Nov 23

Living Light (Sabatier)

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Living Light, by Robert Sabatier (1923-)
 
A child speaks and now the lark has come
Collecting all the fire he has spoken
Each goes his way and carries in his eyes
The bright of dawn and of seasons renewed
On the ground the child now sleeps and dreams.
 
As soon as he says sun, a beach
Becomes his path; the sky is pearl
The shell is a reflection of a star
A god comes to the sea to dance
And dress in seaweed and the waves.
 
A child speaks or perhaps a rock
Is it a perfume that escapes from him
The mouth that calls these dazzled words
To meet their image has transcended night
Love breaks out and releases dawn.
 
A child speaks, offering his planet
To the world with all its dangers
Take this face, vulnerable to stone
A single kiss could protect it
And it wakes to the caress of lips.
 
(Trans. Victoria Rippere)
Nov 22

Dawning (Jiménez Mantecón)

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Dawning, by Juan Ramón Jiménez Mantecón (1881-1958)

The sun gilds honey
on mauve and green fields
rock and vineyard, hills and plain.
Breezes make the blue flower
fresh and soft on livid stone walls.
There is no one now, or not yet,
in the enormous readied fields
which the lark decorates
with crystal wings
Here, there, open and deserted,
the red dazzling towns.

(trans. Willis Barnstone)

Nov 21

War II (Johnson)

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War II, by Angela Johnson (1961-)

My daddy had Vietnam dreams.

Nightmares that used

to rip him out of bed screaming

and running into the living room.

Helicopters machine-gunned

down on him, and he

used to yell that he couldn’t

get the blood off.

And near the end I didn’t even

wake up anymore.

I didn’t hear Mama saying,

“Baby, baby, baby.”

And I couldn’t hear him crying.

So at the end I was almost

deaf,

and the silence wrapped

me up warm.

And I didn’t know it,

but that war in the jungle

had followed my daddy all the way

to Shorter.

 

 

NOTE:

Shorter is the small town in Alabama where the narrator of the poem lives.

 

Nov 20

First Snowfall (Lowell)

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First Snowfall, by James Russell Lowell (1819-1891)

The snow had begun in the gloaming,
And busily all the night
Had been heaping field and highway
With a silence deep and white.

Every pine and fir and hemlock
Wore ermine too dear for an earl,
And the poorest twig on the elm-tree
Was ridged inch deep with pearl.

From sheds new-roofed with Carrara
Came Chanticleer’s muffled crow,
The stiff rails softened to swan’s-down,
And still fluttered down the snow.

I stood and watched by the window
The noiseless work of the sky,
And the sudden flurries of snowbirds,
Like brown leaves whirling by.

I thought of a mound in sweet Auburn
Where a little headstone stood;
How the flakes were folding it gently,
As did robins the babes in the wood.

Up spoke our own little Mabel,
Saying, “Father, who makes it snow?”
And I told of the good All-Father
Who cares for us here below.

Again I looked at the snow-fall,
And thought of the leaden sky
That arched o’er our first great sorrow,
When that mound was heaped so high.

I remembered the gradual patience
That fell from that cloud like snow,
Flake by flake, healing and hiding
The scar that renewed our woe.

And again to the child I whispered,
“The snow that husheth all,
Darling, the merciful Father
Alone can make it fall!”

Then, with eyes that saw not, I kissed her:
And she, kissing back, could not know
That my kiss was given to her sister,
Folded close under deepening snow.

Nov 19

The Prodigal Son’s Brother (Kowit)

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The Prodigal Son’s Brother, by Steve Kowit (1938-)

who’d been steadfast as small change all his life
forgave the one who bounced back like a bad check
the moment his father told him he ought to.
After all, that’s what being good means.
In fact, it was he who hosted the party,
bought the crepes & champagne,
uncorked every bottle. With each drink
another toast to his brother: ex-swindler, hit-man
& rapist. By the end of the night
the entire village was blithering drunk
in an orgy of hugs & forgiveness,
while he himself,
whose one wish was to be loved as profusely,
slipped in & out of their houses,
stuffing into a satchel their brooches & rings
& bracelets & candelabra.
Then lit out at dawn with a light heart
for a port city he knew only by reputation:
ladies in lipstick hanging out of each window,
& every third door a saloon.

Nov 18

Onions (Matthews)

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Onions, by William Matthews (1942-1997)

How easily happiness begins by
dicing onions. A lump of sweet butter
slithers and swirls across the floor
of the sauté pan, especially if its
errant path crosses a tiny slick
of olive oil. Then a tumble of onions.

 

This could mean soup or risotto
or chutney (from the Sanskrit
chatni, to lick). Slowly the onions
go limp and then nacreous
and then what cookbooks call clear,
though if they were eyes you could see

 

clearly the cataracts in them.
It’s true it can make you weep
to peel them, to unfurl and to tease
from the taut ball first the brittle,
caramel-colored and decrepit
papery outside layer, the least

 

recent the reticent onion
wrapped around its growing body,
for there’s nothing to an onion
but skin, and it’s true you can go on
weeping as you go on in, through
the moist middle skins, the sweetest

 

and thickest, and you can go on
in to the core, to the bud-like,
acrid, fibrous skins densely
clustered there, stalky and in-
complete, and these are the most
pungent, like the nuggets of nightmare

 

and rage and murmury animal
comfort that infant humans secrete.
This is the best domestic perfume.
You sit down to eat with a rumor
of onions still on your twice-washed
hands and lift to your mouth a hint

 

of a story about loam and usual
endurance. It’s there when you clean up
and rinse the wine glasses and make
a joke, and you leave the minutest
whiff of it on the light switch,
later, when you climb the stairs.
Nov 17

Song of the Stormtrooper (Brecht)

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Song of the Stormtrooper, by Bertolt Brecht (1898-1956)

From hunger I grew drowsy,
Dulled by my belly’s ache.
Then someone shouted in my ear,
Germany awake.

Then I saw many marching
Toward the Third Reich, they said.
Since I had naught to lose
I followed where they led.

And as I marched, there marched
Big Belly by my side.
When I shouted “Bread and jobs,”
“Bread and jobs” he cried.

The leader wore high boots,
I stumbled with wet feet
Yet all of us were marching
To the selfsame beat.

I wanted to march leftward,
Squads right, the order was.
I blindly followed orders
For better or for worse.

And toward some new Third Reich,
But scarcely knowing whither,
Pale and hungry men
And well-fed marched together.

They gave me a revolver
And said: now shoot our foe.
But as I fired on his ranks
I laid my brother low.

It was my brother, hunger
Made us one, I know,
And I am marching, marching
With my own and my brother’s foe.

So I have lost my brother,
I wove his winding sheet.
I know now by this victory
I wrought my own defeat.

 

(Trans.  H. R. Hays)

Nov 16

D.O.A. (Dlugos)

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D. O. A.  by Tim Dlugos (1950-1990)

“You knew who I was
when I walked in the door.
You thought that I was dead.
Well, I am dead. A man
can walk and talk and even
breathe and still be dead.”
Edmond O’Brien is perspiring
and chewing up the scenery
in my favorite film noir,
D.O.A. I can’t stop watching,
can’t stop relating. When I walked down
Columbus to Endicott last night
to pick up Tor’s new novel,
I felt the eyes of every
Puerto Rican teen, crackhead,
yuppie couple focus on my cane
and makeup. “You’re dead,”
they seemed to say in chorus.
Somewhere in a dark bar
years ago, I picked up “luminous
poisoning.” My eyes glowed
as I sipped my drink. After that,
there was no cure, no turning back.
I had to find out what was gnawing
at my gut. The hardest part’s
not even the physical effects:
stumbling like a drunk (Edmond
O’Brien was one of Hollywood’s
most active lushes) through
Forties sets, alternating sweats
and fevers, reptilian spots
on face and scalp. It’s having
to say goodbye like the scene
where soundtrack violins go crazy
as O’Brien gives his last embrace
to his girlfriend-cum-Girl
Friday, Paula, played by Pamela
Britton. They’re filmdom’s least
likely lovers—the squat and jowly
alkie and the homely fundamentally
talentless actress who would hit
the height of her fame as the pillhead-
acting landlady on My Favorite Martian
fifteen years in the future. I don’t have
fifteen years, and neither does Edmond
O’Brien. He has just enough time to tell
Paula how much he loves her, then
to drive off in a convertible
for the showdown with his killer.
I’d like to have a showdown too, if I
could figure out which pistol-packing
brilliantined and ruthless villain
in a hound’s-tooth overcoat took
my life. Lust, addiction, being
in the wrong place at the wrong
time? That’s not the whole
story. Absolute fidelity
to the truth of what I felt, open
to the moment, and in every case
a kind of love: all of the above
brought me to this tottering
self-conscious state—pneumonia,
emaciation, grisly cancer,
no future, heart of gold,
passionate engagement with a great
B film, a glorious summer
afternoon in which to pick up
the ripest plum tomatoes of the year
and prosciutto for the feast I’ll cook
tonight for the man I love,
phone calls from my friends
and a walk to the park, ignoring
stares, to clear my head. A day
like any, like no other. Not so bad
for the dead.
NOTE
Dlugos died of complications from  HIV/AIDS in 1990.   D.O. A. is a real movie, made in 1950 and now in the public domain. A lush is archaic slang for an alcoholic.   Tor is an American publishing house that specializes in science fiction and fantasy books.
Nov 15

Sick Boy (Ridler)

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Sick Boy, by Anne Ridler (1912-2001)

Illness falls like a cloud upon
My little frisking son:
He lies like a plant under a blight
Dulling the bright leaf-skin.
Our culture falls away, the play
That apes, and grows, a man,
Falters, and like the wounded or
Sick animal, his kin,
He curls to shelter the flame of life
And lies close in his den.

Children in patient suffering
Are sadder to see than men
Because more humble and more bewildered:
What words can there explain
Why all pleasures have lost their savour,
Or promise health again?
Kindness speaks from a far mountain —
Cannot touch their pain.

Nov 14

What I Did (Daniels)

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What I Did, by Jim Daniels (1956-)

What are you going to do
when your girlfriend’s pregnant
neither of you have health
insurance or a decent job
and you’ve both been taking enough
drugs to kill a horse
or two?

What are you going to do
when she calls up from Wisconsin
three states away to tell you
she’s pregnant, that she slipped
away the night before

she’s telling you
and she’s crying and she’s telling you
she’s going to the clinic
in the morning?

You know.
You know what you’re going to do.
You’re going to drive
your Plymouth Satellite all night
your head jangling
like the coins you use to call her
from rest stops to make sure
she’ll wait
wait til you get there

drive all night to her sister’s
in Madison and sit with her in the morning
wringing your hands and going over it
all again, slowly, and again

and you can’t let yourself
think for more than a second
of the actual child
you might have together,
what you imagined while driving
when the cold air and darkness
when the lack of a radio
made all things possible

you kiss her and hold her
and wipe her nose
and wipe your nose
and you try to ignore
and not feel embarrassed by
the presence of her sister
silently circling the house.

What do you do? You drive her down
in the painful sun, the forced
squint, you pull out the wrinkled
wad of bills you conned
from friends half-gone in the bar,
you lick your fingers,
you count out your half.

Words That Burn