Ezra Pound's Proposition

Beauty is sexual, and sexuality
Is the fertility of the earth and the fertility
Of the earth is economics. Though he is no recommendation
For poets on the subject of finance,
I thought of him in the thick heat
Of the Bangkok night. Not more than fourteen, she saunters up to you
Outside the Shangri-la Hotel
And says, in plausible English,
“How about a party, big guy?”

Here is more or less how it works:
The World Bank arranges the credit and the dam
Floods three hundred villages, and the villagers find their way
To the city where their daughters melt into the teeming streets,
And the dam’s great turbines, beautifully tooled
In Lund or Dresden or Detroit, financed
By Lazard Frères in Paris or the Morgan Bank in New York,
Enabled by judicious gifts from Bechtel of San Francisco
Or Halliburton of Houston to the local political elite,
Spun by the force of rushing water,
Have become hives of shimmering silver
And, down river, they throw that bluish throb of light
Across her cheekbones and her lovely skin.

by Robert Hass
from Time and Materials. Poems 1997-2005
Ecco (HarperCollins Publishers), New York, © 2007

The Dry Salvages (excerpts from part I)

...

The River is within us, the sea is all about us;

The sea is the land's edge also, the granite

Into which it reaches, the beaches where it tosses

Its hints of earlier and other creation:

The starfish, the horseshoe crab, the whale's backbone;

The pool where it offers to our curiosity

The more delicate algae and the sea anemone.

…

The sea has many voices

…

The distant note in the granite teeth

…

And under the oppression of the silent fog

The tolling bell

Measures time not our time, rung by the unhurried

Ground swell

…

When time stops and time is never ending;

And the ground swell, that is and was from the beginning

Clangs

The bell

…

by T. S. Eliot

Natural Music

The old voice of the ocean, the bird-chatter of little rivers,
(Winter has given them gold for silver
To stain their water and bladed green for brown to line their banks)
From different throats intone one language.
So I believe if we were strong enough to listen without
Divisions of desire and terror
To the storm of the sick nations, the rage of the hunger smitten cities,
Those voices also would be found
Clean as a child's; or like some girl's breathing who dances alone
By the ocean-shore, dreaming of lovers.


by Robinson Jeffers

the hookers, the madmen and the doomed

today at the track
2 or 3 days after
the death of the
jock
came this voice
over the speaker
asking us all to stand
and observe
a few moments
of silence. well,
that's a tired
formula and
I don't like it
but I do like
silence. so we
all stood: the
hookers and the
madmen and the
doomed. I was
set to be dis-
pleased but then
I looked up at the
TV screen
and there
standing silently
in the paddock
waiting to mount
up
stood the other jocks
along with
the officials and
the trainers:
quiet and thinking
of death and the
one gone,
they stood
in a semi-circle
the brave little
men in boots and
silks,
the legions of death
appeared and
vanished, the sun
blinked once
I thought of love
with its head ripped
off
still trying to
sing and
then the announcer
said, thank you
and we all went on about
our business.


by Charles Bukowski

Sins of the Father

Today my child came home from school in tears.
A classmate taunted her about her clothes,
and the other kids joined in, enough of them
to make her feel as if the fault was hers,
as if she can't fit in no matter what.
A decent child, lovely, bright, considerate.
It breaks my heart. It makes me want someone
to pay. It makes me think—O Christ, it makes
me think of things I haven't thought about
in years. How we nicknamed Barbara Hoffman
"Barn," walked behind her through the halls and mooed
like cows. We kept this up for years, and not
for any reason I could tell you now
or even then except that it was fun.
Or seemed like fun. The nights that Barbara
must have cried herself to sleep, the days
she must have dreaded getting up for school.
Or Suzanne Heider. We called her "Spider."
And we were certain Gareth Schultz was queer
and let him know it. Now there's nothing I
can do but stand outside my daughter's door
listening to her cry herself to sleep.


by W. D. Ehrhart

Give me the Splendid, Silent Sun

I

Give me the splendid silent sun, with all his beams full-dazzling;
Give me juicy autumnal fruit, ripe and red from the orchard;
Give me a field where the unmow’d grass grows;
Give me an arbor, give me the trellis’d grape;
Give me fresh corn and wheat—give me serene-moving animals, teaching content;
Give me nights perfectly quiet, as on high plateaus west of the Mississippi, and I looking up at the stars;
Give me odorous at sunrise a garden of beautiful flowers, where I can walk undisturb’d;
Give me for marriage a sweet-breath’d woman, of whom I should never tire;
Give me a perfect child—give me, away, aside from the noise of the world, a rural, domestic life;
Give me to warble spontaneous songs, reliev’d, recluse by myself, for my own ears only;
Give me solitude—give me Nature—give me again, O Nature, your primal sanities!
—These, demanding to have them, (tired with ceaseless excitement, and rack’d by the war-strife;)
These to procure, incessantly asking, rising in cries from my heart,
While yet incessantly asking, still I adhere to my city;
Day upon day, and year upon year, O city, walking your streets,
Where you hold me enchain’d a certain time, refusing to give me up;
Yet giving to make me glutted, enrich’d of soul—you give me forever faces;
(O I see what I sought to escape, confronting, reversing my cries;
I see my own soul trampling down what it ask’d for.)


II

Keep your splendid, silent sun;
Keep your woods, O Nature, and the quiet places by the woods;
Keep your fields of clover and timothy, and your corn-fields and orchards;
Keep the blossoming buckwheat fields, where the Ninth-month bees hum;
Give me faces and streets! give me these phantoms incessant and endless along the trottoirs!
Give me interminable eyes! give me women! give me comrades and lovers by the thousand!
Let me see new ones every day! let me hold new ones by the hand every day!
Give me such shows! give me the streets of Manhattan!
Give me Broadway, with the soldiers marching—give me the sound of the trumpets and drums!
(The soldiers in companies or regiments—some, starting away, flush’d and reckless;
Some, their time up, returning, with thinn’d ranks—young, yet very old, worn, marching, noticing nothing;)
—Give me the shores and the wharves heavy-fringed with the black ships!
O such for me! O an intense life! O full to repletion, and varied!
The life of the theatre, bar-room, huge hotel, for me!
The saloon of the steamer! the crowded excursion for me! the torch-light procession!
The dense brigade, bound for the war, with high piled military wagons following;
People, endless, streaming, with strong voices, passions, pageants;
Manhattan streets, with their powerful throbs, with the beating drums, as now;
The endless and noisy chorus, the rustle and clank of muskets, (even the sight of the wounded;)
Manhattan crowds, with their turbulent musical chorus—with varied chorus, and light of the sparkling eyes;
Manhattan faces and eyes forever for me.

by Walt Whitman

---
troittoirs = sidewalks

Man in the Elevator

With my tooth filled
and the side of my face thick as tongues,
I push the button and wait for the elevator
to carry me the twenty stories to the street.
When it opens a black man is the only
other passenger and without thinking,
without having to think, I look past him
and pretend that I have forgotten something
back in my dentist’s office and let the doors close
while I walk a few feet down the hall
so the man can see I’m going
then circle back and wait for the next elevator.
He is on his way down the street,
thinking about what happened or having
already shrugged it off, a cliche
too common to mention
the way a woman barely notices
a man grabbing his balls when she passes.
If he had been a white man I would have felt
fine letting the elevator pass, which I might
or might not have done
and to be honest if he had been Chinese
probably wouldn’t have, navigating
the mythologies of danger.
When the elevator opened I saw
who I was in that particular frame
before it closed its metal wings
and its cables returned it to the ground.
The man from the elevator is somewhere
on the street ahead of me, I could not
identify him, he is no one I know
but part of the story I tell, the way supposedly
everything in our dreams, the car,
the road through the mountains,
the mountains themselves,
are another face of the self.
A black man in an elevator
perhaps with his own filled tooth
and numb cheek,
some instinct in me refused
to spend even sixty seconds of my life with him.
He is no one I know,
but the intersection
of his life with my life
produced a chemical
like acid on tin,
metallic as blood in the mouth,
that I carry, that is as complicated
as change or as damage.

by Jacqueline Berger