The Minister of Culture Gets His Wish

I have always aspired to a more spacious form
that would be free from the claims of poetry or prose
and would let us understand each other without exposing
the author or reader to sublime agonies.

In the very essence of poetry there is something indecent:
a thing is brought forth which we didn’t know we had in us,
so we blink our eyes, as if a tiger had sprung out
and stood in the light, lashing his tail.

And an orator said, Speak to us of Free-
dom.
And he answered:
At the city gate and by your fireside I
have seen you prostrate yourself and worship
your own freedom,
Even as slaves humble themselves before
a tyrant and praise him though he slays

I’ll tell thee now (dear Love) what thou shalt do
To anger destiny, as she doth us,
How I shall stay, though she esloygne me thus
And how posterity shall know it too;
How thine may out-endure
Sybil’s glory, and obscure
Her who from Pindar could allure,
And her, through whose help Lucan is not lame,
And her, whose book (they say) Homer did find, and name.

Study our manuscripts, those myriads
Of letters, which have past twixt thee and me,
Thence write our annals, and in them will be
To all whom love’s subliming fire invades,
Rule and example found;

Abraham Lincoln
his hand and pen
he will be good but
god knows When

I am the man
Whose name is mud
But what’s in a name
To shame one who knows
Mud does not stain
Clay he’s made of
Dust Adam became—
The dust he was—

My goldfinch, I'll toss back my head—
let's look at the world, you and I:
a wintry day, prickly as stubble,
is it just as rough on your eye?

Tail like a boat, black and gold plumage,
dipped in paint from the beak down—
are you aware, my little goldfinch,
what a goldfinch dandy you are?

In Memory of Charles Baudelaire

Nous devrions pourtant lui porter quelques fleurs;
Les morts, les pauvres morts, ont de grandes douleurs,
Et quand Octobre souffle, émondeur des vieux arbres,
Son vent mélancolique àl'entour de leurs marbres,
Certe, ils doivent trouver les vivants bien ingrats.

Les Fleurs du Mal.
I
Shall I strew on thee rose or rue or laurel,
Brother, on this that was the veil of thee?
Or quiet sea-flower moulded by the sea,

America I’ve given you all and now I’m nothing.
America two dollars and twentyseven cents January 17, 1956.
I can’t stand my own mind.
America when will we end the human war?
Go fuck yourself with your atom bomb.
I don’t feel good don’t bother me.
I won’t write my poem till I’m in my right mind.
America when will you be angelic?

I tell thee, Dick, where I have been,
Where I the rarest things have seen;
Oh, things without compare!
Such sights again cannot be found
In any place on English ground,
Be it at wake, or fair.

At Charing-Cross, hard by the way,

New yeare forth looking out of Janus gate,
Doth seeme to promise hope of new delight:
And bidding th’old Adieu, his pass

'There it is!–
You play beside a death-bed like a child,
Yet measure to yourself a prophet's place
To teach the living. None of all these things,
Can women understand. You generalise,
Oh, nothing!–not even grief! Your quick-breathed hearts,
So sympathetic to the personal pang,

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.

(from Macbeth, spoken by Macbeth) Is this a dagger which I see before me,
The handle toward my hand? Come, let me clutch thee.
I have thee not, and yet I see thee still.
Art thou not, fatal vision, sensible
To feeling as to sight? or art thou but
A dagger of the mind, a false creation,
Proceeding from the heat-oppressed brain?

O living pictures of the dead,
O songs without a sound,
O fellowship whose phantom tread
Hallows a phantom ground—
How in a gleam have these revealed
The faith we had not found.

We have sought God in a cloudy Heaven,
We have passed by God on earth:
His seven sins and his sorrows seven,
His wayworn mood and mirth,
Like a ragged cloak have hid from us
The secret of his birth.

Brother of men, when now I see

The child is father of the man;
And I could wish my days to be
Bound each to each by natural piety.
(Wordsworth, "My Heart Leaps Up")

And the weaver said, Speak to us of
Clothes.
And he answered:
Your clothes conceal much of your beauty,
yet they hide not the unbeautiful.
And though you seek in garments the
freedom of privacy you may find in them
a harness and a chain.

I first discovered what was killing these men.
I had three sons who worked with their father in the tunnel:
Cecil, aged 23, Owen, aged 21, Shirley, aged 17.
They used to work in a coal mine, not steady work
for the mines were not going much of the time.
A power Co. foreman learned that we made home brew,
he formed a habit of dropping in evenings to drink,
persuading the boys and my husband —

There is a coal-black Angel
With a thick Afric lip,
And he dwells (like the hunted and harried)
In a swamp where the green frogs dip.
But his face is against a City
Which is over a bay of the sea,
And he breathes with a breath that is blastment,
And dooms by a far decree.

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.

1
The white butterfly in the park is being read by many.
I love that cabbage-moth as if it were a fluttering corner of truth itself!

At dawn the running crowds set our quiet planet in motion.
Then the park fills with people. To each one, eight faces polished like jade, for all
situations, to avoid making mistakes.
To each one, there's also the invisible face reflecting "something you don't talk about."
Something that appears in tired moments and is as rank as a gulp of viper schnapps with its long scaly aftertaste.