The Sleeper

I

What shall I do with this absurdity —
O heart, O troubled heart — this caricature,
Decrepit age that has been tied to me
As to a dog's tail?
Never had I more
Excited, passionate, fantastical
Imagination, nor an ear and eye

[Supposed of Pamphylax the Antiochene:
It is a parchment, of my rolls the fifth,
Hath three skins glued together, is all Greek,
And goeth from Epsilon down to Mu:
Lies second in the surnamed Chosen Chest,
Stained and conserved with juice of terebinth,
Covered with cloth of hair, and lettered Xi,
From Xanthus, my wife's uncle, now at peace:
Mu and Epsilon stand for my own name.
I may not write it, but I make a cross
To show I wait His coming, with the rest,
And leave off here: beginneth Pamphylax.]

I said, "If one should wet his lips with wine,
"And slip the broadest plantain-leaf we find,

At night, alone, the animals came and shone.
The darkness whirled but silent shone the animals:
The lion the man the calf the eagle saying
Sanctus which was and is and is to come.

The sleeper watched the people at the waterless wilderness’ edge;
The wilderness was made of granite, of thorn, of death,
It was the goat which lightened the people praying.
The goat went out with sin on its sunken head.

A 29-year-old stewardess fell ... to her
death tonight when she was swept
through an emergency door that sud-
denly sprang open ... The body ...
was found ... three hours after the
accident.
—New York Times

The orange-peelers of Mérida, in the wrought-
iron midday, come with mechanical skewers
and live oranges, to straddle the paths
on caissons of bicycle wheels
and work in the dark of the plaza, like jewelers’ cloths.

The orange is ceremonious. Its sleep
is Egyptian. Its golden umbilicus
waits in pyramidal light, swath over swath, outwitting

(Hindenburg Line, April 1917) Groping along the tunnel, step by step,
He winked his prying torch with patching glare
From side to side, and sniffed the unwholesome air.

The last full moon of February stalks the fields; barbed wire casts a shadow.
Rising slowly, a beam moved toward the west
stealthily changing position

until now, in the small hours, across the snow

Earth’s Wrath at our assaults is slow to come
But relentless when it does. It has to do
With catastrophic change, and with the limit
At which one order more of Magnitude
Will bring us to a qualitative change
And disasters drastically different
From those we daily have to know about.

As with the speed of light, where speed itself

Aftear night’s thunder far away had rolled
The fiery day had a kernel sweet of cold,
And in the perfect blue the clouds uncurled,
Like the first gods before they made the world
And misery, swimming the stormless sea
In beauty and in divine gaiety.
The smooth white empty road was lightly strewn
With leaves—the holly’s Autumn falls in June—
And fir cones standing stiff up in the heat.
The mill-foot water tumbled white and lit
With tossing crystals, happier than any crowd
Of children pouring out of school aloud.
And in the little thickets where a sleeper
For ever might lie lost, the nettle-creeper
And garden warbler sang unceasingly;

A tulip, just opened, had offered to hold
A butterfly, gaudy and gay;
And, rocked in a cradle of crimson and gold,
The careless young slumberer lay.

For the butterfly slept, as such thoughtless ones will,
At ease, and reclining on flowers,
If ever they study, ’t is how they may kill
The best of their mid-summer hours.

And the butterfly dreamed, as is often the case
With indolent lovers of change,
Who, keeping the body at ease in its place,
Give fancy permission to range.

For I can snore like a bullhorn
or play loud music
or sit up talking with any reasonably sober Irishman
and Fergus will only sink deeper
into his dreamless sleep, which goes by all in one flash,
but let there be that heavy breathing
or a stifled come-cry anywhere in the house
and he will wrench himself awake

All male Quincys are now dead, excepting one.
John Wheelwright, “Gestures to the Dead” 1
Vast oblong space