Passing the shop after school, he would look up at the sign
and go on, glad that his own life had to do with books.
Now at night when he saw the grey in his parents’ hair and
heard their talk of that day’ s worries and the next:
lack of orders, if orders, lack of workers, if workers, lack of
goods, if there were workers and goods, lack of orders
again,
The bread has become moldy
and the dates blown down by the wind;
the iron has slipped from the helve.
The wool was to by dyed red
but the dyer dyed it black.
The dead woman has forgotten her comb
and tube of eye-paint;
the dead cobbler has forgotten his knife,
the dead butcher his chopper,
and the dead carpenter his adze.
A goat can be driven off with a shout.
But where is the man to shout?
The bricks pile up, the laths are trimmed,
and the beams are ready. Where is the builder?
Her sickness brought me to Connecticut.
Mornings I walk the dog: that part of life
is intact. Who's painted, who's insulated
or put siding on, who's burned the lawn
with lime — that's the news on Ardmore Street.
The leaves of the neighbor's respectable
rhododendrons curl under in the cold.
He has backed the car
through the white nimbus of its exhaust
and disappeared for the day.
In the hiatus between mayors
the city has left leaves in the gutters,
and passing cars lift them in maelstroms.
Señora, it is true the Greeks are dead.
It is true also that we here are Americans:
That we use the machines: that a sight of the god is unusual:
That more people have more thoughts: that there are
Progress and science and tractors and revolutions and
Marx and the wars more antiseptic and murderous
And music in every home: there is also Hoover.
You, my friends, and you strangers, all of you,
Stand with me a little by the walls
Or where the walls once were.
The bridge was here, the city further:
Now there is neither bridge nor town —
A doorway where the roof is down
Opens on a foot-worn stair
That climbs by three steps into empty air.
(What foot went there?)
Nothing in this town that had a thousand steeples
Come To Sunny Prestatyn
Laughed the girl on the poster,
Kneeling up on the sand
In tautened white satin.
Behind her, a hunk of coast, a
Hotel with palms
Seemed to expand from her thighs and
Spread breast-lifting arms.
'Tis time this heart should be unmoved,
Since others it hath ceased to move:
Yet though I cannot be beloved,
Still let me love!
My days are in the yellow leaf;
The flowers and fruits of Love are gone;
The worm — the canker, and the grief
Are mine alone!
He didn’ t know, King Kleomenis, he didn’ t dare —
he just didn’ t know how to tell his mother
a thing like that: Ptolemy’ s demand,
to guarantee their treaty, that she too go to Egypt
and be held there as a hostage —
a very humiliating, indecorous thing.
And he would be about to speak yet always hesitate,
would start to tell her yet always stop.
Turn, turn again,
Ape’ s blood in each vein!
The people that pass
Seem castles of glass,
The old and the good
Giraffes of the blue wood,
The soldier, the nurse,
Wooden-face and a curse,
Are shadowed with plumage
Like birds, by the gloomage.
Blond hair like a clown’ s
The music floats — drowns
The creaking of ropes,
The breaking of hopes,
The wheezing, the old,
Like harmoniums scold;
Go to Babylon, Rome,
The brain-cells called home,
The grave, new Jerusalem —
The Professor and Ginger are standing in the space in front
of the Skipper’ s cabin. The Professor is wearing deck shoes,
brushed denim jeans, and a white shirt open at the throat.
Ginger is wearing spike heels, false eyelashes, and a white
satin kimono. The Professor looks at her with veiled lust
in his eyes. He raises an articulate eyebrow and addresses
her as Cio-Cio-San. Ginger blanches and falls on her knife.
