(Masa da Masaymis Ha)
A man filled with the gladness of living
Put his keys on the table,
Put flowers in a copper bowl there.
He put his eggs and milk on the table.
He put there the light that came in through the window,
Sound of a bicycle, sound of a spinning wheel.
The softness of bread and weather he put there.
On the table the man put
Things that happened in his mind.
What he wanted to do in life,
He put that there.
Those he loved, those he didn't love,
The man put them on the table too.
Three times three make nine:
The man put nine on the table.
He was next to the window next to the sky;
He reached out and placed on the table endlessness.
So many days he had wanted to drink a beer!
He put on the table the pouring of that beer.
He placed there his sleep and his wakefulness;
His hunger and his fullness he put there.
Now that's what I call a table!
It didn't complain at all about the load.
It wobbled once or twice, then stood firm.
The man kept piling things on.
translated from the Turkish by Julia Clare Tillinghast & Richard Tillinghast
O me! O Life!
O me! O life!... of the questions of these recurring;
Of the endless trains of the faithless--of cities fill'd with the foolish;
Of myself forever reproaching myself, (for who more foolish than I, and who more
Of eyes that vainly crave the light--of the objects mean--of the struggle ever
Of the poor results of all--of the plodding and sordid crowds I see around me;
Of the empty and useless years of the rest--with the rest me intertwined;
The question, O me! so sad, recurring--What good amid these, O me, O life?
That you are here--that life exists, and identity;
That the powerful play goes on, and you will contribute a verse.
Blessed Be the Truth-Tellers
For Jack Agüeros
In the projects of Brooklyn, everyone lied.
My mother used to say:
If somebody starts a fight,
just walk away.
Then somebody would smack
the back of my head
and dance around me in a circle, laughing.
When I was twelve, pus bubbled
on my tonsils, and everyone said:
After the operation, you can have
all the ice cream you want.
I bragged about the deal;
no longer would I chase the ice cream truck
down the street, panting at the bells
to catch Johnny the ice cream man,
who allegedly sold heroin the color of vanilla
from the same window.
Then Jack the Truth-Teller visited the projects,
Jack who herded real camels and sheep
through the snow of East Harlem every Three Kings' Day,
Jack who wrote sonnets of the jail cell
and the racetrack and the boxing ring,
Jack who crossed his arms in a hunger strike
until the mayor hired more Puerto Ricans.
And Jack said:
You gonna get your tonsils out?
Ay bendito cuchifrito Puerto Rico.
That's gonna hurt.
I was etherized,
then woke up on the ward
heaving black water onto white sheets.
A man poking through his hospital gown
leaned over me and sneered:
You think you got it tough? Look at this!
and showed me the cauliflower tumor
behind his ear. I heaved up black water again.
The ice cream burned.
Vanilla was a snowball spiked with bits of glass.
My throat was red as a tunnel on fire
after the head-on collision of two gasoline trucks.
This is how I learned to trust
the poets and shepherds of East Harlem.
Blessed be the Truth-Tellers,
for they shall have all the ice cream they want.
In Monet's Water Lilies,
willows dissolve into
flowers dissolve into water,
and form becomes a dream
in purples and blues
without scent or story.
Consider the death of boundaries,
the way sight dissolves
the moment just before sleep
overtakes us. The way
a man can disappear
inside a woman. I remember
a day of ruffling waters
when we sailed west
in your creaky boat.
We steered for the horizon--
that penciled-in line between
ocean and sky, then watched
as it receded ahead of us.
The night my mother died
there were cells in her body
that didn't notice. For a while
the moons of her nails kept rising,
the hair kept growing from the apex
of her widow's peak.
Now by a barbed-wire fence
that divides two countries,
the invisible roots of an old tree
spread their living network
underground, in all directions.
When the spent sun throws up its rays on cloud
And goes down burning into the gulf below,
No voice in nature is heard to cry aloud
At what has happened. Birds, at least must know
It is the change to darkness in the sky.
Murmuring something quiet in her breast,
One bird begins to close a faded eye;
Or overtaken too far from his nest,
Hurrying low above the grove, some waif
Swoops just in time to his remembered tree.
At most he thinks or twitters softly, 'Safe!
Now let the night be dark for all of me.
Let the night bee too dark for me to see
Into the future. Let what will be, be.'
Robert Lee Frost
Sunset at Lake Tahoe
Why did you travel?
Because the house was cold.
Why did you travel?
Because it is what I have always done between sunset and sunrise.
What did you wear?
I wore a blue suit, a white shirt, yellow tie, and yellow socks.
What did you wear?
I wore nothing. A scarf of pain kept me warm.
Who did you sleep with?
I slept with a different woman each night.
Who did you sleep with?
I slept alone. I have always slept alone.
Why did you lie to me?
I always thought I told the truth.
Why did you lie to me?
Because the truth lies like nothing else and I love the truth.
Why are you going?
Because nothing means much to me anymore.
Why are you going?
I don't know. I have never known.
How long shall I wait for you?
Do not wait for me. I am tired and I want to lie down.
Are you tired and do you want to lie down?
Yes, I am tired and I want to lie down.
"Sometimes of late years I find myself thinking the most beautiful sight in the world might be the birds taking over New York after the last man has run away to the hills. I will never live to see it, of course, but I know just how it will sound because I've lived up high and I know the sort of watch birds keep on us. I've listened to sparrows tapping tentatively on the outside of air conditioners when they thought no one was listening, and I know how other birds test the vibrations that come up to them through the television aerials. `Is he gone?' they ask, and the vibrations come up from below, `Not yet, not yet.'"
The Immense Journey
Extracts from 'Little Gidding'
Let me disclose the gifts reserved for age
To set a crown upon your lifetime's effort.
First, the cold friction of expiring sense
Without enchantment, offering no promise
But bitter tastelessness of shadow fruit
As body and soul begin to fall asunder.
Second, the conscious impotence of rage
At human folly, and the laceration
Of laughter at what ceases to amuse.
And last, the rending pain of re-enactment
Of all that you have done, and been; the shame
Of motives late revealed, and the awareness
Of things ill done and done to others' harm
Which once you took for exercise of virtue.
Then fools' approval stings, and honour stains.
From wrong to wrong the exasperated spirit
Proceeds, unless restored by that refining fire
Where you must move in measure, like a dancer.'
There are three conditions which often look alike
Yet differ completely, flourish in the same hedgerow:
Attachment to self and to things and to persons, detachment
From self and from things and from persons; and, growing between them, indifference
Which resembles the others as death resembles life,
Being between two lives--unflowering, between
The live and the dead nettle. This is the use of memory:
For liberation--not less of love but expanding
Of love beyond desire, and so liberation
From the future as well as the past.
We shall not cease from exploration
And the end of all our exploring
Will be to arrive where we started
And know the place for the first time.
Through the unknown, unremembered gate
When the last of earth left to discover
Is that which was the beginning;
At the source of the longest river
The voice of the hidden waterfall
And the children in the apple-tree
Not known, because not looked for
But heard, half-heard, in the stillness
Between two waves of the sea.
Quick now, here, now, always--
A condition of complete simplicity
(Costing not less than everything)
And all shall be well and
All manner of thing shall be well
When the tongues of flame are in-folded
Into the crowned knot of fire
And the fire and the rose are one.
I think there's no doubt that if
you're going to write it well
you have to live it well
and sometimes you live it so well
you kill yourself and can't
write it at
which i think is more practical
than writing it all
and killing yourself
A total solar eclipse is seen in Varanasi, India, Wednesday, July 22, 2009.
Light breaks where no sun shines
Light breaks where no sun shines;
Where no sea runs, the waters of the heart
Push in their tides;
And, broken ghosts with glowworms in their heads,
The things of light
File through the flesh where no flesh decks the bones.
A candle in the thighs
Warms youth and seed and burns the seeds of age;
Where no seed stirs,
The fruit of man unwrinkles in the stars,
Bright as a fig;
Where no wax is, the candle shows its hairs.
Dawn breaks behind the eyes;
From poles of skull and toe the windy blood
Slides like a sea;
Nor fenced, nor staked, the gushers of the sky
Spout to the rod
Divining in a smile the oil of tears.
Night in the sockets rounds,
Like some pitch moon, the limit of the globes;
Day lights the bone;
Where no cold is, the skinning gales unpin
The winter's robes;
The film of spring is hanging from the lids.
Light breaks on secret lots,
On tips of thought where thoughts smell in the rain;
When logics die,
The secret of the soil grows through the eye,
And blood jumps in the sun;
Above the waste allotments the dawn halts.
Sometimes the Sky's Too Bright
Sometimes the sky's too bright,
Or has too many clouds or birds,
And far away's too sharp a sun
To nourish thinking of him.
Why is my hand too blunt
To cut in front of me
My horrid images for me,
Of over-fruitful smiles,
The weightless touching of the lip
I wish to know
I cannot lift, but can,
The creature with the angel's face
Who tells me hurt,
And sees my body go
Down into misery?
No stopping. Put the smile
Where tears have come to dry.
The angel's hurt is left;
His telling burns.
Sometimes a woman's heart has salt,
Or too much blood;
I tear her breast,
And see the blood is mine,
Flowing from her, but mine,
And then I think
Perhaps the sky's too bright;
And watch my hand,
But do not follow it,
And feel the pain it gives,
But do not ache.
Thirty spokes share a wheel hub,
it is the (empty) space (not spokes, nor hub) makes wheel useful.
Shape clay into a vessel,
It is the empty space within, makes it useful.
Cut doors and windows for a room,
It is the holes, make a room a room.
Therefore, what is there defines its form,
what is not there defines its use.
Keeping Things Whole
In a field
I am the absence
always the case.
Wherever I am
I am what is missing.
When I walk
I part the air
the air moves in
to fill the spaces
where my body's been.
We all have reasons
to keep things whole.
Boy and Egg
Every few minutes, he wants
to march the trail of flattened rye grass
back to the house of muttering
hens. He too could make
a bed in hay. Yesterday the egg so fresh
it felt hot in his hand and he pressed it
to his ear while the other children
laughed and ran with a ball, leaving him,
so little yet, too forgetful in games,
ready to cry if the ball brushed him,
riveted to the secret of birds
caught up inside his fist,
not ready to give it over
to the refrigerator
or the rest of the day.
Naomi Shihab Nye
Adding It Up
My mind's eye opens before
the light gets up. I
lie awake in the small dark,
figuring payments, or how
to scrape paint; I count
rich women I didn't marry.
I measure bicycle miles
I pedaled last Thursday
to take off weight; I give some
passing thought to the point
that if I hadn't turned poet
I might well be some other
sort of accountant. Before
the sun reports its own weather
my mind is openly at it:
I chart my annual rainfall,
or how I'll plant seed if
I live to be fifty. I look up
words like "bilateral symmetry"
in my mind's dictionary; I consider
the bivalve mollusc, re-pick
last summer's mussels on Condon Point,
preview the next red tide, and
hold my breath: I listen hard
to how my heart valves are doing.
I try not to get going
too early: bladder permitting,
I mean to stay in bed until six;
I think in spirals, building
horizon pyramids, yielding to
no man's flag but my own.
I think a lot of Saul Steinberg:
I play touch football on one leg,
I seesaw on the old cliff, trying
to balance things out: job,
wife, children, myself.
My mind's eye opens before
my body is ready for its
first duty: cleaning up after
an old-maid Basset in heat.
That, too, I inventory:
the Puritan strain will out,
even at six a.m.; sun or no sun,
I'm Puritan to the bone, down to
the marrow and then some:
if I'm not sorry I worry,
if I can't worry I count.
Just in case I haven't posted this before.
Valediction: Forbidding Mourning
As virtuous men pass mildly away,
And whisper to their souls to go,
Whilst some of their sad friends do say
The breath goes now, and some say, No:
So let us melt, and make no noise,
No tear-floods, nor sigh-tempests move;
'Twere profanation of our joys
To tell the laity our love.
Moving of th' earth brings harms and fears,
Men reckon what it did, and meant;
But trepidation of the spheres,
Though greater far, is innocent.
Dull sublunary lovers' love
(Whose soul is sense) cannot admit
Absence, because it doth remove
Those things which elemented it.
But we by a love so much refined,
That our selves know not what it is,
Inter-assured of the mind,
Care less, eyes, lips, and hands to miss.
Our two souls therefore, which are one,
Though I must go, endure not yet
A breach, but an expansion,
Like gold to airy thinness beat.
If they be two, they are two so
As stiff twin compasses are two;
Thy soul, the fixed foot, makes no show
To move, but doth, if the other do.
And though it in the center sit,
Yet when the other far doth roam,
It leans and hearkens after it,
And grows erect, as that comes home.
Such wilt thou be to me, who must,
Like th' other foot, obliquely run;
Thy firmness makes my circle just,
And makes me end where I begun.