21
" oxygen
Everything needs it: bone, muscles, and even,
while it calls the earth its home, the soul.
So the merciful, noisy machine
stands in our house working away in its
lung-like voice. I hear it as I kneel
before the fire, stirring with a
stick of iron, letting the logs
lie more loosely. You, in the upstairs room,
are in your usual position, leaning on your
right shoulder which aches
all day. You are breathing
patiently; it is a
beautiful sound. It is
your life, which is so close
to my own that I would not know
where to drop the knife of
separation. And what does this have to do
with love, except
everything? Now the fire rises
and offers a dozen, singing, deep-red
roses of flame. Then it settles
to quietude, or maybe gratitude, as it feeds
as we all do, as we must, upon the invisible gift:
our purest, sweet necessity: the air. "
― Mary Oliver , Thirst
22
" Let my heiress have full rights,
Live in my house, sing songs that I composed.
Yet how slowly my strength ebbs,
How the tortured breast craves air.
The love of my friends, my enemies' rancor
And the yellow roses in my bushy garden,
And a lover's burning tendernessall this
I bestow upon you, messenger of dawn.
Also the glory for which I was born,
For which my star, like some whirlwind, soared
And now falls. Look, its falling
Prophesies your power, love and inspiration.
Preserving my generous bequest,
You will live long and worthily.
Thus it will be. You see, I am content,
Be happy, but remember me. "
― Anna Akhmatova , The Complete Poems of Anna Akhmatova
23
" Live or die, but don't poison everything...
Well, death's been here
for a long time --
it has a hell of a lot
to do with hell
and suspicion of the eye
and the religious objects
and how I mourned them
when they were made obscene
by my dwarf-heart's doodle.
The chief ingredient
is mutilation.
And mud, day after day,
mud like a ritual,
and the baby on the platter,
cooked but still human,
cooked also with little maggots,
sewn onto it maybe by somebody's mother,
the damn bitch!
Even so,
I kept right on going on,
a sort of human statement,
lugging myself as if
I were a sawed-off body
in the trunk, the steamer trunk.
This became perjury of the soul.
It became an outright lie
and even though I dressed the body
it was still naked, still killed.
It was caught
in the first place at birth,
like a fish.
But I play it, dressed it up,
dressed it up like somebody's doll.
Is life something you play?
And all the time wanting to get rid of it?
And further, everyone yelling at you
to shut up. And no wonder!
People don't like to be told
that you're sick
and then be forced
to watch
you
come
down with the hammer.
Today life opened inside me like an egg
and there inside
after considerable digging
I found the answer.
What a bargain!
There was the sun,
her yolk moving feverishly,
tumbling her prize --
and you realize she does this daily!
I'd known she was a purifier
but I hadn't thought
she was solid,
hadn't known she was an answer.
God! It's a dream,
lovers sprouting in the yard
like celery stalks
and better,
a husband straight as a redwood,
two daughters, two sea urchings,
picking roses off my hackles.
If I'm on fire they dance around it
and cook marshmallows.
And if I'm ice
they simply skate on me
in little ballet costumes.
Here,
all along,
thinking I was a killer,
anointing myself daily
with my little poisons.
But no.
I'm an empress.
I wear an apron.
My typewriter writes.
It didn't break the way it warned.
Even crazy, I'm as nice
as a chocolate bar.
Even with the witches' gymnastics
they trust my incalculable city,
my corruptible bed.
O dearest three,
I make a soft reply.
The witch comes on
and you paint her pink.
I come with kisses in my hood
and the sun, the smart one,
rolling in my arms.
So I say Live
and turn my shadow three times round
to feed our puppies as they come,
the eight Dalmatians we didn't drown,
despite the warnings: The abort! The destroy!
Despite the pails of water that waited,
to drown them, to pull them down like stones,
they came, each one headfirst, blowing bubbles the color of cataract-blue
and fumbling for the tiny tits.
Just last week, eight Dalmatians,
3/4 of a lb., lined up like cord wood
each
like a
birch tree.
I promise to love more if they come,
because in spite of cruelty
and the stuffed railroad cars for the ovens,
I am not what I expected. Not an Eichmann.
The poison just didn't take.
So I won't hang around in my hospital shift,
repeating The Black Mass and all of it.
I say Live, Live because of the sun,
the dream, the excitable gift. "
― Anne Sexton , The Complete Poems
27
" My mistress' eyes are nothing like the sun;
Coral is far more red than her lips' red;
If snow be white, why then her breasts are dun;
If hairs be wires, black wires grow on her head.
I have seen roses damask'd, red and white,
But no such roses see I in her cheeks;
And in some perfumes is there more delight
Than in the breath that from my mistress reeks.
I love to hear her speak, yet well I know
That music hath a far more pleasing sound;
I grant I never saw a goddess go;
My mistress, when she walks, treads on the ground:
And yet, by heaven, I think my love as rare
As any she belied with false compare. "
― William Shakespeare , Shakespeare's Sonnets
29
" I have forgot much, Cynara! gone with the wind,
Flung roses, roses riotously with the throng,
Dancing, to put thy pale, lost lilies out of mind;
But I was desolate and sick of an old passion,
Yea, all the time, because the dance was long;
I have been faithful to thee, Cynara! in my fashion.
I cried for madder music and for stronger wine,
But when the feast is finished and the lamps expire,
Then falls thy shadow, Cynara! the night is thine;
And I am desolate and sick of an old passion,
Yea, hungry for the lips of my desire:
I have been faithful to thee, Cynara! in my fashion. "
― Ernest Dowson , The Poems and Prose of Ernest Dowson
32
" victor hugo, Les Contemplations, Mors
Je vis cette faucheuse. Elle était dans son champ.
Elle allait à grands pas moissonnant et fauchant,
Noir squelette laissant passer le crépuscule.
Dans l'ombre où l'on dirait que tout tremble et recule,
L'homme suivait des yeux les lueurs de la faulx.
Et les triomphateurs sous les arcs triomphaux
Tombaient ; elle changeait en désert Babylone,
Le trône en échafaud et l'échafaud en trône,
Les roses en fumier, les enfants en oiseaux,
L'or en cendre, et les yeux des mères en ruisseaux.
Et les femmes criaient : - Rends-nous ce petit être.
Pour le faire mourir, pourquoi l'avoir fait naître ? -
Ce n'était qu'un sanglot sur terre, en haut, en bas ;
Des mains aux doigts osseux sortaient des noirs grabats ;
Un vent froid bruissait dans les linceuls sans nombre ;
Les peuples éperdus semblaient sous la faulx sombre
Un troupeau frissonnant qui dans l'ombre s'enfuit ;
Tout était sous ses pieds deuil, épouvante et nuit.
Derrière elle, le front baigné de douces flammes,
Un ange souriant portait la gerbe d'âmes. "
― Victor Hugo
33
" Cage
It's a tear i want to shed,
For the weathered roses that once was red,
Today it's a decision want to make,
To move on in life ignoring the fate,
It's the promises i want to break,
Because its a nightmare and i want to awake,
It is the poem that don't rhyme,
I don't know how, but things changed with the tides of time,
It's the memories i want to forget,
Now i am tired, no more i can regret,
I'm the one, who feels alone in the crowd,
I want to cry, run and shout out loud,
Please leave me alone, relieve me from the pain,
I am empty now, there is nothing more you can regain,
Look at me and deep into my eyes,
You will find the love that never dies "
― Ratish Edwards
38
" Time goes, you say? Ah no!Alas, Time stays, we go;Or else, were this not so, What need to chain the hours,For Youth were always ours?Time goes, you say?-ah no!Ours is the eyes' deceitOf men whose flying feetLead through some landscape low; We pass, and think we seeThe earth's fixed surface flee:-Alas, Time stays,-we go!Once in the days of old,Your locks were curling gold,And mine had shamed the crow. Now, in the self-same stage,We've reached the silver age;Time goes, you say?-ah no!Once, when my voice was strong,I filled the woods with songTo praise your 'rose' and 'snow'; My bird, that sang, is dead;Where are your roses fled?Alas, Time stays,-we go!See, in what traversed ways,What backward Fate delaysThe hopes we used to know; Where are our old desires?-Ah, where those vanished fires?Time goes, you say?-ah no!How far, how far, O Sweet,The past behind our feetLies in the even-glow! Now, on the forward way,Let us fold hands, and pray;Alas, Time stays,-we go! "
40
" The silence. End of all poetry, all romances. Earlier, frightened, you began to have some intimation of it: so many pages had been turned, the book was so heavy in one hand, so light in the other, thinning toward the end. Still, you consoled yourself. You were not quite at the end of the story, at that terrible flyleaf, blank like a shuttered window: there were still a few pages under your thumb, still to be sought and treasured. Oh, was it possible to read more slowly? - No. The end approached, inexorable, at the same measured pace. The last page, the last of the shining words! And there - the end of the books. The hard cover which, when you turn it, gives you only this leather stamped with old roses and shields.
Then the silence comes, like the absence of sound at the end of the world. You look up. It's a room in an old house. Or perhaps it's a seat in a garden, or even a square; perhaps you've been reading outside and you suddenly see the carriages going by. Life comes back, the shadows of leaves. Someone comes to ask what you will have for dinner, or two small boys run past you, wildly shouting; or else it's merely a breeze blowing a curtain, the white unfurling into a room, brushing the papers on a desk. It is the sound of the world. But to you, the reader, it is only a silence, untenanted and desolate. "
― Sofia Samatar , A Stranger in Olondria