Oh he is worn with toil! the big drops run
Down his dark cheek; hold--hold thy merciless hand,
Pale tyrant! for beneath thy hard command
O'erwearied Nature sinks. The scorching Sun,
As pityless as proud Prosperity,
Darts on him his full beams; gasping he lies
Arraigning with his looks the patient skies,
While that inhuman trader lifts on high
The mangling scourge. Oh ye who at your ease
Sip the blood-sweeten'd beverage! thoughts like these
Haply ye scorn: I thank thee Gracious God!
That I do feel upon my cheek the glow

In the mustardseed sun,
By full tilt river and switchback sea
Where the cormorants scud,
In his house on stilts high among beaks
And palavers of birds
This sandgrain day in the bent bay's grave
He celebrates and spurns
His driftwood thirty-fifth wind turned age;
Herons spire and spear.

Under and round him go
Flounders, gulls, on their cold, dying trails,
Doing what they are told,
Curlews aloud in the congered waves
Work at their ways to death,
And the rhymer in the long tongued room,
Who tolls his birthday bell,

1

I move my hand over
slopes, falls, lumps of sight,
Lashes barely able to be touched,
Lips that give way so easily
it's a shock to feel underneath them

The bones smile.

Muffled a little, barely cloaked,
Zygoma, maxillary, turbinate.

2

I put my hand
On the side of your face,
You lean your head a little
Into my hand--and so,
I know you're a dormouse
Taken up in winter sleep,
A lonely, stunned weight.

3

A cheekbone,
A curved piece of brow,
A pale eyelid

Freedom is not to be proved but is rather a postulate
of action. Thus excellent Berdyaev,
who has meant much to me,
although I must shake my head and make a face
when he undertakes to explain
the Holy Ghost. We are unbelievers,
Cindy, which may be (I regularly
think it is) our misfortune. But we are still
existentialist lovers. Yes,
strange Soren Kierkegaard of Hamlet's province
would approve of us--well, somewhat--in our unchurchly
dark
devotions. In Syracuse the rain falls every day,
or so it seems; the faces

You, my photographer, you, most aware,
Who climbed to the bridge when the iceberg struck,
Climbed with your camera when the ship's hull broke,
And lighted your flashes and, standing passionate there,
Wound the camera in the sudden burst's flare,
Shot the screaming women, and turned and took
Pictures of the iceberg (as the ship's deck shook)
Dreaming like the moon in the night's black air!

You, tiptoe on the rail to film a child!
The nude old woman swimming in the sea
Looked up from the dark water to watch you there;

Remember midsummer: the fragrance of box, of white
roses
And of phlox. And upon a honeysuckle branch
Three snails hanging with infinite delicacy
-- Clinging like tendril, flake and thread, as self-tormented
And self-delighted as any ballerina,
just as in the orchard,
Near the apple trees, in the over-grown grasses
Drunken wasps clung to over-ripe pears
Which had fallen: swollen and disfigured.
For now it is wholly autumn: in the late
Afternoon as I walked toward the ridge where the hills
begin,

Don't look.
The world's about to break.

Don't look.
The world's about to chuck out all its light
and stuff us in the chokepit of its dark,
That black and fat suffocated place
Where we will kill or die or dance or weep
Or scream of whine or squeak like mice
To renegotiate our starting price.

'My age, my beast!' - Osip Mandelstam

On the lips a taste of tolling we are blind
The light drifts like dust over faces
We wear masks on our genitals
You've heard of lighting cigarettes with banknotes we used to light ours with Jews
History is made of bricks you can't go through it
And bricks are made of bones and blood and
Bones and blood are made of little tiny circles that nothing can go through
Except a piano with rabies
Blood gushes into, not from, our wounds
Vietnamese Cuban African bloods
Constellations of sperm upon our bodies

Spanish

–Eros: acaso no sentiste nunca
Piedad de las estatuas?
Se dirían crisálidas de piedra
De yo no sé qué formidable raza
En una eterna espera inenarrable.
Los cráteres dormidos de sus bocas
Dan la ceniza negra del Silencio,
Mana de las columnas de sus hombros
La mortaja copiosa de la Calma
Y fluye de sus órbitas la noche;
Victimas del Futuro o del Misterio,
En capullos terribles y magníficos
Esperan a la Vida o a la Muerte.
Eros: acaso no sentiste nunca
Piedad de las estatuas?–

It is possible to be struck by a
meteor or a single-engine plane while
reading in a chair at home. Pedestrians
are flattened by safes falling from
rooftops mostly within the panels of
the comics, but still, we know it is
possible, as well as the flash of
summer lightning, the thermos toppling
over, spilling out on the grass.
And we know the message can be
delivered from within. The heart, no
valentine, decides to quit after
lunch, the power shut off like a
switch, or a tiny dark ship is
unmoored into the flow of the body's