Ugliest little boy that everyone ever saw. That is what everyone said.
Even to his mother it was apparent— when the blue-aproned nurse came into the northeast end of the maternity ward bearing his squeals and plump bottom looped up in a scant receiving blanket,
Time was away and somewhere else, There were two glasses and two chairs And two people with the one pulse (Somebody stopped the moving stairs): Time was away and somewhere else.
And they were neither up nor down; The stream’s music did not stop Flowing through heather, limpid brown,
When you get in on a try you never learn it back umpteen times the tenth part of a featured world in black and in back it’s roses and fostered nail bite rhyme sling slang, a song that teaches without travail of the tale, the one you longing live and singing burn
It’s insane to remain a trope, of a rinsing out or a ringing whatever, it’s those bells that . . .
Above the fresh ruffles of the surf Bright striped urchins flay each other with sand. They have contrived a conquest for shell shucks, And their fingers crumble fragments of baked weed Gaily digging and scattering.
And in answer to their treble interjections The sun beats lightning on the waves,
As day did darken on the dewless grass, There, still, wi’ nwone a-come by me To stay a-while at hwome by me Within the house, all dumb by me, I zot me sad as the eventide did pass.
An’ there a win’blast shook the rattlèn door, An’ seemed, as win’ did mwoan without,
Happy Birthday Kenneth Koch/Feb 27 We went to all those places where they restore sadness and joy and call it art. We were piloted by Auden who became Unbearably acrimonious when we dropped off Senghor into the steamy skies of his beloved West Africa. The termites and ants
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.
As rising from the vegetable World My Theme ascends, with equal Wing ascend, My panting Muse; and hark, how loud the Woods Invite you forth in all your gayest Trim. Lend me your Song, ye Nightingales! oh pour The mazy-running Soul of Melody Into my varied Verse! while I deduce, From the first Note the hollow Cuckoo sings,
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.
Huzza! Hodgson, we are going, Our embargo's off at last; Favourable breezes blowing Bend the canvass o'er the mast. From aloft the signal's streaming, Hark! the farewell gun is fir'd; Women screeching, tars blaspheming, Tell us that our time's expir'd.
Now swarthy Summer, by rude health embrowned, Precedence takes of rosy fingered Spring; And laughing Joy, with wild flowers prank'd, and crown'd, A wild and giddy thing, And Health robust, from every care unbound, Come on the zephyr's wing, And cheer the toiling clown.
And when my Joy was born, I held it in my arms and stood on the house-top shouting, “Come ye, my neighbours, come and see, for Joy this day is born unto me. Come and behold this gladsome thing that laugheth in the sun.”
But none of my neighbours came to look upon my Joy, and great was my astonishment.
And every day for seven moons I proclaimed my Joy from the house-top—and yet no one heeded me. And my Joy and I were alone, unsought and unvisited.
Then my Joy grew pale and weary because no other heart but mine held its loveliness and no other lips kissed its lips.
Then my Joy died of isolation.
And now I only remember my dead Joy in remembering my dead Sorrow. But memory is an autumn leaf that murmurs a while in the wind and then is heard no more.
Rise up, rise up, And, as the trumpet blowing Chases the dreams of men, As the dawn glowing The stars that left unlit The land and water, Rise up and scatter The dew that covers The print of last night’s lovers— Scatter it, scatter it!
While you are listening To the clear horn, Forget, men, everything On this earth newborn,
Once upon a midnight dreary, while I pondered, weak and weary, Over many a quaint and curious volume of forgotten lore— While I nodded, nearly napping, suddenly there came a tapping, As of some one gently rapping, rapping at my chamber door. “’Tis some visitor,” I muttered, “tapping at my chamber door— Only this and nothing more.”
Ah, distinctly I remember it was in the bleak December; And each separate dying ember wrought its ghost upon the floor.
Gliding o'er all, through all, Through Nature, Time, and Space, As a ship on the waters advancing, The voyage of the soul—not life alone, Death, many deaths I'll sing.
Wheel of sorrow, centerless. Voices, sad without cause, slope upward, expiring on grave summits. Mournfulness of muddy playgrounds, raw smell of rubbers and wrapped lunches when little girls stand in a circle singing of windows and of lovers.
To the Priest, on Observing how most Men mistake their own Talents When beasts could speak (the learned say, They still can do so ev'ry day), It seems, they had religion then, As much as now we find in men.
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