Cups: 1

I. Children's Arms

On my way home I pass a cameraman
On a platform on the bumper of a car
Inside which, rolling and plunging, a comedian
Is working; on one white lot I see a star
Stumble to her igloo through the howling gale
Of the wind machines. On Melrose a dinosaur
And pterodactyl, with their immense pale

To-night again the moon’s white mat
Stretches across the dormitory floor
While outside, like an evil cat
The pion prowls down the dark corridor,
Planning, I know, to pounce on me, in spite
For getting leave to sleep in town last night.
But it was none of us who made that noise,
Only the old brown owl that hoots and flies

I

At the Poem Society a black-haired man stands up to say
“You make me sick with all your talk about restraint and mature talent!
Haven’t you ever looked out the window at a painting by Matisse,
Or did you always stay in hotels where there were too many spiders crawling on your visages?
Did you ever glance inside a bottle of sparkling pop,
Or see a citizen split in two by the lightning?
I am afraid you have never smiled at the hibernation

The wind rests its cheek upon the ground and feels the cool damp
And lifts its head with twigs and small dead blades of grass
Pressed into it as you might at the beach rise up and brush away
The sand. The day is cool and says, “I’m just staying overnight.”
The world is filled with music, and in between the music, silence
And varying the silence all sorts of sounds, natural and man made:
There goes a plane, some cars, geese that honk and, not here, but
Not so far away, a scream so rending that to hear it is to be

(i.m. Charles Leslie Stevenson, 1909-79)

This House

Which represents you, as my bones do, waits,
all pores open, for the stun of snow. Which will come,
as it always does, between breaths, between nights
of no wind and days of the nulled sun.
And has to be welcome. All instinct wants to anticipate
faceless fields, a white road drawn

i

The children on the lawn
joined hand to hand
go round and round

each arm going into
the next arm, around
full circle
until it comes

Part Four of “Pro Femina” At Samoa, hardly unpacked, I commenced planting,
When I’d opened the chicken crates, built the Cochins a coop.

We suffer from the repression of the sublime.
—Roberto Assagioli This artist’s sculptured, open box of mahogany
(ivory white inside) is strung

“Mother of heaven, regina of the clouds,
O sceptre of the sun, crown of the moon,
There is not nothing, no, no, never nothing,
Like the clashed edges of two words that kill.”
And so I mocked her in magnificent measure.
Or was it that I mocked myself alone?
I wish that I might be a thinking stone.
The sea of spuming thought foists up again