[Sven2]

Elegy in Joy


We tell beginnings: for the flesh and the answer,
or the look, the lake in the eye that knows,
for the despair that flows down in widest rivers,
cloud of home; and also the green tree of grace,
all in the leaf, in the love that gives us ourselves.

The word of nourishment passes through the women,
soldiers and orchards rooted in constellations,
white towers, eyes of children:
saying in time of war What shall we feed?
I cannot say the end.

Nourish beginnings, let us nourish beginnings.
Not all things are blest, but the
seeds of all things are blest.
The blessing is in the seed.

This moment, this seed, this wave of the sea, this look, this instant of love.
Years over wars and an imagining of peace. Or the expiation journey
toward peace which is many wishes flaming together,
fierce pure life, the many-living home.
Love that gives us ourselves, in the world known to all
new techniques for the healing of the wound,
and the unknown world. One life, or the faring stars.

--Muriel Rukeyser

[Sven2]

Our Flag

Our flag should be green
to represent an ocean.
It should have two stars
in the first canton,
for us and navigation.
They should be of gold thread,
placed diagonally,
and not solid,
but comprised of lines.
Our flag should be silky jet.
It should have a wound,
a red river the sun must ford
when flown at half-mast.
It should have the first letter
of every alphabet ever.
When folded into a triangle
an embroidered eighth note
should rest on top
or an odd-pinnate,
with an argentine stem,
a fiery leaf, a small branch
signifying the impossible song.
Or maybe honey and blue
with a centered white pinion.
Our flag should be a veil
that makes the night weep
when it comes to dance,
a birthday present we open
upon death, the abyss we sleep
under. Our flag should hold
failure like light glinting
in a headdress of water.
It should hold the moon
as the severed head
of a white animal
and we should carry it
to hospitals and funerals,
to police stations and law offices.
It should live, divided,
deepening its yellows
and reds, flaunting itself
in a dead gray afternoon sky.
Our flag should be seen
at weddings well after
we've departed.
It should stir in the heat
above the tables and music.
It should watch our friends
join and separate
and laugh as they go out
under the clouded night
for cold air and cigarettes.
Our flag should sing
when we cannot,
praise when we cannot,
rejoice when we cannot.
Let it be a reminder.
Let it be the aperture,
the net, the rope of dark stars.
Let it be mathematics.
Let it be the eloquence
of the process shining
on the page, a beacon
on the edge of a continent.
Let its warnings be dismissed.
Let it be insignificant
and let its insignificance shine.

--Carl Adamshick

[Sven2]

A child said, What is the grass?

A child said, What is the grass? fetching it to me with full
hands;
How could I answer the child?. . . .I do not know what it
is any more than he.

I guess it must be the flag of my disposition, out of hopeful
green stuff woven.

Or I guess it is the handkerchief of the Lord,
A scented gift and remembrancer designedly dropped,
Bearing the owner's name someway in the corners, that we
may see and remark, and say Whose?

Or I guess the grass is itself a child. . . .the produced babe
of the vegetation.

Or I guess it is a uniform hieroglyphic,
And it means, Sprouting alike in broad zones and narrow
zones,
Growing among black folks as among white,
Kanuck, Tuckahoe, Congressman, Cuff, I give them the
same, I receive them the same.

And now it seems to me the beautiful uncut hair of graves.

Tenderly will I use you curling grass,
It may be you transpire from the breasts of young men,
It may be if I had known them I would have loved them;
It may be you are from old people and from women, and
from offspring taken soon out of their mother's laps,
And here you are the mother's laps.

This grass is very dark to be from the white heads of old
mothers,
Darker than the colorless beards of old men,
Dark to come from under the faint red roofs of mouths.

O I perceive after all so many uttering tongues!
And I perceive they do not come from the roofs of mouths
for nothing.

I wish I could translate the hints about the dead young men
and women,
And the hints about old men and mothers, and the offspring
taken soon out of their laps.

What do you think has become of the young and old men?
What do you think has become of the women and
children?

They are alive and well somewhere;
The smallest sprouts show there is really no death,
And if ever there was it led forward life, and does not wait
at the end to arrest it,
And ceased the moment life appeared.

All goes onward and outward. . . .and nothing collapses,
And to die is different from what any one supposed, and
luckier.


--Walt Whitman

[Sven2]

Blur

Storms of perfume lift from honeysuckle,
lilac, clover—and drift across the threshold,
outside reclaiming inside as its home.
Warm days whirl in a bright unnumberable blur,
a cup—a grail brimmed with delirium
and humbling boredom both.  I was a boy,
I thought I'd always be a boy, pell—mell,
mean, and gaily murderous one moment
as I decapitated daises with a stick,
then overcome with summer's opium,
numb—slumberous.  I thought I'd always be a boy,
each day its own millennium, each
one thousand years of daylight ending in
the night watch, summer's pervigilium,
which I could never keep because by sunset
I was an old man.  I was Methuselah,
the oldest man in the holy book.  I drowsed.
I nodded, slept—and without my watching, the world,
whose permanence I doubted, returned again,
bluebell and blue jay, speedwell and cardinal
still there when the light swept back,
and so was I, which I had also doubted.
I understood with horror then with joy,
dubious and luminous joy: it simply spins.
It doesn't need my feet to make it turn.
It doesn't even need my eyes to watch it,
and I, though a latecomer to its surface, I'd
be leaving early.  It was my duty to stay awake
and sing if I could keep my mind on singing,
not extinction, as blurred green summer, lifted
to its apex, succumbed to gravity and fell
to autumn, Ilium, and ashes.  In joy
we are our own uncomprehending mourners,
and more than joy I longed for understanding
and more than understanding I longed for joy.

--Andrew Hudgins

[Sven2]

Live Blindly and Upon the Hour

Live blindly and upon the hour. The Lord,
Who was the Future, died full long ago.
Knowledge which is the Past is folly. Go,
Poor, child, and be not to thyself abhorred.
Around thine earth sun-winged winds do blow
And planets roll; a meteor draws his sword;
The rainbow breaks his seven-coloured chord
And the long strips of river-silver flow:
Awake! Give thyself to the lovely hours.
Drinking their lips, catch thou the dream in flight
About their fragile hairs' aerial gold.
Thou art divine, thou livest,—as of old
Apollo springing naked to the light,
And all his island shivered into flowers.

--Trumbull Stickney
1874-1904

[Sven2]

History is a Room

                                          The study of History is the study of Empire.
                                                                               —Niall Ferguson

I cannot enter.

To enter that room, I would need to be a man who makes History, not a girl to whom History happened.

Mother to two daughters, I guard their lives with hope, a pinch of salt I throw over my shoulder.

To enter that room, I would need to wield a gun.

Here, I brandish weapons that serve an art my mother and grandmother knew: how to make of plantain and eggs a meal.

To enter that room, I would need to live in the past, to understand how power is amassed, eclipsing the sun.

Beneath my children's beds, I scatter grains of rice to keep duppy at bay.

To enter that room, I would need to live in the present: This election. This war.

Beneath my children's pillows, I place worry dolls to ensure their peaceful sleep.

To enter that room, I would need to bridge the distance between my door and what lies beyond.

Standing in my foyer at dusk, I ask the sea to fill the crevices of this house with its breath.

History is recounted by the dead, returned from their graves to walk in shriveled skins.

In our yard, I watch my daughters run with arms papering the wind.

History is recounted by children in nursery rhymes, beauty masking its own violence.

In my kitchen, I peel an orange, try to forget my thumb must wrest the pulp from its rind.

History is recounted in The Book of Explanations: AK-47 begat UZI, which begat M-16 ... and all the days of their lives were long.

Pausing at the sink, I think of how a pepper might be cut, blade handled so the knife becomes the fruit slit open, its seeds laid bare.

History is recounted in The Book of Beginnings: the storey of a people born of forgetting.

In our yard, I name the world for my children—praying mantis, robin's egg, maple leaf—words for lives they bring me in their palms.

To enter that room, I would need to look into the mirror of language, see in collateral damage the faces of the dead.

In our yard, I sow seeds, planting myself in this soil.

To enter that room, I would need to uncover the pattern of a life woven onto some master loom.

Here, I set the table, sweep the floor, make deals with the god of small things.

To enter that room, I would need to be armed with the right question: is History the start of evening or dawn returning the swallow to the sky?

Here, I light candles at nightfall, believe the match waits to be struck.

--Shara McCallum

[Sven2]

Poem for the Family

Before I went to sleep, the soft lamplights
from the tenements across the street,
still, in the night, resembled peace.
There is something I forgot to be grateful
for. But I'm not uneasy. This poem
is enough gratitude for the day. That leaf
tapping against the window, enough
music for the night. My love's even
breathing, a lullaby for me.
Gentle is the sun's touch
as it brushes the earth's revolutions.
Fragrant is the moon in February's
sky. Stars look down & witness,
never judge. The City moves
beneath me, out of sight.
O let this poem be a planet
or a haven. Heaven for a poet
homeward bound. Rest my sons heads
upon sweet dreams & contentment.
Let me turn out the light to rest.

--Susan Cataldo

[Sven2]

Be Kind

Not merely because Henry James said
there were but four rules of life—
be kind be kind be kind be kind—but
because it's good for the soul, and,
what's more, for others, it may be
that kindness is our best audition
for a worthier world, and, despite
the vagueness  and uncertainty of
its recompense, a bird may yet  wander
into a bush before our very houses,
gratitude may not manifest itself in deeds
entirely equal to our own, still there's
weather arriving from every direction,
the feasts of famine and feasts of plenty
may yet prove to be one,  so why not
allow the little sacrificial squinches and
squigulas to prevail? Why not inundate
the particular world with minute particulars?
Dust's certainly all our fate, so why not
make it the happiest possible dust,
a detritus of blessedness? Surely
the hedgehog, furling and unfurling
into its spiked little ball, knows something
that, with gentle touch and unthreatening
tone, can inure to our benefit, surely the wicked
witches of our childhood have died and,
from where they are buried, a great kindness
has eclipsed their misdeeds. Yes, of course,
in the end so much comes down to privilege
and its various penumbras, but too much
of our unruly animus has already been
wasted on reprisals, too much of the
unblessed air is filled with smoke from
undignified fires. Oh friends, take
whatever kindness you can find
and be profligate in its expenditure:
It will not drain your limited resources,
I assure you, it will not leave you vulnerable
and unfurled, with only your sweet little claws
to defend yourselves, and your wet little noses,
and your eyes to the ground, and your little feet.

--Michael Blumenthal

[Sven2]

Guitar

Beneath the full moon
they went hunting guitars.
And brought back this one,
pale, delicate, shapely,
eyes of inexhaustible mulata

waist of wood with an opening.
She is young, barely flies.
But already she sings when she hears
songs and couplets
flutter their wings in other cages.
Sombersongs and lonelycouplets.
There is inscription on her cage:
                                             "Beware: she dreams."


--Nicolas Guillen

[Sven2]

July

Temperature in the upper seventies, a bit of a breeze. Great
cumulus clouds pass slowly through the summer sky like
parade floats. And the slender grasses gather round you,
pressing forward, with exaggerated deference, whispering,
eager to catch a glimpse. It's your party after all. And it couldn't
be more perfect. Yet there's a nagging thought: you don't really
deserve all this attention, and that come October, there will be
a price to pay.

----Louis Jenkins

[Sven2]

If Time Is An Engine

There are sunflowers on the path where I go
and lacewings rising from the fields
With each step I take, I know more surely
that this is the way

If time is an engine, then it was created in a dream
If love is an engine, then the dreamer weeps
If memory is an engine, then it will carry the dream away

But there are sunflowers on the path where I go
and the dog is at my heel. There is a gate
and a meadow beyond. There is a stream

The sky is blue by day, blue in the evening
But I know the way of the hidden stars
and I'm still alive, I still know secrets
There is nothing I have left undone.

So my keys are on the table. You can sell my
clothes. Rust, rust is affecting the machinery
But I am not needed. The machines can be repaired

For if time is a cathedral, then I have lived in the cathedral
If love is a cathedral, then I have lived in splendor
If memory is a cathedral, then I remember everything

but now pass by. And there are sunflowers
on the path where I go. The dog is at my heel
There is a gate and a meadow beyond
There is a stream

--Eleanor Lerman

[Sven2]

One More Hymn to the Sun

You know that like an ideal mother
she will never leave you,
though after a week of rain
you begin to worry

but you accept her brief absences,
her occasional closed doors
as the prerogative
of an eccentric lover . . .

You like the fact that her moods are an orderly version of yours,
arranged, like the needs of animals,
by seasons: her spring quirks,
her sexual summers,
her steadfast warmth in the fall;
you remember her face on Christmas Day,
blurred, and suffused with the weak smile
of a woman who has just given birth

The way she loves you, your whole body,
and still leaves enough space between you
to keep you from turning to cinders
before your time! . . .

She never gave up on you
though it took you billions of years
to learn the alphabet
and the shadow you cast on the ground
changed its shape again and again

- Lisel Mueller

[Sven2]

You Can't Have It All

But you can have the fig tree and its fat leaves like clown hands
gloved with green. You can have the touch of a single eleven-year-old finger
on your cheek, waking you at one a.m. to say the hamster is back.
You can have the purr of the cat and the soulful look
of the black dog, the look that says, If I could I would bite
every sorrow until it fled, and when it is August,
you can have it August and abundantly so. You can have love,
though often it will be mysterious, like the white foam
that bubbles up at the top of the bean pot over the red kidneys
until you realize foam's twin is blood.
You can have the skin at the center between a man's legs,
so solid, so doll-like. You can have the life of the mind,
glowing occasionally in priestly vestments, never admitting pettiness,
never stooping to bribe the sullen guard who'll tell you
all roads narrow at the border.
You can speak a foreign language, sometimes,
and it can mean something. You can visit the marker on the grave
where your father wept openly. You can't bring back the dead,
but you can have the words forgive and forget hold hands
as if they meant to spend a lifetime together. And you can be grateful
for makeup, the way it kisses your face, half spice, half amnesia, grateful
for Mozart, his many notes racing one another towards joy, for towels
sucking up the drops on your clean skin, and for deeper thirsts,
for passion fruit, for saliva. You can have the dream,
the dream of Egypt, the horses of Egypt and you riding in the hot sand.
You can have your grandfather sitting on the side of your bed,
at least for a while, you can have clouds and letters, the leaping
of distances, and Indian food with yellow sauce like sunrise.
You can't count on grace to pick you out of a crowd
but here is your friend to teach you how to high jump,
how to throw yourself over the bar, backwards,
until you learn about love, about sweet surrender,
and here are periwinkles, buses that kneel, farms in the mind
as real as Africa. And when adulthood fails you,
you can still summon the memory of the black swan on the pond
of your childhood, the rye bread with peanut butter and bananas
your grandmother gave you while the rest of the family slept.
There is the voice you can still summon at will, like your mother's,
it will always whisper, you can't have it all,
but there is this.

--Barbara Ras

[Sven2]

excerpt from The Dreams of Chang

"For, were all these Buddhas of yours more foolish than
you and I? And yet, just you listen to what they say
about this love of the universe and all things corporeal,
beginning with sunlight, with a wave, with the air, and
winding up with woman, with an infant, with the scent
of white acacia! Or else, -- do you know what sort of a
thing this Tao is, that has been thought up by nobody
else but you Chinamen? I know it but poorly myself,
brother, but then, everybody knows it poorly; but, as
far as it is possible to understand it, just what is it, after
all? The Abyss, our First Mother; She gives birth to all
things that exist in this universe, and She devours them
as well, and, devouring them, gives birth to them anew;
or, to put it in other words, It is the Path of all that ex-
ists, which nothing that exists may resist. But we resist
It every minute; every minute we want to turn to our
desire not only the soul of a beloved woman, let us say,
but even the entire universe as well! It is an eerie thing
to be living in this world, Chang," said the captain; "it's
a most pleasant thing, but still an eerie one, and espe-
cially for such as I! For I am too avid of happiness, and
all too often do I lose the way: dark and evil is this
Path, -- or is it entirely, entirely otherwise?"
And, after a silence, he added further:
"For after all, what is the main thing? When you
love somebody, there is no power on earth that can make
you believe that the one you love can possibly not love
you. And that is just where the devil comes in, Chang.
But how magnificent life is; my God, how magnificent!"

--Ivan Bunin
translated by Bernard Guilbert Guerney

[Sven2]

24th September 1945

The best sea: has yet to be crossed.
The best child: has yet to grow up.
The best days: have yet to be lived;
and the best word I wanted to say to you
is the word I have not yet said.

--Nazim Hikmet