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Archive for the ‘writing’ Category

Come Up From the Fields Father

Come up from the fields father, here’s a letter from our Pete,

And come to the front door mother, here’s a letter from thy

dear son.

Lo, ’tis autumn,

Lo, where the trees, deeper green, yellower and redder,

Cool and sweeten Ohio’s villages with leaves fluttering in the

moderate wind,

Where apples ripe in the orchards hang and grapes on the

trellis’d vines,

(Smell you the smell of the grapes on the vines?

Smell you the buckwheat where the bees were lately

buzzing?)

Above all, lo, the sky so calm, so transparent after the rain,

and with wondrous clouds,

Below too, all calm, all vital and beautiful, and the farm

prospers well.

Down in the fields all prospers well,

But now from the fields come father, come at the daughter’s

call,

And come to the entry mother, to the front door come right

away.

Fast as she can she hurries, something ominous, her steps

trembling,

She does not tarry to smooth her hair nor adjust her cap.

Open the envelope quickly,

O this is not our son’s writing, yet his name is sign’d,

O a strange hand writes for our dear son, 0 stricken

mother’s soul!

All swims before her eyes, flashes with black, she catches the

main words only,

Sentences broken, gunshot wound in the breast, cavalry

skirmish, taken to hospital,

At present low, but will soon be better.

Ah now the single figure to me,

Amid all teeming and wealthy Ohio with all its cities and

farms,

Sickly white in the face and dull in the head, very faint,

By the jamb of a door leans.

Grieve not so, dear mother, (the just-grown daughter speaks

through her sobs,

The little sisters huddle around speechless and dismay’d,)

See, dearest mother, the letter says Pete will soon be better.

Alas poor boy, he will never be better, (nor may-be needs to

be better, that brave and simple soul,)

While they stand at home at the door he is dead already,

The only son is dead.

But the mother needs to be better,

She with thin form presently drest in black,

By day her meals untouch’d, then at night fitfully sleeping,

often waking,

In the midnight waking, weeping, longing with one deep

longing,

O that she might withdraw unnoticed, silent from life escape

and withdraw,

To follow, to seek, to be with her dear dead son.

-Walt Whitman

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Of Hands and Moons

From nothing that cheats and twists
To nothing of me that falls asleep
Of me that falls asleep, the tidying of pain
Folded in the shadow of my fear;
is it here that I dream of the dead?

A hand in the sunset from which I fall asleep
From which I fall asleep,
will take the time of a full journey of terrors
That will pay the price of a tissue of heat
Thrown at the feet of the thieves
To wrap myself in what I dream of the dead.

-Jean-Pierre Duprey, from 4×1. Buy 4×1 today.

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Mirabeau Bridge

Under Mirabeau Bridge the river slips away

And lovers

Must I be reminded

Joy came always after pain

The night is a clock chiming

The days go by not I

We’re face to face and hand in hand

While under the bridges

Of embrace expire

Eternal tired tidal eyes

The night is a clock chiming

The days go by not I

Love elapses like the river

Love goes by

Poor life is indolent

And expectation always violent

The night is a clock chiming

The days go by not I

The days and equally the weeks elapse

The past remains the past

Love remains lost

Under Mirabeau Bridge the river slips away

The night is a clock chiming

The days go by not I

-by Guillaume Apollinaire (Translated by Donald Revell)

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The Aloneness in which I have anchored myself for the last twenty years must not become an exception, a “vacation” which, adducing many justifications, I would have to beg from a supervising happiness. I must live in it without any boundaries. It has to remain this ground of consciousness, to which I can always return, without intending a quick gain here and now, without expecting that it should prove fertile for me; but involuntarily, unstressed, innocent: as to the place I belong to.

4X1: Works by Tristan Tzara, Rainer Maria Rilke, Jean-Pierre Duprey, and Habib Tengour

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Artist, do not believe that your test lies in the work. You are not what you pretend to be, and what this or that one, not knowing any better, may take you for, until the work has become your very nature to such an extent that you cannot do otherwise than prove yourself in it. Working thus, you are the masterly thrown spear: laws from Her throwing hand receive you, and together you hit the target: what could be more certain than your flight?

Your test, however, is that you are not always thrown. That the spear-player Loneliness does not choose you for the longest time, that She forgets you. This is the time of temptation, when you feel unused, incapable. (As if being reading as not work enough!) Then, when you do not lie there very heavily, diversions exercise you and try to see to what other uses you can be put. As a blind man’s staff, as one of the rods in a grating, or as the balancing pole of a tight-rope walker. Or else they are capable of planting you in the soil of fate, for the miracle of the seasons to happen to you and for you perhaps to sprout small green leaves of happiness….

-Rainer Maria Rilke, from 4X1: Works by Tristan Tzara, Rainer Maria Rilke, Jean-Pierre Duprey, and Habib Tengour

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All these refusals, do not forget it, my love, have to do with your power. If I were free, if my heart were not bound like a star into the relationships of the irrefutable spirit, then every word, from which rebellion in formed here, denial, complaint – would be Your fame, crossing over to You, agreement, the rush toward you – fall and resurrection in You.

If I were a man of graspable compass, a merchant, a teacher of comprehensible things, an artisan….

-Rainer Maria Rilke, from 4X1: Works by Tristan Tzara, Rainer Maria Rilke, Jean-Pierre Duprey, and Habib Tengour

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If I did not resist the lover, it was because of all the takeovers of one person by anothers, hers alone, unstoppable, seemed to me to be right. Exposed as I am, I did not want to avoid it either; but I yearned to pierce her! That she be a window for me into the expanded cosmos of Being…(not mirror.)

-Ranier Maria Rilke, from 4X1: Works by Tristan Tzara, Rainer Maria Rilke, Jean-Pierre Duprey, and Habib Tengour

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Marginalia

I am always trying to die
not big deaths, but small
deaths with paper and hard-cover books
deaths with envelopes and swirly-que doodles
deaths with text and the margins of thought
that can never hang from my head and never be wrought

I am always withering at one branch
like a sick gull’s wing
I am always tying one foot to the long rope
that drags from the ferryman’s boat
I ask for forgiveness, but I only want the broken glass
I’ve only ever wanted to take what was inside
and throw it in your face

to ask you to tell me you see it too,
and then to be done with the things that almost speak
and be done with wondering when the curtain will drop
just repairing to the afterlife with this stick
and some sand to scratch no symbols in.

-Nina Alvarez

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Today’s poem was submitted by a reader in Sri Lanka: M. Rezvi Omerdeen

The Lady I Adore

Gazing at the moon,
Posing from the Balcony,
Wearing the richest costume,
And a charming smile.
Humming like a mermaid,
In a romantic way,
Feet tapping rhythmically.
For a love-song of some sort.
Whom she’s looking for,
And her notions?
I’m eager to know,
‘Cause she’s
The lady I adore

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Reading Biographies

Perhaps Frost was poking his secretary,

The apple core of his good-living chewed

To the bitter seed. Perhaps he buttoned up,

Disgusted with the dead lizard cupped in his palm.

And his woman? She was as large as Gilbraltar,

A chunk of cheese in each armpit.

She took a deep breath

And wiggled the goose of her tasty fanny

Into the kitchen. There, she poured pancakes

Onto a skillet as old as this country,

And Frost, a pioneer for all writers,

Picked up his beaver-thrashed pencil and proclaimed,

O Sweet Youth, etc.

I don’t know how to read

Biographies, the dead words of dead writers

Etched on my eyes, then gone. I read them,

And drive my car recklessly through leaves,

The cushion for my own eventual death.

Sure, I reflect, like a chip of mirror,

And then I forget them, these subjects,

These writers with lungs and straight-A penmanship.

They’re of no use. I’m not saved

By the repetitions of jealousy and all-day drinking.

Wind frisked the trees, hair fell like wheat,

And the liver, saddlebag of disease,

Bulged with inoperable knots.

I touch my own hip, then hobble home

Where a pumpkin glows in a window.

Birds shrug into their coats of dirt.

Crickets stop the violin action of their thighs.

A fire is built, and I’m lit in the living room.

I’m a democrat, I slur to the couch,

And add, Venus is a star and fly trap.

Thank God, I’ve learned nothing.

– Gary Soto

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