Jane Hirschfield: The Present

redpres

The Present

I wanted to give you something —
no stone, clay, bracelet,
no edible leaf could pass through.
Even a molecule’s fragrance by then too large.
Giving had been taken, as you soon would be.
Still, I offered the puffs of air shaped to meaning.
They remained air.
I offered memory on memory,
but what is memory that dies with the fallible inks?
I offered apology, sorrow, longing. I offered anger.
How fine is the mesh of death. You can almost see through it.
I stood on one side of the present, you stood on the other.

~Jane Hirshfield

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Dan Chelotti: 1987

melons

1987

If only the moon
would part the clouds
so the melon vender,
bored, would be unable
to leave his stand.
So that I could buy a melon.
He hasn’t been there
for ten years, and for that
he was only there
one night. Why
do I remember him?
Why do I fantasize
about buying or not
buying a watermelon?
Why do I remember
the spider outside Sears
on an early winter
day in 1987 when
I am standing
in a supermarket
looking at the fat content
on a bag of chips?
“For God’s sake
where do the things
that matter go?”
He hands me a melon
and doesn’t answer.
Just grins at the money
in my outstretched hand.

Dan Chelotti

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The Night Journey, Terri Windling

Undine, Arthur Rackham

Go by coombe, by candle light,

by moonlight, starlight, stepping stone,

and step o’er bracken, branches, briars,

and go tonight, and go alone,

go by water, go by willow,

go by ivy, oak and ash,

and rowan berries red as blood,

and breadcrumbs, stones, to mark the path;

find the way by water’s whisper,

water rising from a womb

of granite, peat, of summer heat,

to slake your thirst and fill the coombe

and tumble over moss and stone

and feed the roots of ancient trees

and call to you: go, now, tonight,

by water, earth, phyllomancy,

by candle flame, by spirit-name,

by spells, by portents, myth and song,

by drum beat, heart beat, earth pulsing

beneath your feet, calling you home,

calling you back, calling you through

the water, wood, the waste, the wild,

the hills where Dartmoor ponies pass,

and black-faced sheep, a spectral child,

a fox with pale unnatural eyes,

an owl, a badger, ghostly deer

with horns of star light, candle light

to guide the way, to lead you here,

to lead you to the one who waits,

who sits and waits upon the tor,

he waits and watches, wondering

if you’re the one he’s waiting for;

he waits by dawn, by dusk, by dark,

by sun, by rain, by day, by night,

his hair as black as ravens’ wings,

his eyes of amber, skin milk white,

his skin tattooed with spiral lines

beneath a mask of wood and leaves

and polished stone and sun-bleached bone,

beneath a shirt of spiders’ weave,

his wrists weighted with silver bands

and copper braids tarnished to green,

he waits for you, unknown and yet

familiar from forgotten dreams;

you dream and stir upon your bed

and toss and turn among the sheets,

the wind taps at the window glass

and water tumbles through the leat

and through the garden, through the wood,

and over moss and over stone

and tells you: go, by candle light,

and go tonight, and go alone;

he’s sent you dreams, he’s left you signs,

he’s left you feathers, beads and runes,

so go, tonight, by candle light,

by ash and oak, by wood, by coombe.

~Terri Windling

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The Yellow House on the Corner, Rita Dove

sailing_house

Shape the lips to an o, say a. That’s island.
One word of Swedish has changed the whole neighborhood.
When I look up, the yellow house on the corner
is a galleon stranded in flowers. Around it

the wind. Even the high roar of a leaf-mulcher
could be the horn blast from a ship
as it skirts the misted shoals.
We don’t need much more to keep things going.
Families complete themselves
and refuse to budge from the present,
the present extends its glass forehead to sea
(backyard breezes, scattered cardinals)

and if, one evening, the house on the corner
took off over the marshland,
neither I nor my neighbor
would be amazed. Sometimes

a word is found so right it trembles
at the slightest explanation. You start out with one thing, end
up with another, and nothing’s
like it used to be, not even the future.

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Pathways, Rainer Marie Rilke

 

pathway2

 

Understand, I’ll slip quietly
away from the noisy crowd
when I see the pale
stars rising, blooming, over the oaks.

I’ll pursue solitary pathways
through the pale twilit meadows,
with only this one dream:
You come too.

Rainer Marie Rilke

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Funeral Blues, W.H. Auden

Image

Stop all the clocks, cut off the telephone,
Prevent the dog from barking with a juicy bone,
Silence the pianos and with muffled drum
Bring out the coffin, let the mourners come.

Let aeroplanes circle moaning overhead
Scribbling on the sky the message ‘He is Dead’.
Put crepe bows round the white necks of the public doves,
Let the traffic policemen wear black cotton gloves.

He was my North, my South, my East and West,
My working week and my Sunday rest,
My noon, my midnight, my talk, my song;
I thought that love would last forever: I was wrong.

The stars are not wanted now; put out every one,
Pack up the moon and dismantle the sun,
Pour away the ocean and sweep up the wood;
For nothing now can ever come to any good.

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Thirteen Ways of Looking at a Blackbird ~ Wallace Stevens

I
Among twenty snowy mountains,
The only moving thing
Was the eye of a blackbird.

II
I was of three minds,
Like a tree
In which there are three blackbirds.

III
The blackbird whirled in the autumn winds.
It was a small part of the pantomime.

IV
A man and a woman
Are one.
A man and a woman and a blackbird
Are one.

V
I do not know which to prefer,
The beauty of inflections
Or the beauty of innuendoes,
The blackbird whistling
Or just after.

VI
Icicles filled the long window
With barbaric glass.
The shadow of the blackbird
Crossed it, to and fro.
The mood
Traced in the shadow
An indecipherable cause.

VII
O thin men of Haddam,
Why do you imagine golden birds?
Do you not see how the blackbird
Walks about the feet
Of the women about you?

VIII
I know noble accents
And lucid, inescapable rhythms;
But I know, too,
That the blackbird is involved
In what I know.

IX
When the blackbird flew out of sight
It marked the edge
Of one of many circles.

X
At the sight of blackbirds
Flying in a green light,
Even the bawds of euphony
Would cry out sharply.

XI
He rode over Connecticut
In a glass coach.
Once, a fear pierced him,
In that he mistook
The shadow of his equipage
For blackbirds.

XII
The river is moving.
The blackbird must be flying.

XIII
It was evening all afternoon.
It was snowing
And it was going to snow.
The blackbird sat
In the cedar-limbs.

 

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