schwingung,
dass du sie v?llig vollziehst dieses einzige Mal.

Zu dem gebrauchten sowohl, wie zum dumpfen und stummen
Vorrat der vollen Natur, den uns?glichen Summen,
z?hle dich jubelnd hinzu und vernichte die Zahl.

tr. M. D. Herter Norton

13

Be in advance of all parting, as though it were
behind you like the winter that is just going.
For among winters one is so endlessly winter
that, overwintering, your heart once for all will hold out.

Be ever dead in Eurydice—, mount more singingly,
mount more praisingly back into the pure relation.
Here, among the waning, be, in the realm of decline,
be a ringing glass that shivers even as it rings.

Be—and at the same time know the condition
of not-being, the infinite ground of your deep vibration,
that you may fully fulfill it this single time.

To the used as well as the muffled and mute
store of full Nature, the uncountable sums,
jubilant add yourself and cancel the count.

 My Papa's Waltz
by Theodore Roethke

The whiskey on your breath
Could make a small boy dizzy;
But I hung on like death:
Such waltzing was not easy.

We romped until the pans
Slid from the kitchen shelf;
My mother's countenance
Could not unfrown itself.

The hand that held my wrist
Was battered on one knuckle;
At every step you missed
My right ear scraped a buckle.

You beat time on my head
With a palm caked hard by dirt,
Then waltzed me off to bed
Still clinging to your shirt.

The Sloth
by Theodore Roethke

In moving-slow he has no Peer.
You ask him something in his Ear,
He thinks about it for a Year;

And, then, before he says a Word
There, upside down (unlike a Bird),
He will assume that you have Heard—

A most Ex-as-per-at-ing Lug.
But should you call his manner Smug,
He'll sigh and give his Branch a Hug;

Then off again to Sleep he goes,
Still swaying gently by his Toes,
And you just know he knows he knows.

Hope Is a Tattered Flag
by Carl Sandburg

16

Hope is a tattered flag and a dream of time.
Hope is a heartspun word, the rainbow, the shadblow in white
The evening star inviolable over the coal mines,
The shimmer of northern lights across a bitter winter night,
The blue hills beyond the smoke of the steel works,
The birds who go on singing to their mates in peace, war, peace,
The ten-cent crocus bulb blooming in a used-car salesroom,
The horseshoe over the door, the luckpiece in the pocket,
The kiss and the comforting laugh and resolve—
Hope is an echo, hope ties itself yonder, yonder.
The spring grass showing itself where least expected,
The rolling fluff of white clouds on a changeable sky,
The broadcast of strings from Japan, bells from Moscow,
Of the voice of the prime minister of Sweden carried
Across the sea in behalf of a world family of nations
And children singing chorals of the Christ child
And Bach being broadcast from Bethlehem, Pennsylvania
And tall skyscrapers practically empty of tenants
And the hands of strong men groping for handholds
And the Salvation Army singing God loves us….

Sonnet 29
by William Shakespeare

When, in disgrace with Fortune and men's eyes,
I all alone beweep my outcast state,
And trouble deaf heaven with my bootless cries,
And look upon myself and curse my fate,
Wishing me like to one more rich in hope,
Featured like him, like him with friends possessed,
Desiring this man's art and that man's scope,
With what I most enjoy contented least;
Yet in these thoughts myself almost despising,
Haply I think on thee, and then my state
(Like to the lark at break of day arising
From sullen earth) sings hymns at heaven's gate;
For thy sweet love remembered such wealth brings
That then I scorn to change my state with kings.

Not Waving But Drowning
by Stevie Smith

Nobody heard him, the dead man,
But still he lay moaning:
I was much further out than you thought
And not waving but drowning.

Poor chap, he always loved larking
And now he's dead
It must have been too cold for him his heart gave way,
They said.

Oh, no no no, it was too cold always
(Still the dead one lay moaning)
I was much too far out all my life
And not waving but drowning.

The Idea of Order at Key West
by Wallace Stevens

She sang beyond the genius of the sea.
The water never formed to mind or voice,
Like a body wholly body, fluttering
Its empty sleeves; and yet its mimic motion
Made constant cry, caused constantly a cry,
That was not ours although we understood,
Inhuman, of the veritable ocean.

The sea was not a mask. No more was she.
The song and water were not medleyed sound
Even if what she sang was what she heard,
Since what she sang was uttered word by word.
It may be that in all her phrases stirred
The grinding water and the gasping wind;
But it was she and not the sea we heard.
For she was the maker of the song she sang.
The ever-hooded, tragic-gestured sea
Was merely a place by which she walked to sing.
Whose spirit is this? we said, because we knew
It was the spirit that we sought and knew
That we should ask this often as she sang.

If it was only the dark voice of the sea
That rose, or even colored by many waves;
If it was only the outer voice of sky
And cloud, of the sunken coral water-walled,
However clear, it would have been deep air,
The heaving speech of air, a summer sound
Repeated in a summer without end
And sound alone. But it was more than that,
More even than her voice, and ours, among
The meaningless plungings of water and the wind,
Theatrical distances, bronze shadows heaped
On high horizons, mountainous atmospheres
Of sky and sea.
It was her voice that made
The sky acutest at its vanishing.
She measured to the hour its solitude.
She was the single artificer of the world
In which she sang. And when she sang, the sea,
Whatever self it had, became the self
That was her song, for she was the maker. Then we,
As we beheld her striding there alone,
Knew that there never was a world for her
Except the one she sang and, singing, made.

Ramon Fernandez, tell me, if you know,
Why, when the singing ended and we turned
Toward the town, tell why the glassy lights,
The lights in the fishing boats at anchor there,
As the night descended, tilting in the air,
Mastered the night and portioned out the sea,
Fixing emblazoned zones and fiery poles,
Arranging, deepening, enchanting night.

Oh! Blessed rage for order, pale Ramon,
The maker's rage to order words of the sea,
Words of the fragrant portals, dimly-starred,
And of ourselves and of our origins,
In ghostlier demarcations, keener sounds.

Block City
by Robert Louis Stevenson

What are you able to build with your blocks?
Castles and palaces, temples and docks.
Rain may keep raining, and others go roam,
But I can be happy and building at home.

Let the sofa be mountains, the carpet be sea,
There I'll establish a city for me:
A kirk and a mill and a palace beside,
And a harbor as well where my vessels may ride.

Great is the palace with pillar and wall,
A sort of a tower on top of it all,
And steps coming down in an orderly way
To where my toy vessels lie safe in the bay.

This one is sailing and that one is moored:
Hark to the song of the sailors on board!
And see on the steps of my palace, the kings
Coming and going with presents and things!

from Gitanjali
by Rabindranath Tagore

Where the mind is without fear and the head is held high;
Where knowledge is free;
Where the world has not been broken up into fragments by narrow domestic walls;
Where words come out from the depth of truth;
Where tireless striving stretches its arms towards perfection:
Where the clear stream of reason has not lost its way into the dreary desert sand of dead habit;
Where the mind is lead forward by thee into ever-widening thought and action—

Into that heaven of freedom, my Father, let my country awake.

Casey at the Bat
by Ernest Lawrence Thayer

The outlook wasn't brilliant for the Mudville nine that day:
The score stood four to two, with but one inning more to play,
And then when Cooney died at first, and Barrows did the same,
A pall-like silence fell upon the patrons of the game.

A straggling few got up to go in deep despair. The rest
Clung to that hope which springs eternal in the human breast;
They thought, "If only Casey could but get a whack at that—
We'd put up even money now, with Casey at the bat.

But Flynn preceded Casey, as did also Jimmy Blake,
And the former was a hoodoo, while the latter was a cake;
So upon that stricken multitude grim melancholy sat,
For there seemed but little chance of Casey getting to the bat.

But Flynn let drive a single, to the wonderment of all,
And Blake, the much despisèd, tore the cover off the ball;
And when the dust had lifted, and men saw what had occurred,
There was Jimmy safe at second and Flynn a-hugging third.

Then from five thousand throats and more there rose a lusty yell;
It rumbled through the valley, it rattled in the dell;
It pounded on the mountain and recoiled upon the flat,
For Casey, mighty Casey, was advancing to the bat.

There was ease in Casey's manner as he stepped into his place;
There was pride in Casey's bearing and a smile lit Casey's face.
And when, responding to the cheers, he lightly doffed his hat,
No stranger in the crowd could doubt 'twas Casey at the bat.

Ten thousand eyes were on him as he rubbed his hands with dirt;
Five thousand tongues applauded when he wiped them on his shirt;
Then while the writhing pitcher ground the ball into his hip,
Defiance flashed in Casey's eye, a sneer curled Casey's lip.

And now the leather-covered sphere came hurtling through the air,
And Casey stood a-watching it in haughty grandeur there.
Close by the sturdy batsman the ball unheeded sped—
"That ain't my style," said Casey. "Strike one!" the umpire said.

From the benches, black with people, there went up a muffled roar, Like the beating of the storm-waves on a stern and distant shore;
"Kill him! Kill the umpire!" shouted someone on the stand;
And it's likely they'd have killed him had not Casey raised his hand.

With a smile of Christian charity great Casey's visage shone;
He stilled the rising tumult; he bade the game go on;
He signaled to the pitcher, and once more the dun sphere flew;
But Casey still ignored it and the umpire said, "Strike two!"

"Fraud!" cried the maddened thousands, and echo answered "Fraud!"
But one scornful look from Casey and the audience was awed.
They saw his face grow stern and cold, they saw his muscles strain,
And they knew that Casey wouldn't let that ball go by again.

The sneer is gone from Casey's lip, his teeth are clenched in hate,
He pounds with cruel violence his bat upon the plate;
And now the pitcher holds the ball, and now he lets it go,
And now the air is shattered by the force of Casey's blow.

Oh, somewhere in this favoured land the sun is shining bright,
The band is playing somewhere, and somewhere hearts are light;
And somewhere men are laughing, and somewhere children shout,
But there is no joy in Mudville—mighty Casey has struck out.

For My People
by Margaret Walker

For my people everywhere singing their slave songs repeatedly: their dirges and their ditties and their blues and their jubilees, praying their prayers nightly to an unknown god, bending their knees humbly to an unseen power;

For my people lending their strength to the years, to the gone years and the now years and the maybe years, washing ironing cooking scrubbing sewing mending hoeing plowing digging planting pruning patching dragging along never gaining never reaping never knowing and never understanding.

For my playmates in the clay and dust and sand of Alabama backyards playing and baptizing and preaching and doctor and jail and soldier and school and mama and cooking and playhouse and concert and store and hair and Miss Choomby and company;

For the cramped bewildered years we went to school to learn to know the reasons why and the answers to and the people who and the places where and the days when, in memory of the bitter hours when we discovered we were black and poor and small and different and nobody cared and nobody wondered and nobody understood.

For the boys and girls who grew in spite of these things to be Man and Woman, to laugh and dance and sing and play and drink their wine and religion and success, to marry their playmates and bear children and then die of consumption and anemia and lynching;

For my people thronging 47th Street in Chicago and Lenox Avenue in New York and Rampart Street in New Orleans, lost disinherited dispossessed and happy people filling the cabarets and taverns and other people's pockets needing bread and shoes and milk and land and money and something—something all our own;

For my people walking blindly spreading joy, losing time being lazy, sleeping when hungry, shouting when burdened, drinking when hopeless, tied and shackled and tangled among ourselves by the unseen creatures who tower over us omnisciently and laugh;

For my people blundering and groping and floundering in the dark of churches and schools and clubs and societies, associations and councils and committees and conventions, distressed and disturbed and deceived and devoured by money-hungry glory-craving leeches, preyed on by facile force of state and fad and novelty, by false prophet and holy believer.

For my people standing staring trying to fashion a better way from confusion, from hypocrisy and misunderstanding, trying to fashion a world that will hold all the people, all the face, all the adams and eves and their countless generations;

Let a new earth rise. Let another world be born. Let a bloody peace be written in the sky. Let a second generation full of courage issue forth; let a people loving freedom come to growth. Let a beauty full of healing and a strength of final clenching be the pulsing in our spirit and our blood. Let the martial songs be written, let the dirges disappear. Let a race of men now rise and take control.

from Song of Myself (50 & 52)
by Walt Whitman

50

There is that in me . . . . I do not know what it is . . . . but I know it is in me.

Wrenched and sweaty . . . . calm and cool then my body becomes; I sleep . . . . I sleep long.

I do not know it . . . . it is without name . . . . it is a word unsaid, It is not in any dictionary or utterance or symbol.

Something it swings on more than the earth I swing on, To it the creation is the friend whose embracing awakes me.

Perhaps I might tell more . . . . Outlines! I plead for my brothers and sisters.

Do you see O my brothers and sisters? It is not chaos or death . . . . it is form and union and plan . . . . it is eternal life . . . . it is happiness.

52

The spotted hawk swoops by and accuses me . . . . he complains of my gab and my loitering.

I too am not a bit tamed . . . . I too am untranslatable,
I sound my barbaric yawp over the roofs of the word.

The last scud of day holds back for me,
It flings my likeness after the rest and true as any on the shadowed wilds.
It coaxes me to the vapor and the dusk.

I depart as air . . . . I shake my white locks at the runaway sun,
I effuse my flesh in eddies and drift it in lacy jags.

I bequeath myself to the dirt to grow from the grass I love.
If you want me again look for me under your bootsoles.
You will hardly know who I am or what I mean,
But I shall be good health to you nevertheless,
And filter and fibre your blood.

Failing to fetch me at first keep encouraged,
Missing me one place search another,
I stop somewhere waiting for you.

When I Heard the Learn'd Astronomer
by Walt Whitman

When I heard the learn'd astronomer,
When the proofs, the figures, were ranged in columns before me,
When I was shown the charts and diagrams, to add, divide, and measure them,
When I sitting heard the astronomer where he lectured with much applause in the lecture-room,
How soon unaccountable I became tired and sick,
Till rising and gliding out I wander'd off by myself,
In the mystical moist night-air, and from time to time,
Look'd up in perfect silence at the stars.

Danse Russe
by William Carlos Williams

If I when my wife is sleeping
and the baby and Kathleen
are sleeping
and the sun is a flame-white disc
in silken mists
above shining trees,—
if I in my north room
dance naked, grotesquely
before my mirror
waving my shirt round my head
and singing softly to myself:
"I am lonely, lonely.
I was born to be lonely,
I am best so!"
If I admire my arms, my face,
my shoulders, flanks, buttocks
against the yellow drawn shades,—

Who shall say I am not
the happy genius of my household?

This Is Just to Say
by William Carlos Williams

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

Politics
by William Butler Yeats

'In our time the destiny of man presents its meanings in political terms.' -Thomas Mann

How can I, that girl standing there,
My attention fix
On Roman or on Russian
Or on Spanish politics?
Yet here's a travelled man that knows
What he talks about,
And there's a politician
That has both read and thought,
And maybe what they say is true
Of war and war's alarms,
But O that I were young again
And held her in my arms.

Untitled Tanka ["The lower leaves of the trees"]
by Sone No Yoshitada, translated by Kenneth Rexroth

The lower leaves of the trees
Tangle the sunset in dusk.
Awe spreads with
The summer twilight.

Way of the Water-Hyacinth

by Zawgee

Bobbing on the breeze blown waves
Bowing to the tide
Hyacinth rises and falls

Falling but not felled
By flotsam, twigs, leaves
She ducks, bobs and weaves.

Ducks, ducks by the score
Jolting, quacking and more
She spins through—

Spinning, swamped, slimed, sunk
She rises, resolute
Still crowned by petals.

      Translated from the Burmese by Lyn Aye

The Sentence
by Anna Akhmatova

And the stone word fell
On my still-living breast.
Never mind, I was ready.
I will manage somehow.

Today I have so much to do:
I must kill memory once and for all,
I must turn my soul to stone,
I must learn to live again—

Unless . . . Summer's ardent rustling
Is like a festival outside my window.
For a long time I've foreseen this
Brilliant day, deserted house.

Translated from the Russian by Judith Hemschemeyer