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.
"Just the place for a Snark!" the Bellman cried, As he landed his crew with care; Supporting each man on the top of the tide By a finger entwined in his hair.
"Just the place for a Snark! I have said it twice: That alone should encourage the crew.
One face looks out from all his canvases, One selfsame figure sits or walks or leans: We found her hidden just behind those screens, That mirror gave back all her loveliness. A queen in opal or in ruby dress, A nameless girl in freshest summer-greens, A saint, an angel — every canvas means The same one meaning, neither more or less.
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.
The sky is cloudy, yellowed by the smoke. For view there are the houses opposite Cutting the sky with one long line of wall Like solid fog: far as the eye can stretch Monotony of surface & of form Without a break to hang a guess upon. No bird can make a shadow as it flies, For all is shadow, as in ways o'erhung By thickest canvass, where the golden rays Are clothed in hemp. No figure lingering Pauses to feed the hunger of the eye Or rest a little on the lap of life. All hurry on & look upon the ground, Or glance unmarking at the passers by The wheels are hurrying too, cabs, carriages
We passed old farmer Boothby in the field. Rugged and straight he stood; his body steeled With stubbornness and age. We met his eyes That never flinched or turned to compromise, And “Luck,” he cried, “good luck!”—and waved an arm, Knotted and sailor-like, such as no farm In all of Maine could boast of; and away He turned again to pitch his new-cut hay...
And a tenth part of Okeanos is given to dark night a tithe of the pure water under earth so that the clear fountains pour from rock face, tears stream from the caverns and clefts, down-running, carving woundrous ways in basalt resistance, cutting deep as they go into layers of time-layerd Gaia where She sleeps—
Barbed wires on rusted nails can’t hold lone bulls at home when they smell pasture. They thrust their bone skulls under barbs, tongues quivering for a taste of strange
and shove until the post gives way. Days later, we find wires sagging, reset the post, and tighten bent wires like a fiddle and rope the worn-out bull,
August, goldenrod blowing. We walk into the graveyard, to find my grandfather’s grave. Ten years ago I came here last, bringing marigolds from the round garden outside the kitchen. I didn’t know you then. We walk
Love is a sickness full of woes, All remedies refusing; A plant that with most cutting grows, Most barren with best using. Why so? More we enjoy it, more it dies; If not enjoyed, it sighting cries, Heigh ho!
The curtains part: it is a summer’s day. There a cow on a grassy slope watches as a bull charges an old aeroplane in a meadow. The bull is punching holes with its horns in the aeroplane’s fabric... Suddenly the aeroplane’s engine ignites; the meadow is dark blue smoke... The aeroplane shifts round and faces the charging bull. As the bull comes in the propeller takes off the end of its muzzle. The bloody nostrils, a ring through them, are flung to the grass with a shattered blossom of teeth. The bull, blood oozing from the stump of its face, backs off, and charges again. This time the propeller catches the bull behind its lower jaw and flings the head into a tree. The headless bull backs off once more, and then charges down again. The propeller beating at the headless bull, cutting the body away in a great halo of blood, until only the back legs are standing. These run widely away through the meadow in figure eights and zigzags, until at last they find the aeroplane again. And as they come running down the propeller whacks them apart. The legs, one with the tail still attached to it, the other somehow retaining both rectum and testicles, scamper off in opposite directions. The aeroplane turns away; the engine stops. The shadows are suddenly seen in lengthened form. The watching cow begins to low ...
The first of the undecoded messages read: “Popeye sits in thunder, Unthought of. From that shoebox of an apartment, From livid curtain’s hue, a tangram emerges: a country.” Meanwhile the Sea Hag was relaxing on a green couch: “How pleasant To spend one’s vacation en la casa de Popeye,” she scratched Her cleft chin’s solitary hair. She remembered spinach
And was going to ask Wimpy if he had bought any spinach. “M’love,” he intercepted, “the plains are decked out in thunder
—and he cried with a loud voice: Hurt not the earth, neither the sea, nor the trees— (Revelation) They are cutting down the great plane-trees at the end of the gardens.
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