W. H. Auden

 Wystan H. Auden und Christopher (rechts)

Autumn Song

Now the leaves are falling fast,
Nurse's flowers will not last;
Nurses to the graves are gone,
And the prams go rolling on.
Whispering neighbours, left and right,
Pluck us from the real delight;
And the active hands must freeze
Lonely on the separate knees.
Dead in hundreds at the back
Follow wooden in our track,
Arms raised stiffly to reprove
In false attitudes of love.
Starving through the leafless wood
Trolls run scolding for their food;

And the nightingale is dumb,
And the angel will not come.
Cold, impossible, ahead
Lifts the mountain's lovely head
Whose white waterfall could bless
Travellers in their last distress.

W. H. Auden


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Fish in the Unruffled Lakes

    Fish in the unruffled lakes
    Their swarming colours wear,
    Swans in the winter air
    A white perfection have,
    And the great lion walks
    Through his innocent grove;
    Lion, fish and swan
    Act, and are gone
    Upon Time's toppling wave.

    We, till shadowed days are done,
    We must weep and sing
    Duty's conscious wrong,
    The Devil in the clock,
    The goodness carefully worn
    For atonement or for luck;
    We must lose our loves,
    On each beast and bird that moves
    Turn an envious look.

    Sighs for folly done and said
    Twist our narrow days,
    But I must bless, I must praise
    That you, my swan, who have
    All gifts that to the swan
    Impulsive Nature gave,
    The majesty and pride,
    Last night should add
    Your voluntary love.


W. H. Auden


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Ode to the Medieval Poets

Chaucer, Langland, Douglas, Dunbar, with all your
brother Anons, how on earth did you ever manage,
    without anaesthetics or plumbing,
    in daily peril from witches, warlocks,
 
lepers, The Holy Office, foreign mercenaries
burning as they came, to write so cheerfully,
    with no grimaces of self-pathos?
    Long-winded you could be but not vulgar,
 
bawdy but not grubby, your raucous flytings
sheer high-spirited fun, whereas our makers,
    beset by every creature comfort,
    immune, they believe, to all superstitions,
 
even at their best are so often morose or
kinky, petrified by their gorgon egos.
    We all ask, but I doubt if anyone
    can really say why all age-groups should find our
 
Age quite so repulsive. Without its heartless
engines, though, you could not tenant my book-shelves,
    on hand to delect my ear and chuckle
    my sad flesh: I would gladly just now be
 
turning out verses to applaud a thundery
jovial June when the judas-tree is in blossom,
    but am forbidden by the knowledge
    that you would have wrought them so much better.

W. H. Auden


Leap Before You Look


The sense of danger must not disappear:
The way is certainly both short and steep,
However gradual it looks from here;
Look if you like, but you will have to leap.

Tough-minded men get mushy in their sleep
And break the by-laws any fool can keep;
It is not the convention but the fear
That has a tendency to disappear.

The worried efforts of the busy heap,
The dirt, the imprecision, and the beer
Produce a few smart wisecracks every year;
Laugh if you can, but you will have to leap.

The clothes that are considered right to wear
Will not be either sensible or cheap,
So long as we consent to live like sheep
And never mention those who disappear.

Much can be said for social savoir-faire,
But to rejoice when no one else is there
Is even harder than it is to weep;
No one is watching, but you have to leap.

A solitude ten thousand fathoms deep
Sustains the bed on which we lie, my dear:
Although I love you, you will have to leap;
Our dream of safety has to disappear.

                                                            December 1940


W. H. Auden









Spain

Yesterday all the past. The language of size
Spreading to China along the trade-routes; the diffusion
Of the counting-frame and the cromlech;
Yesterday the shadow-reckoning in the sunny climates.

Yesterday the assessment of insurance by cards,
The divination of water; yesterday the invention
Of cartwheels and clocks, the taming of
Horses. Yesterday the bustling world of the navigators.

Yesterday the abolition of fairies and giants,
the fortress like a motionless eagle eyeing the valley,
the chapel built in the forest;
Yesterday the carving of angels and alarming gargoyles;

The trial of heretics among the columns of stone;
Yesterday the theological feuds in the taverns
And the miraculous cure at the fountain;
Yesterday the Sabbath of witches; but to-day the struggle

Yesterday the installation of dynamos and turbines,
The construction of railways in the colonial desert;
Yesterday the classic lecture
On the origin of Mankind. But to-day the struggle.

Yesterday the belief in the absolute value of Greek,
The fall of the curtain upon the death of a hero;
Yesterday the prayer to the sunset
And the adoration of madmen. but to-day the struggle.

As the poet whispers, startled among the pines,
Or where the loose waterfall sings compact, or upright
On the crag by the leaning tower:
"O my vision. O send me the luck of the sailor."

And the investigator peers through his instruments
At the inhuman provinces, the virile bacillus
Or enormous Jupiter finished:
"But the lives of my friends. I inquire. I inquire."

And the poor in their fireless lodgings, dropping the sheets
Of the evening paper: "Our day is our loss. O show us
History the operator, the
Organiser. Time the refreshing river."

And the nations combine each cry, invoking the life
That shapes the individual belly and orders
The private nocturnal terror:
"Did you not found the city state of the sponge,

"Raise the vast military empires of the shark
And the tiger, establish the robin's plucky canton?
Intervene. O descend as a dove or
A furious papa or a mild engineer, but descend."

And the life, if it answers at all, replied from the heart
And the eyes and the lungs, from the shops and squares of the city
"O no, I am not the mover;
Not to-day; not to you. To you, I'm the

"Yes-man, the bar-companion, the easily-duped;
I am whatever you do. I am your vow to be
Good, your humorous story.
I am your business voice. I am your marriage.

"What's your proposal? To build the just city? I will.
I agree. Or is it the suicide pact, the romantic
Death? Very well, I accept, for
I am your choice, your decision. Yes, I am Spain."

Many have heard it on remote peninsulas,
On sleepy plains, in the aberrant fishermen's islands
Or the corrupt heart of the city.
Have heard and migrated like gulls or the seeds of a flower.

They clung like burrs to the long expresses that lurch
Through the unjust lands, through the night, through the alpine tunnel;
They floated over the oceans;
They walked the passes. All presented their lives.

On that arid square, that fragment nipped off from hot
Africa, soldered so crudely to inventive Europe;
On that tableland scored by rivers,
Our thoughts have bodies; the menacing shapes of our fever

Are precise and alive. For the fears which made us respond
To the medicine ad, and the brochure of winter cruises
Have become invading battalions;
And our faces, the institute-face, the chain-store, the ruin

Are projecting their greed as the firing squad and the bomb.
Madrid is the heart. Our moments of tenderness blossom
As the ambulance and the sandbag;
Our hours of friendship into a people's army.

To-morrow, perhaps the future. The research on fatigue
And the movements of packers; the gradual exploring of all the
Octaves of radiation;
To-morrow the enlarging of consciousness by diet and breathing.

To-morrow the rediscovery of romantic love,
the photographing of ravens; all the fun under
Liberty's masterful shadow;
To-morrow the hour of the pageant-master and the musician,

The beautiful roar of the chorus under the dome;
To-morrow the exchanging of tips on the breeding of terriers,
The eager election of chairmen
By the sudden forest of hands. But to-day the struggle.

To-morrow for the young the poets exploding like bombs,
The walks by the lake, the weeks of perfect communion;
To-morrow the bicycle races
Through the suburbs on summer evenings. But to-day the struggle.

To-day the deliberate increase in the chances of death,
The consious acceptance of guilt in the necessary murder;
To-day the expending of powers
On the flat ephemeral pamphlet and the boring meeting.

To-day the makeshift consolations: the shared cigarette,
The cards in the candlelit barn, and the scraping concert,
The masculine jokes; to-day the
Fumbled and unsatisfactory embrace before hurting.

The stars are dead. The animals will not look.
We are left alone with our day, and the time is short, and
History to the defeated
May say Alas but cannot help nor pardon.


Delmore Schwartz


                                    with Alma and James Agee (1938)

Jonathan Galassi from "The Troubling Genius of Delmore," NYRB (June 23, 1916)

The critic Michael Clune has written about Ashbery that the basic unit of his poetic practice is not the book, or even the poem, but the line. I think the same can be said for Delmore; apart from his few best poems, what really stays with the reader are individual lines, some of them employed, with slight variations, as titles:

The heavy bear who goes with me…
In the naked bed, in Plato’s cave…
The beautiful American word, Sure…
Tired and unhappy, you think of houses…
We are Shakespearean, we are strangers.
The mind is a city like London, Smoky and populous…
The actual is like a moist handshake, damp with nervousness or the body’s heat.

It’s impossible to gainsay the brilliance of these phrases, even when great poems fail to rise out of them. As Pollet said of Delmore’s voluminous diaries: “He begins the journals conscious of it as a literary form and therefore conscious of a potential audience. But the focus and coherence this implies is [sic] not sustained.” For Pollet he was sometimes “the poet, the Orpheus, transcending this world to make music out of things he alone had penetrated to and heard”; at others, he was “the wounded genius, the heavy bear of his poems, the naïf scheming to be practical in impractical ways.”

*****

In his best work, Delmore lives on perpetually young, perpetually aspiring and anxious, and its power and intensity keep on creating disciples. Lou Reed, a student at Syracuse in his last years, said, “I wanted to write. One line as good as yours. My mountain. My inspiration.”

Let Berryman have the last word:

The spirit & the joy, in memory
live of him on, the young will read his young verse
for as long as such things go…
 

Dorthea Tanning

 


Are You?

If an expatriate is, as I believe, someone 
who never forgets for an instant 
being one, 
then, no. 

But, if knowing that you always 
tote your country around 
with you, your roots, 
a lump 

like a soul that will never leave you 
stranded in alien subsets of 
yourself, or your wild 
entire; 

that being elsewhere packs a vertigo, 
a tightrope side you cannot 
pass up, another way 
to show 

how not to break your pretty neck 
falling on skylights: 
reward-laden 
mirages; 

then, yes. All homes are home; mirages 
everywhere. Aside from 
gravity, there are no 
limits, 

never were, nor will there ever be, 
no here and there to foil 
your lotus-dreaming 
legend. 

Stay on the planet, if you can. It isn't 
all that chilly and what's more, 
grows warmer by the 
minute.

Dorthea Tanning

 

 She and the dadaist icon Ernst became inseparable, and soon got married in a double wedding with photographer and painter Man Ray and Juliet Browner. Tanning found herself part of an inner circle that included André Breton, Marcel Duchamp, Joan Miró and René Magritte, and became friends with figures such as Salvador Dali, Pablo Picasso, Joseph Cornell, Dylan Thomas, Truman Capote and choreographer George Balanchine. 


Dorothea Tanning

Artspeak

If Art would only talk it would, at last, reveal
itself for what it is, what we all burn to know.

As for our certainties, it would fetch a dry yawn
then take a minute to sweep them under the rug:

certainties time-honored as meaningless as dust
under the rug. High time, my dears, to listen up.

Finally Art would talk, fill the sky like a mouth,
clear its convulsive throat while flashes and crashes

erupted as it spoke—a star-shot avalanche of
visions in uproar, drowned by the breathy din

of soundbites as we strain to hear its august words:
"a b c d e f g h i j k l m n o p q r s t u v w x y z."

Tom Clark



VPhoto of Tom Clark in Vence, 25 July 1966

 Blown Away

    ephemeral as tinkerbell 

unmoored yet not unmoved 
tossed cloudward, flipped 

sans volition 

into the flow 

going but not wanting to go 
without the other flotsam 


Wallace Stevens

 Stevens in 1954 the quintessential American poet of the twentieth century.


Tea at the Palaz of Hoon

Not less because in purple I descended
The western day through what you called
The loneliest air, not less was I myself.

What was the ointment sprinkled on my beard?
What were the hymns that buzzed beside my ears?
What was the sea whose tide swept through me there?

Out of my mind the golden ointment rained,
And my ears made the blowing hymns they heard.
I was myself the compass of that sea:

I was the world in which I walked, and what I saw
Or heard or felt came not but from myself;

Thom Gunn


 Elegy

I can almost see it

Thin, tall, half-handsome

the thin hungry sweetness

of his smile gone

as he makes up his mind

and walks behind the barn

in his thin pointed boots

over the crackling eucalyptus leaves

and shoots himself in the head

Even the terror

of leaving life like that

better than the terror

of being unable to handle it

Though I hardly knew him

I rehearse it again and again

Did he smell eucalyptus last?

No it was his own blood

as he choked on it

They keep leaving me

and they don’t

tell me they don’t

warn me that this is

the last time I’ll be seeing them

as they drop away

like Danny or

slowly estrange themselves

There will be no turn of the river

where we are all reunited

in a wonderful party

the picnic spread

all the lost found

as in hide and seek

An odd comfort

that the way we are always

most in agreement

is in playing the same game

where everyone always gets lost

C. K. Williams

 

Last Things

In a tray of dried fixative in a photographer friend’s darkroom,
I found a curled-up photo of his son the instant after his death,
his glasses still on, a drop of blood caught at his mouth.

Recently, my friend put a book together to commemorate his son;
near the end, there’s a picture taken the day before the son died;
the caption says: “This is the last photo of Alex.”

I’m sure my friend doesn’t know I’ve seen the other picture.
Is telling about it a violation of confidence?
Before I show this to anyone else, I’ll have to ask his permission.

If you’re reading it, you’ll know my friend pardoned me,
that he found whatever small truth his story might embody
was worth the anguish of remembering that reflexive moment

when after fifty years of bringing reality into himself through a lens,
his camera doubtlessly came to his eye as though by itself,
and his finger, surely also of its own accord, convulsed the shutter.


Tom Clark

 

Poem

Like musical instruments
Abandoned in a field
The parts of your feelings

Are starting to know a quiet
The pure conversion of your
Life into art seems destined

Never to occur
You don’t mind

You feel spiritual and alert

As the air must feel
Turning into sky aloft and blue
You feel like

You’ll never feel like touching anything or anyone
Again
And then you do


Tom Clark

Blown Away

ephemeral as tinkerbell 
unmoored yet not unmoved 
tossed cloudward, flipped 

sans volition 

into the flow 

going but not wanting to go 
without the other flotsam


Tom Clark

Realism

The smashed weirdness of the raving cadenzas of God

Takes over all of a sudden

In our time. It speaks through the voices of talk show moderators.

It tells us in a ringing anthem, like heavenly hosts uplifted,

That the rhapsody of the pastoral is out to lunch.

We can take it from there.

We can take it to Easy Street.

But when things get tough on Easy Street

What then? Is it time for realism?

And who are these guys on the bus

Who glide in golden hats past us

On their way to Kansas City?

Tom Clark


Sounding Chinese at Inspiration Point

Nice spring day off big white cloud

At Inspiration Point escaping time wars

Poet takes book & wine bottle up into Mist Mountains

Since only available agenda is rhyming with silence

Seeking window of opportunity on a wall

I disguise what I have to say by sounding Chinese

Such as stars are now darker and farther away

They take deeper drinks because space is

Drying out afraid to think own thoughts

Administered citizen achieving condition of robot

In public mind things not so good these days

Nor in wrong run will it matter to Tu Fu

Thom Gunn



In Trust

            You go from me
        In June for months on end
    To study equanimity
         Among high trees alone;
     I go out with a new boyfriend
And stay all summer in the city where
         Home mostly on my own
         I watch the sunflowers flare.

             You travel East
        To help your relatives.
   The rainy season's start, at least,
        Brings you from banishment:
    And from the hall a doorway gives
A glimpse of you, writing I don't know what,
         Through winter, with head bent
         In the lamp's yellow spot.

              To some fresh task
         Some improvising skill
     Your face is turned, of which I ask
         Nothing except the presence:
    Beneath white hair your clear eyes still
Are candid as the cat's fixed narrowing gaze
        —Its pale-blue incandescence
        In your room nowadays.

             Sociable cat:
         Without much noise or fuss
    We left the kitchen where he sat,
          And suddenly we find
     He happens still to be with us,
In this room now, though firmly faced away,
          Not to be left behind,
          Though all the night he'll stray.

              As you began
        You'll end the year with me.
   We'll hug each other while we can,
        Work or stray while we must.
    Nothing is, or will ever be,
Mine, I suppose. No one can hold a heart,
          But what we hold in trust
          We do hold, even apart.

John Ashbery

  The New Spirit (excerpt) I thought that if I could put it all down, that would be one way. And next the thought came to me that to leave a...