It is half past ten in Stonington.
The trees droop apprehensive of the heat
And the sky has turned that pale suspicious colour
That means that it cannot support more light.
Here on the terrace I and a companion
Each pretends to read. The papers say
That it is 90 in New York today.
I have known great gold Sorrows:
Majestic Griefs shall serve me watchfully
Through the slow-pacing morrows:
I have knelt hopeless where sea-echoing
Dim endless voices cried of suffering
Vibrant and far in broken litany:
Where white magnolia and tuberose hauntingly
Pulsed their regretful sweets along the air- —
Once upon a time
I caught a little rhyme
I set it on the floor
but it ran right out the door
I chased it on my bicycle
but it melted to an icicle
I scooped it up in my hat
but it turned into a cat
I caught it by the tail
but it stretched into a whale
I followed it in a boat
but it changed into a goat
When I fed it tin and paper
it became a tall skyscraper
Then it grew into a kite
and flew far out of sight...
“Breadth. Circle. Desert. Monarch. Month. Wisdom. (for which there are
No rhymes)” was just the title, and I only read that far.
That was because I felt like some old agent-of-the-Czar
When a new plotter swims within the scope of his exertions,
And I was scared this hothead would start hedging his assertions
Before I had him dead-to-rights. (A Chekan’ s or a SMERSHian’ s
Lot, you know, is not an happy one.) He might retract.
Virgin, sappy, gorgeous, the right-now
Flutters its huge prosthetics at us, flung
To the spotlights, frozen in motion, center-ice.
And the first rows, shaken with an afterslice
That’ s bowled them into their seats like a big wet ciao.
O daffy panoply O rare device
O flashing leg-iron at a whopping price
Whipping us into ecstasies and how,
The whole galumphing Garden swung and swung,
I wonder what the Greeks kept in these comicstrip canisters.
Plums, milletseed, incense, henna, oregano.
Speak to me, trove. Tell me you contained dried smoked tongue once.
Or a sorcerer or a cosmetologist’ s powders and unguents.
And when John Keats looked at you in a collection of pots
it was poetry at first sight: quotable beautiful
teleological concatenations of thoughts.
Pigfoot (with Aces Under) Passes
The heat’ s on the hooker.
Drop’ s on the lam.
Cops got Booker.
Who give a damn?
The Kid’ s been had
But not me yet.
Dad’ s in his pad.
No sweat.
Margaret Are You Drug
Cool it Mag.
Sure it’ s a drag
With all that green flaked out.
Next thing you know they’ ll be changing the color of bread.
The sun that puts its spokes in every
Wheel of manhandle and tree
Derives its path of seashines
(Sheer centrifugality) from my
Regards. I send it
My regards. Some yards
Of lumen from the fabrika
Have come unbolted from the look
Of it (or likes of me), a long
Unweaving or recarding I
Cannot recall begun, and there
Before my eyes a palm
Puts lashes round the sun.
Art was long.
Paul was short.
Art sang the song.
Paul was the sort
who made one up
as if from air.
Paul had more gift.
Art had more hair —
which isn’ t to take
away from Arts.
Many sing well
if someone starts,
and it robs no Simon
to get paid like Paul.
Along was Art’ s way
to be singing at all.
If Paul robbed some,
it’ s harder revealing.
What stuck in his mind,
he stuck to concealing
Fish of the flood, on the bankèd billow
Thou layest thy head in dreams;
Sliding as slides thy shifting pillow,
One with the streams
Of the sea is thy spirit.
Gean-tree, thou spreadest thy foaming flourish
Abroad in the sky so grey;
It not heeding if it thee nourish,
Thou dost obey,
Happy, its moving.
