Sarah Byng, Who Could Not Read and Was Tossed into a Thorny Hedge by a Bull

From my hands—take this city not made by hands,
my strange, my beautiful brother.

Take it, church by church—all forty times forty churches,
and flying up the roofs, the small pigeons;

And Spassky Gates—and gates, and gates—
where the Orthodox take off their hats;

And the Chapel of Stars—refuge chapel—
where the floor is—polished by tears;

(On some Verses he writ, and asking more for his Heart than ‘twas worth.) I
Take back that Heart, you with such Caution give,
Take the fond valu’d Trifle back;
I hate Love-Merchants that a Trade wou’d drive

for Nolan Miller For us, too, there was a wish to possess
Something beyond the world we knew, beyond ourselves,

By a route obscure and lonely,
Haunted by ill angels only,
Where an Eidolon, named NIGHT,
On a black throne reigns upright,
I have reached these lands but newly
From an ultimate dim Thule—
From a wild weird clime that lieth, sublime,
Out of SPACE—Out of TIME.

Bottomless vales and boundless floods,
And chasms, and caves, and Titan woods,
With forms that no man can discover
For the tears that drip all over;
Mountains toppling evermore
Into seas without a shore;

Unlike the ashes that make their home with hot coals, snails prefer moist earth. Go on: they advance while gluing themselves to it with their entire bodies. They carry it, they eat it, they shit it. They go through it, it goes through them. It’s the best kind of interpenetration, as between tones, one passive and one active. The passive bathes and nourishes the active, which overturns the other while it eats.

(There is more to be said about snails. First of all their immaculate clamminess. Their sangfroid. Their stretchiness.)

One can scarcely conceive of a snail outside its shell and unmoving. The moment it rests it sinks down deep into itself. In fact, its modesty obliges it to move as soon as it has shown its nakedness and 
revealed its vulnerable shape. The moment it’s exposed, it moves on.

During periods of dryness they withdraw into ditches where it seems their bodies are enough to maintain their dampness. No doubt their neighbors there are toads and frogs and other ectothermic animals. But when they come out again they don’t move as quickly. You have to admire their willingness to go into the ditch, given how hard it is for them to come out again.

Note also that though snails like moist soil, they have no affection for places that are too wet such as marshes or ponds. Most assuredly they prefer firm earth, as long as it’s fertile and damp.

They are fond as well of moisture-rich vegetables and green leafy plants. They know how to feed on them leaving only the veins, cutting free the most tender leaves. They are hell on salads.

What are these beings from the depths of the ditches? Though snails love many of their trenches’ qualities they have every intention of leaving. They are in their element but they are also wanderers. And when they emerge into the daylight onto firm ground their shells will preserve their vagabond’s hauteur.

It must be a pain to have to haul that trailer around with them everywhere, but they never complain and in the end they are happy about it. How valuable, after all, to be able to go home any time, no matter where you may find yourself, eluding all intruders. It must be worth it.

O zummer clote! when the brook’s a-glidèn
So slow an’ smooth down his zedgy bed,
Upon thy broad leaves so seäfe a-ridèn
The water’s top wi’ thy yollow head,
By alder sheädes, O,
An’ bulrush beds, O,
Thou then dost float, goolden zummer clote!

The grey-bough’d withy’s a leänèn lowly
Above the water thy leaves do hide;
The bènden bulrush, a-swaÿèn slowly,
Do skirt in zummer thy river’s zide;
An’ perch in shoals, O,
Do vill the holes, O,
Where thou dost float, goolden zummer clote!

The craving of Samuel Rouse for clearance to create
was surely as hot as the iron that buffeted him. His passion
for freedom so strong that it molded the smouldering fashions
he laced, for how also could a slave plot
or counterplot such incomparable shapes,

form or reform, for house after house,
the intricate Patio pattern, the delicate
Rose and Lyre, the Debutante Settee,

(from Henry V, spoken by King Henry) Once more unto the breach, dear friends, once more;
Or close the wall up with our English dead.
In peace there's nothing so becomes a man
As modest stillness and humility:

Twice or thrice had I lov'd thee,
Before I knew thy face or name;
So in a voice, so in a shapeless flame
Angels affect us oft, and worshipp'd be;
Still when, to where thou wert, I came,
Some lovely glorious nothing I did see.
But since my soul, whose child love is,
Takes limbs of flesh, and else could nothing do,
More subtle than the parent is
Love must not be, but take a body too;
And therefore what thou wert, and who,
I bid Love ask, and now
That it assume thy body, I allow,
And fix itself in thy lip, eye, and brow.

I need more time, a simple day in Paris hotels and window shopping.
The croissants will not bake themselves and the Tower of London would
Like to spend a night in the tropics with gray sassy paint. It has many
Wounds and historic serial dreams under contract to Hollywood.
Who will play the head of Mary, Queen of Scots, and who will braid her

Hair? Was it she who left her lips on the block for the executioner,
Whose hands would never find ablution, who would never touch a woman
Again or eat the flesh of a red animal? Blood pudding would repulse him
Until joining Anne. That is the way of history written for Marlow and
Shakespear. They are with us now that we are sober and wiser,

Not taking the horrors of poetry too seriously. Why am I telling you this
Nonsense, when I have never seen you sip your coffee or tea,
In the morning? Not to mention,

Slowly the white dream wrestle(s) to life
hands shaping the salt and the foreign cornfields
the cold flesh kneaded by fingers
is ready for the charcoal for the black wife

of heat the years of green sleeping in the volcano.
the dream becomes tougher. settling into its shape
like a bullfrog. suns rise and electrons
touch it. walls melt into brown. moving to crisp and crackle

Oh, what a lantern, what a lamp of light
Is thy pure word to me
To clear my paths and guide my goings right!
I swore and swear again,
I of the statues will observer be,
Thou justly dost ordain.

The heavy weights of grief oppress me sore:
Lord, raise me by the word,
As thou to me didst promise heretofore.
And this unforced praise
I for an off’ring bring, accept, O Lord,
And show to me thy ways.

What if my life lie naked in my hand,

They have set aside their black tin boxes,
scratched and dented,
spattered with drops of pink and blue;
and their dried-up, rolled-up tubes
of alizarin crimson, chrome green,
zinc white, and ultramarine;
their vials half full of gold powder;
stubs of wax pencils;

Not soon, as late as the approach of my ninetieth year,
I felt a door opening in me and I entered
the clarity of early morning.

One after another my former lives were departing,
like ships, together with their sorrow.

And the countries, cities, gardens, the bays of seas
assigned to my brush came closer,
ready now to be described better than they were before.

Out of the golden West, out of the leaden East, into the iron South, and to the silver North . . . Oh metals metals everywhere, forks and knives, belt buckles and hooks . . . When you are beaten you sing. You do not give anyone a chance . . .

You come out of the earth and fly with men. You lodge in men. You hurt them terribly. You tear them. You do not care for anyone.

Oh metals metals, why are you always hanging about? Is it not enough that you hold men’s wrists? Is it not enough that we let you in our mouths?

Why is it you will not do anything for yourself? Why is it you always wait for men to show you what to be?

And men love you. Perhaps it is because you soften so often.
You did, it is true, pour into anything men asked you to. It has always proved you to be somewhat softer than you really are.

Oh metals metals, why are you always filling my house?
You are like family, you do not care for anyone.

early morning. down to the shore again
to find a place to grieve. the place he left
lingering. here the ropes were loosed [here
he gave me kisses on the shore, here he left] she said

and while she thought and looked and felt, looking out
along the shore, in liquid space, she saw—far off
not sure—a body or something in the water—
wondered what, but then the waves pulled it by—still

Unfortunately happiness
Depends a little more than less
On undependable, and hence
Absurdly charming elements.

In one corner of the ward
somebody was eating a raw chicken.
The cheerful nurses did not see.
With the tube down my throat
I could not tell them.
Nor did they notice the horror show
on the TV set suspended over my windowless bed.
The screen was dead

Titan! to whose immortal eyes
The sufferings of mortality,
Seen in their sad reality,
Were not as things that gods despise;
What was thy pity's recompense?
A silent suffering, and intense;
The rock, the vulture, and the chain,
All that the proud can feel of pain,
The agony they do not show,
The suffocating sense of woe,
Which speaks but in its loneliness,
And then is jealous lest the sky
Should have a listener, nor will sigh
Until its voice is echoless.

Traveler, your footprints
are the only road, nothing else.
Traveler, there is no road;
you make your own path as you walk.
As you walk, you make your own road,
and when you look back
you see the path
you will never travel again.