1
I carved your name on my watchband
with my fingernail.
Where I am, you know,
I don't have a pearl-handled jackknife
(they won't give me anything sharp)
or a plane tree with its head in the clouds.
Trees may grow in the yard,
but I'm not allowed
to see the sky overhead...
How many others are in this place?
I don't know.
I'm alone far from them,
they're all together far from me.
To talk anyone besides myself
is forbidden.
So I talk to myself.

For Louise Crane


In your next letter I wish you'd say
where you are going and what you are doing;
how are the plays and after the plays
what other pleasures you're pursuing:

taking cabs in the middle of the night,
driving as if to save your soul
where the road gose round and round the park
and the meter glares like a moral owl,

and the trees look so queer and green
standing alone in big black caves
and suddenly you're in a different place
where everything seems to happen in waves,

Citizen, enemy, mama's boy, sucker, utter
garbage, panhandler, swine, refujew, verrucht;
a scalp so often scalded with boiling water
that the puny brain feels completely cooked.
Yes, we have dwelt here: in this concrete, brick, wooden
rubble which you now arrive to sift.
All our wires were crossed, barbed, tangled, or interwoven.
Also: we didn't love our women, but they conceived.
Sharp is the sound of pickax that hurts dead iron;
still, it's gentler than what we've been told or have said ourselves.
Stranger! move carefully through our carrion:

You can see it already: chalks and ochers;
Country crossed with a thousand furrow-lines;
Ground-level rooftops hidden by the shrubbery;
Sporadic haystacks standing on the grass;
Smoky old rooftops tarnishing the landscape;
A river (not Cayster or Ganges, though:
A feeble Norman salt-infested watercourse);
On the right, to the north, bizarre terrain
All angular--you'd think a shovel did it.
So that's the foreground. An old chapel adds
Its antique spire, and gathers alongside it
A few gnarled elms with grumpy silhouettes;

You can see it already: chalks and ochers;
Country crossed with a thousand furrow-lines;
Ground-level rooftops hidden by the shrubbery;
Sporadic haystacks standing on the grass;
Smoky old rooftops tarnishing the landscape;
A river (not Cayster or Ganges, though:
A feeble Norman salt-infested watercourse);
On the right, to the north, bizarre terrain
All angular--you'd think a shovel did it.
So that's the foreground. An old chapel adds
Its antique spire, and gathers alongside it
A few gnarled elms with grumpy silhouettes;

Through the noiseless doors of Death
Three passed out, as with one breath.

Two had faces stern as Fate,
Stamped with unrelenting hate.

One upon her lips of guile
Wore a cold, mysterious smile.

Each of each unseen, the pale
Shades went down the hollow vale

Till they came unto the deep
River of Eternal Sleep.

Breath of wind, or wing of bird,
Never that dark stream hath stirred;

Still it seems as is the shore,
But it flows for evermore

Softly, through the meadows wan
To the Sea Oblivion.

See where the allied armies camped,
Where plumed and painted dancers tramped--
'Tis still the same, the same wild scene,
As though the ploughshare ne'er had been.
Grey Tomboritha still the skies
With bold and massy front defies;
And gorge, and chasm, and long-ledged rocks
Echo the ever-thundering shocks
Of waters dashed with headlong force,
Wild cataracts leaping on their course.
In dark Maroka's vale the stream
Reflects the slanting solar beam;
There the proud lyre-bird* spreads his tail,

Primrose, anemone, bluebell, moss
Grow in the Kingdom of the Cross

And the ash-tree's purple bud
Dresses the spear that sheds his blood.

With the thorns that pierce his brow
Soft encircling petals grow

For in each flower the secret lies
Of the tree that crucifies.

Garden by the water clear
All must die who enter here!

For William and Emily Maxwell

At this time of day
One could hear the caulking irons sound
Against the hulls in the dockyard.
Tar smoke rose between trees
And large oily patches floated on the water,
Undulating unevenly
In the purple sunlight
Like the surfaces of Florentine bronze.

At this time of day
Sounds carried clearly
Through hot silences of fading daylight.
The weedy fields lay drowned
In odors of creosote and salt.
Richer than double-colored taffeta,
Oil floated in the harbor,
Amoeboid, iridescent, limp.

Comrades, if I don't live to see the day
-- I mean,if I die before freedom comes --
take me away
and bury me in a village cemetery in Anatolia.

The worker Osman whom Hassan Bey ordered shot
can lie on one side of me, and on the other side
the martyr Aysha, who gave birth in the rye
and died inside of forty days.

Tractors and songs can pass below the cemetery --
in the dawn light, new people, the smell of burnt gasoline,
fields held in common, water in canals,
no drought or fear of the police.