Poems by Denise Levertov
An excerpt from "Mass for the Day of St.
Thomas Didymus"
Sojourns in the Parallel World
In California during the Gulf War
'I learned that her name was Proverb'
Since I stroll in the
woods more often
than on this frequented path, it's usually
trees I observe; but among fellow humans
what I like best is to see an old woman
fishing alone at the end of a jetty,
hours on end, plainly content.
The Russians
mushroom-hunting after a rain
trail after themselves a world of red sarafans,
nightingales, samovars, stoves to sleep on
(though
without doubt those are not
what they can remember). Vietnamese families
fishing or simply sitting as close as they can
to the water, make me recall that lake in
in the amber light, our first, jet-lagged evening,
peace in the war we had come to witness.
This woman engaged in her
pleasure evokes
an entire culture, tenacious field-flower
growing itself among the rows of cotton
in red-earth country, under the feet
of mules and masters. I see her
a barefoot child by a muddy river
learning her skill with the pole. What battles
has she survived, what labors?
She's gathered up all the
time in the world
--nothing
else--and waits for scanty trophies,
complete in herself as a heron.
ii Gloria
Praise the wet snow
falling early.
Praise the shadow
my neighor's chimney casts on the tile roof
even this gray October day that should, they say,
have been golden.
Praise
the invisible sun burning beyond
the white cold
sky, giving us
light and the chimney's shadow.
Praise
god or the gods, the unknown,
that which imagined us, which stays
our hand,
our murderous hand,
and
gives us
still,
in the shadow of death,
our daily
life,
and the
dream still
of goodwill, of peace on earth.
Praise
flow and change, night and
the pulse of day.
Down through the tomb's
inward arch
He has shouldered out
into Limbo
to gather them, dazed, from dreamless slumber:
the merciful dead, the prophets,
the innocents just His own age and those
unnumbered others waiting here
unaware, in an endless void He is ending
now, stooping to tug at their hands,
to pull them from their sarcophagi,
dazzled, almost unwilling. Didmas,
neighbor in death,
still streaked on the dried sweat of his body
no one had washed and anointed, is here,
for sequence is not known in Limbo;
the promise, given from cross to cross
at
All these He will swiftly
lead
to the
That done, there must
take place that struggle
no human presumes to picture:
living, dying, descending to rescue the just
from shadow, were lesser travails
than this: to break
through earth and stone of the faithless world
back to the cold sepulchre,
tearstained
stifling shroud; to break from them
back into breath and heartbeat, and walk
the world again, closed into days and weeks again,
wounds of His anguish open, and Spirit
streaming through every cell of flesh
so that if mortal sight could bear
to perceive it, it would be seen
His mortal flesh was lit
from within, now,
and aching for home. He must return,
first, in Divine patience, and know
hunger again, and give
to humble friends the joy
of giving Him food--fish and a honeycomb.
Delivered out of raw
continual pain,
smell of darkness, groans of those others
to whom he was chained--
unchained, and led
past the sleepers,
door after door silently opening--
out!
And along a long street's
majestic emptiness under the moon:
one hand on the angel's shoulder, one
feeling the air before him,
eyes open but fixed . . .
And not till he saw the
angel had left him,
alone and free to resume
the ecstatic, dangerous, wearisome roads of
what he had still to do,
not till then did he recognize
this was no dream. More frightening
than arrest, than being chained to his warders:
he could hear his own footsteps suddenly.
Had the angel's feet
made any sound? He could not recall.
No one had missed him, no
one was in pursuit.
He himself must be
the key, now, to the next door,
the next terrors of freedom and joy.
We live our lives of
human passions,
cruelties, dreams, concepts,
crimes and the exercise of virtue
in and beside a world devoid
of our preoccupations, free
from apprehension--though affected,
certainly, by our actions. A world
parallel to our own though overlapping.
We call it
"Nature"; only reluctantly
admitting ourselves to be "Nature" too.
Whenever we lose track of
our own obsessions,
our self-concerns, because we drift for a minute,
an hour even, of pure (almost pure)
response to that insouciant life:
cloud, bird, fox, the flow of light, the dancing
pilgrimage of water, vast stillness
of spellbound ephemerae on a lit windowpane,
animal voices, mineral hum, wind
conversing with rain, ocean with rock, stuttering
of fire to coal--then something tethered
in us, hobbled like a donkey on its patch
of gnawed grass and thistles, breaks free.
No one discovers
just where we've been, when we're caught up again
into our own sphere (where we must
return, indeed, to evolve our destinies)
--but we have changed, a
little.
Two girls discover
the secret of life
in a sudden line of
poetry.
I who don't know the
secret wrote
the line. They
told me
(through
a third person)
they had found it
but not what it was
not even
what line it was. No doubt
by now, more than a week
later, they have forgotten
the secret,
the line, the name of
the poem. I love them
for finding what
I can't find,
and for loving me
for the line I wrote,
and for forgetting it
so that
a thousand times, till death
finds them, they may
discover it again, in other
lines
in other
happenings. And for
wanting to know it,
for
assuming there is
such a secret, yes,
for that
most of all.
Those groans men use
passing a woman on the street
or on the steps of the subway
to tell her she is a female
and their flesh knows it,
are they a sort of tune,
an ugly enough song, sung
by a bird with a slit tongue
but meant for music?
Or are they the muffled
roaring
of deafmutes trapped in a
building that is
slowly filling with smoke?
Perhaps
both.
Such men most often
look as if groan were all they could do,
yet a woman, in spite of herself,
knows it's a tribute:
if she were lacking all grace
they'd pass her in silence:
so it's not only to say she's
a warm hole. It's a word
in grief-language, nothing to do with
primitive, not an ur-language;
language stricken, sickened, cast down
in decrepitude. She wants to
throw the tribute away, dis-
gusted, and can't,
it goes on buzzing in her ear,
it changes the pace of her walk,
the torn posters in echoing corridors
spell it out, it
quakes and gnashes as the train comes in.
Her pulse sullenly
had picked up speed,
but the cars slow down and
jar to a stop while her understanding
keeps on translating:
'Life after life after
life goes by
without poetry,
without seemliness,
without love.'
Fully occupied with
growing--that's
the amaryllis. Growing especially
at night: it would take
only a bit more patience than I've got
to sit keeping watch with it till daylight;
the naked eye could register every hour's
increase in height. Like a child against a barn door,
proudly topping each year's achievement,
steadily up
goes each green stem, smooth, matte,
traces of reddish purple at the base, and almost
imperceptible vertical ridges
running the length of them:
Two robust stems from
each bulb,
sometimes with sturdy leaves for company,
elegant sweeps of blade with rounded points.
Aloft, the gravid buds,
shiny with fullness.
One morning--and so
soon!--the first flower
has opened when you wake. Or you catch it poised
in a single, brief
moment of hesitation.
Next day, another,
shy at first like a foal,
even a third, a fourth,
carried triumphantly at the summit
of those strong columns, and each
a Juno, calm in brilliance,
a maiden giantess in modest splendor.
If humans could be
that intensely whole, undistracted, unhurried,
swift from sheer
unswerving impetus! If we could blossom
out of ourselves, giving
nothing imperfect, withholding nothing!
Long after you have swung
back
away from me
I think you are still
with me:
you come in close to the shore
on the tide
and nudge me awake the way
a boat adrift nudges the pier:
am I a pier
half-in half-out of the water?
and in the pleasure of that communion
I lose track,
the moon I watch goes down, the
tide swings you away before
I know I'm
alone again long since,
mud sucking at gray and black
timbers of me,
a light growth of green dreams drying.
Among the blight-killed
eucalypts, among
trees and bushes rusted by Christmas frosts,
the yards and hillsides exhausted by five years of
drought,
certain airy white blossoms punctually
reappeared, and dense clusters of pale pink, dark pink--
a delicate abundance. They seemed
like guests arriving joyfully on the accustomed
festival day, unaware of the year's events, not perceiving
the sackcloth others were wearing.
To some of us, the
dejected landscape consorted well
with our shame and bitterness. Skies ever-blue,
daily sunshine, disgusted us like smile-buttons.
Yet the blossoms,
clinging to thin branches
more lightly than birds alert for flight,
lifted the sunken heart
even against its will.
But not
as symbols of hope: they were flimsy
as our resistance to the crimes committed
--again, again--in our
name; and yes, they return,
year after year, and yes, they briefly shone with
serene joy
over against the dark glare
of evil days. They are, and their presence
is quietness ineffable--and the bombings are,
were,
no doubt will be; that quiet, that huge cacophany
simultaneous. No promise was being accorded, the blossoms
were not doves, there was no rainbow. And when it was
claimed
the war had ended, it had not ended.
Ah, Grief, I should not
treat you
like a homeless dog
who comes to the back door
for a crust, for a meatless bone.
I should trust you.
I should coax you
into the house and give you
your own corner,
a worn mat to lie on,
your own water dish.
You think I don't know you've been living
under my porch.
You long for your real place to be readied
before winter comes. You need
your name,
your collar and tag. You need
the right to warn off intruders,
to consider
my house your own
and me your person
and yourself
my own dog.
September
1961
This is the year the old ones,
the old great ones
leave us alone on the road.
The road leads to the sea.
We have the words in our pockets,
obscure directions. The old ones
have taken away the light of their presence,
we see it moving away over a hill
off to one side.
They are not dying,
they are withdrawn
into a painful privacy
learning to live without words.
E. P. "It looks like dying"--Williams: "I can't
describe to you what has been
happening to me"--
H. D. "unable to speak."
The darkness
twists itself in the wind, the stars
are small, the horizon
ringed with confused urban light-haze.
They have told us
the road leads to the sea,
and given
the language into our hands.
We hear
our footsteps each time a truck
has dazzled past us and gone
leaving us new silence.
One can't reach
the sea on this endless
road to the sea unless
one turns aside at the end, it seems,
follows
the owl that silently glides above it
aslant, back and forth,
and away into deep woods.
But for us the road
unfurls itself, we count the
words in our pockets, we wonder
how it will be without them, we don't
stop walking, we know
there is far to go, sometimes
we think the night wind carries
a smell of the sea...
There's in my mind a
woman
of innocence, unadorned but
fair-featured and smelling of
apples or grass. She wears
a utopian smock or shift, her hair
is light brown and smooth, and she
is kind and very clean without
ostentation--
but she has
no imagination
And there's a
turbulent moon-ridden girl
or old woman, or both,
dressed in opals and rags, feathers
and torn taffeta,
who knows strange songs
but she is not kind.
Brilliant,
this day – a young virtuoso of a day.
Morning shadow cut by
sharpest scissors,
deft hands. And every prodigy of green –
whether it's ferns or lichens or needles
or impatient points of buds on spindly bushes –
greener than ever before. And the way the conifers
hold new cones to the light for the blessing,
a festive right, and sing the oceanic chant the
wind
transcribes for them!
A day that shines in the
cold
like a first-prize brass band swinging along
the street
of a coal-dusty village, wholly at odds
with the claims of reasonable gloom.
Scraps of moon
bobbing discarded on broken water
but sky-moon
complete, transcending
all violation
Here she seems to be
talking to herself about
the shape of a life:
Only Once
All which, because it was
flame and song and granted us
joy, we thought we'd do, be, revisit,
turns out to have been what it was
that once, only; every invitation
did not begin
a series, a build-up: the marvelous
did not happen in our lives, our stories
are not drab with its absence: but don't
expect to return for more. Whatever more
there will be will be
unique as those were unique. Try
to acknowledge the next
song in its body-halo of flames as utterly
present, as now or never.
When I found the door
I found the vine leaves
speaking among themselves in abundant
whispers.
My presence made them
hush their green breath,
embarrassed, the way
humans stand up, buttoning their jackets,
acting as if they were leaving anyway, as if
the conversation had ended
just before you arrived.
I liked
the glimpse I had, though,
of their obscure
gestures. I liked the sound
of such private voices. Next time
I'll move like cautious
sunlight, open
the door by fractions, eavesdrop
peacefully.
Don’t say,
don’t say there is no water
to solace the dryness at our hearts.
I have seen
the fountain springing out of the rock wall
and you drinking there. And I too
before your eyes
found footholds and climbed
to drink the cool water.
The woman of that place,
shading her eyes,
frowned as she watched—but not because
she grudged the water,
only because she was waiting
to see we drank our fill and were
refreshed.
Don’t say,
don’t say there is no water.
That fountain is there
among its scalloped
green and gray stones,
it is still there and always there
with its quiet song and strange power
to spring in us,
up and out through the rock.
And the secret names
of all we meet who lead us deeper
into our labyrinth
of valleys and mountains, twisting valleys
and steeper mountains—
their hidden names are always,
like Proverb, promises.
Rune, Omen, Fable,
Parable,
those we meet for only
one crucial moment, gaze to gaze,
or for years know and don’t recognize
but of whom later a word
sings back to us
as if from high among leaves,
still near but beyond sight
drawing us from tree to tree
towards the time and the unknown place
where we shall know
what it is to arrive.
After I had cut off my
hands
and grown new ones
something my former hands had longed for
came and asked to be rocked.
After my plucked out eyes
had withered, and new ones grown
something my former eyes had wept for
came asking to be pitied.
What is green in me
darkens, muscadine.
If woman is inconstant,
good, I am faithful to
ebb and flow, I fall
in season and now
is a time of ripening.
If her part
is to be true,
a north star,
good, I hold steady
in the black sky
and vanish by day,
yet burn there
in blue or above
quilts of cloud.
There is no savor
more sweet, more salt
than to be glad to be
what, woman,
and who, myself,
I am, a shadow
that grows longer as the sun
moves, drawn out
on a thread of wonder.
If I bear burdens
they begin to be remembered
as gifts, goods, a basket
of bread that hurts
my shoulders but closes me
in fragrance. I can
eat as I go.
A certain day became a
presence to me;
there it was, confronting me--a sky, air, light:
a being. And before it started to descend
from the height of
and struck my shoulder as if with
the flat of a sword, granting me
honor and a task. The day's blow
rang out, metallic--or it was I, a bell awakened,
and what I heard was my whole self
saying and singing what it knew: I can.
Some people,
no matter what you give them,
still want the moon.
The bread, the salt,
white meat and dark,
still hungry.
The marriage bed
and the cradle,
still empty arms.
You give them land,
their own earth under their feet,
still they take to the roads.
And water: dig them the deepest well,
still it's not deep enough
to drink the moon from.
"I am a landscape,"
he said,
"a
landscape and a person walking in that landscape.
There are daunting cliffs
there,
and plains glad in their way
of brown monotony. But especially
there are sinkholes, places
of sudden terror, of small circumference
and malevolent depths."
"I know," she
said. "When I set forth
to walk in myself, as it might be
on a fine afternoon, forgetting,
sooner or later I come to where sedge
and clumps of white flowers, rue perhaps,
mark the bogland, and I know
there are quagmires there that can pull you
down, and sink you in bubbling mud."
"We had an old
dog," he told her, "when I was a boy,
a good dog, friendly. But there was an injured spot
on his head, if you happened
just to touch it he'd jump up yelping
and bite you. He bit a young child,
they had to take him to the vet's and destroy
him."
"No one knows where
it is," she said,
"and
even by accident no one touches it:
It's inside my landscape,
and only I, making my way
preoccupied through my life, crossing my hills,
sleeping on green moss of my own woods,
I myself without warning
touch it,
and leap up at myself--"
"--or flinch back
just in time."
"Yes, we learn that
It's not terror, it's pain we're talking about:
those places in us, like your dog's bruised head,
that are bruised forever, that time
never assuages, never."
As you read, a white bear
leisurely
pees, dyeing the snow
saffron,
and as you read, many gods
lie among lianas: eyes of obsidian
are watching the generations of leaves,
and as you read
the sea is turning its dark pages,
turning
its dark pages.
thigh and tongue, beloved,
are heavy with it,
it throbs in the teeth
We look for communion
and are turned away, beloved,
each and each
It is leviathan and we
in its belly
looking for joy, some joy
not to be known outside it
two by two in the ark of
the ache of it.
Rose Red's hair is brown as fur
and shines in firelight as she prepares
supper of honey and apples, curds and whey,
for the bear, and leaves it ready
on the hearth-stone.
Rose White's grey eyes
look into the dark forest.
Rose Red's cheeks are burning,
sign of her ardent, joyful
compassionate heart.
Rose White is pale,
turning away when she hears
the bear's paw on the latch.
When he enters, there is
frost on his fur,
he draws near to the fire
giving off sparks.
Rose Red catches the scent of the forest,
of mushrooms, of rosin.
Together Rose Red and Rose White
sing to the bear;
it is a cradle song, a loom song,
a song about marriage, about
a pilgrimage to the mountains
long ago.
Raised on an elbow,
the bear stretched on the hearth
nods and hums; soon he sighs
and puts down his head.
He sleeps; the Roses
bank the fire.
Sunk in the clouds of their feather bed
they prepare to dream.
Rose Red in a cave that smells of honey
dreams she is combing the fur of her cubs
with a golden comb.
Rose White is lying awake.
Rose White shall marry the bear's brother.
Shall he too
when the time is ripe,
step from the bear's hide?
Is that other, her bridegroom, here in the room?
Not the moon. A flower
on the other side of the water.
The water sweeps past in flood,
dragging a whole tree by the hair,
a barn, a bridge. The flower
sings on the far bank.
Not a flower, a bird calling
hidden among the darkest trees, music
over the water, making a silence
out of the brown folds of the river's cloak.
The moon. No, a young man walking
under the trees. There are lanterns
among the leaves.
Tender, wise, merry,
his face is awake with its own light,
I see it across the water as if close up.
A jester. The music rings from his bells,
gravely, a tune of sorrow,
I dance to it on my riverbank.
Something is very gently,
invisibly, silently,
pulling at me-a thread
or net of threads
finer than cobweb and as
elastic. I haven't tried
the strength of it. No barbed hook
pierced and tore me. Was it
not long ago this thread
began to draw me? Or
way back? Was I
born with its knot about my
neck, a bridle? Not fear
but a stirring
of wonder makes me
catch my breath when I feel
the tug of it when I thought
it had loosened itself and gone.
I thought I was growing wings—
it was a cocoon.
I thought, now is the time to step
into the fire—
it was deep water.
Eschatology is a word I learned
as a child: the study of Last Things;
facing my mirror—no longer young,
the news—always of death,
the dogs—rising from sleep and
clamoring
and howling, howling,
nevertheless
I see for a moment
that's not it: it is
the First Things.
Word after word
floats through the glass.
Towards me.
"The World is not something to
look at, it is something to be in."
Mark Rudman
I look and look.
Looking's a way of being: one becomes,
sometimes, a pair of eyes walking.
Walking wherever looking takes one.
The eyes
dig and burrow into the world.
They touch
fanfare, howl, madrigal, clamor.
World and the past of it,
not only
visible present, solid and shadow
that looks at one looking.
And language? Rhythms
of echo and interruption?
That's
a way of breathing.
breathing to sustain
looking,
walking and looking,
through the world,
in it.
When she cannot be sure
which of two lovers it was with whom she felt
this or that moment of pleasure, of something fiery
streaking from head to heels, the way the white
flame of a cascade streaks a mountainside
seen from a car across a valley, the car
changing gear, skirting a precipice,
climbing . . .
When she can sit or walk for hours after a movie
talking earnestly and with bursts of laughter
with friends, without worrying
that it's late, dinner at midnight, her time
spent without counting the change . . .
When half her bed is covered with books
and no one is kept awake by the reading light
and she disconnects the phone, to sleep till noon . . .
Then
self-pity dries up, a joy
untainted by guilt lifts her.
She has fears, but not about loneliness;
fears about how to deal with the aging
of her body—how to deal
with photographs and the mirror. She feels
so much younger and more beautiful
than the looks. At her happiest
—or even in the midst of
some less than joyful hour, sweating
patiently through a heatwave in the city
or hearing the sparrows at daybreak, dully gray,
toneless, the sound of fatigue—
a kind of sober euphoria makes her believe
in her future as an old woman, a wanderer
seamed and brown,
little luxuries of the middle of life all gone,
watching cities and rivers, people and mountains,
without being watched; not grim nor sad,
an old winedrinking woman, who knows
the old roads, grass-grown, and laughs to herself . . .
She knows it can't be:
that's Mrs. Doasyouwouldbedoneby from The Water
Babies,
no one can walk the world any more,
a world of fumes and decibels.
But she thinks maybe
she could get to be tough and wise, some way,
anyway. Now at least
she is past the time of mourning,
now she can say without shame or deceit,
O blessed Solitude.
Green Snake, when I hung
you round my neck
and stroked your cold, pulsing throat
as you hissed to me, glinting
arrowy gold
scales, and I felt
the weight of you on my shoulders,
and the whispering silver of your dryness
sounded close at my ears --
Green Snake--I swore to
my companions that certainly
you were harmless! But truly
I had no certainty, and
no hope, only desiring
to hold you, for that joy,
which left
a long wake of pleasure, as the leaves moved
and you faded into the pattern
of grass and shadows, and I returned
smiling and haunted, to a dark morning.
I was welcomed here—clear
gold
of late summer, of opening autumn,
the dawn eagle sunning himself on the highest tree,
the mountain revealing herself unclouded, her snow
tinted apricot as she looked west,
Tolerant, in her steadfastness, of the restless sun
forever rising and setting.
Now I am given
a taste of the grey foretold by all and sundry,
a grey both heavy and chill.
I've boasted I would not care,
I'm London-born.
And I won't. I'll dig in,
into my days, having come here to live, not to visit.
Grey is the price
of neighboring with eagles, of knowing
a mountain's vast presence, seen or unseen.
As the stores close, a
winter light
opens air to iris blue,
glint of frost through the smoke
grains of mica, salt of the sidewalk.
As the buildings close,
released autonomous
feet pattern the streets
in hurry and stroll; balloon heads
drift and dive above them; the bodies
aren't really there.
As the lights brighten,
as the sky darkens,
a woman with crooked heels says to another woman
while they step along at a fair pace,
"You know, I'm telling you, what I love best
is life. I love life! Even if I ever get
to be old and wheezy--or limp! You know?
Limping along?--I'd still..." Out of hearing.
To the multiple
disordered tones
of gears changing, a dance
to the compass points, out, four-way river.
Prospect of sky
wedged into avenues, left at the ends of streets,
west sky, east sky: more life tonight! A range
of open time at winter's outskirts.
At sixteen I believed the
moonlight
could change me if it would.
I moved my head
on the pillow, even moved my bed
as the moon slowly
crossed the open lattice.
I wanted beauty, a
dangerous
gleam of steel, my body thinner,
my pale face paler.
I moonbathed
diligently, as others sunbathe.
But the moon's unsmiling stare
kept me awake.
Mornings,
I was flushed and cross.
It was on dark nights of
deep sleep
that I dreamed the most, sunk in the well,
and woke rested, and if not beautiful,
filled with some other power.
For the New Year, 1981
I have a small grain of hope–
one small crystal that gleams
clear colors out of transparency.
I need more.
I break off a fragment
to send you.
Please take
this grain of a grain of hope
so that mine won't shrink.
Please share your fragment
so that yours will grow.
Only so, by division,
will hope increase,
like a clump of irises, which will cease to flower
unless you distribute
the clustered roots, unlikely source–
clumsy and earth-covered–
of grace.
The world
is
not with us enough
O taste and see
the subway Bible poster said,
meaning The Lord, meaning
if anything all that lives
to the imagination’s tongue,
grief, mercy, language,
tangerine, weather, to
breathe them, bite,
savor, chew, swallow, transform
into our flesh our
deaths, crossing the street, plum, quince,
living in the orchard and being
hungry, and plucking
the fruit.
The Elves
Elves are no smaller
than men, and walk
as men do, in this world,
but with more grace than most,
and are not immortal.
Their beauty sets them aside
from other men and from women
unless a woman has that cold fire in her
called poet: with that
she may see them and by its light
they know her and are not afraid
and silver tongues of love
flicker between them.
Don’t say,
don’t say there is no water
To
solace the dryness at our hearts.
I have seen
The fountain springing
out of the rock wall
And you
drinking there. And I too
Before your eyes
Found footholds and
climbed
to drink the cool water.
The woman of that place,
shading her eyes,
Frowned as she
watched—but not because
she grudged the water,
Only because she was
waiting
to see we drank our fill and were
refreshed.
Don’t say,
don’t say there is no water.
That fountain is there
among its scalloped
green and gray stones,
It is still there and
always there
with its quiet song and strange power
to spring in us,
up and out through the rock.
I believe the earth
exists, and
in each minim mote
of its dust the holy
glow of thy candle.
Thou
unknown I know,
thou spirit,
giver,
lover of making, of the
wrought letter,
wrought flower,
iron, deed, dream.
Dust of the earth,
help thou my
unbelief. Drift
gray become gold, in the beam of
vision. I believe with
doubt. I doubt and
interrupt my doubt with belief. Be,
beloved, threatened world.
Each minim
mote.
Not the poisonous
luminescence forced
out of its privacy,
The sacred lock of its cell
broken. No,
the ordinary glow
of common dust in ancient sunlight.
Be, that I may believe. Amen.
Come into animal presence
No man is so guileless as
the serpent. The lonely white
rabbit on the roof is a star
twitching its ears at the rain.
The llama intricately
folding its hind legs to be seated
not disdains but mildly
disregards human approval.
What joy when the insouciant
armadillo glances at us and doesn't
quicken his trotting
across the track and into the palm brush.
What is this joy? That no
animal
falters, but knows what it must do?
That the snake has no blemish,
that the rabbit inspects his strange surroundings
in white star-silence? The llama
rests in dignity, the armadillo
has some intention to pursue in the palm-forest.
Those who were sacred have remained so,
holiness does not dissolve, it is a presence
of bronze, only the sight that saw it
faltered and turned from it.
An old joy returns in holy presence.
This wild night,
gathering the washing as if it were flowers
animal vines twisting over the
line and
slapping my face lightly,
soundless merriment
in the gesticulations of
shirtsleeves,
I recall out of my joy a
night of misery
walking in the dark and the wind over broken earth,
halfmade
foundations and unfinished
drainage trenches and the
spaced-out
circles
of glaring light
marking streets that were to be
walking with you but so far from you,
and now alone in October's
first decision towards winter, so close to you--
my arms full of playful rebellious
linen, a freighter
going down-river two blocks
away, outward bound,
the green wolf-eyes of the Harborside Terminal
glittering
on the
and a train somewhere under ground bringing you
towards me
to our new living-place from which we can see
a river and its traffic (the
hidden river, who can say which it is we see, we see
something of both.
Or who can say
the crippled broom-vendor yesterday, who passed
just as we needed a new broom, was not
one of the Hidden Ones?)
Crates of fruit are unloading
across the street on the
cobbles,
and a brazier flaring
to warm the men and burn
trash. He wished us
luck when we bought the broom. But not luck
brought us here.
By design
clean air and cold wind polish
the river lights, by design
we are to live now in a new place.
Beginners
Dedicated to the memory of Karen Silkwood and
Eliot Gralla
“From too much love of living,
Hope and desire set free,
Even the weariest river
Winds somewhere to the sea—“
But we have only begun
To love the earth.
We have only begun
To imagine the fullness of life.
How could we tire of hope?
—so much is in bud.
How can desire fail?
—we have only begun
to imagine justice and mercy,
only begun to envision
how it might be
to live as siblings with beast and flower,
not as oppressors.
Surely our river
cannot already be hastening
into the sea of nonbeing?
Surely it cannot
drag, in the silt,
all that is innocent?
Not yet, not yet—
there is too much broken
that must be mended,
too much hurt we have done to each other
that cannot yet be forgiven.
We have only begun to know
the power that is in us if we would join
our solitudes in the communion of struggle.
So much is unfolding that must
complete its gesture,
so much is in bud.
A voice from the dark
called out,
"The poets must give us
imagination of peace, to oust the intense, familiar
imagination of disaster. Peace, not only
the absence of war."
But peace, like a poem,
is not there ahead of itself,
can't be imagined before it is made,
can't be known except
in the words of its making,
grammar of justice,
syntax of mutual aid.
A feeling towards it,
dimly sensing a rhythm, is all we have
until we begin to utter its metaphors,
learning them as we speak.
A line of peace might
appear
if we restructured the sentence our lives are making,
revoked its reaffirmation of profit and power,
questioned our needs, allowed
long pauses. . . .
A cadence of peace might
balance its weight
on that different fulcrum; peace, a presence,
an energy field more intense than war,
might pulse then,
stanza by stanza into the world,
each act of living
one of its words, each word
a vibration of light--facets
of the forming crystal.
We live in history, says
one.
We're flies on the hide of Leviathan, says another.
Either way, says one,
fears and losses.
And among losses, says another,
the special places our own roads were to lead to.
Our deaths, says one.
That's right, says another,
Now it's to be a mass death.
Mass graves, says one, are nothing new.
No, says another, but this time there'll be no graves,
all the dead will lie where they fall.
Except, says one, those that burn to ash.
And are blown in the fiery wind, says another.
How can we live in this fear? Says one.
From day to day, says another.
I still want to see, says one,
where my own road's going.
I want to live, says another, but where can I live
if the world is gone?
‘Hail, space for the
uncontained God’
From the Agathistos
We know the scene: the room, variously furnished,
almost always a lectern, a book; always
the tall lily.
Arrived on solemn grandeur of great wings,
the angelic ambassador, standing or hovering,
whom she acknowledges, a guest.
But we are told of meek
obedience. No one mentions
courage.
The engendering Spirit
did not enter her without consent.
God waited.
She was free
to accept or to refuse, choice
integral to humanness.
____________________________
Aren’t there annunciations
of one sort or another
in most lives?
Some unwillingly
undertake great destinies,
enact them in sullen pride,
uncomprehending.
More
often
those moments
when roads of light and storm
open from darkness in a man or woman,
are turned away from
in dread, in a wave of weakness, in despair
and with relief.
Ordinary lives continue.
God does not smite them.
But the gates close, the pathway vanishes.
______________________________
She had been a child who
played, ate, slept
like any other child – but unlike others,
wept only for pity, laughed
in joy not triumph.
Compassion and intelligence
fused in her, indivisible.
Called to a destiny more
momentous
than any in all of Time,
she did not quail,
only asked
a simple, 'How can this be?'
and gravely, courteously,
took to heart the angel’s reply,
perceiving instantly
the astounding ministry she was offered:
to bear in her womb
Infinite weight and lightness; to carry
in hidden, finite inwardness,
nine months of Eternity; to contain
in slender vase of being,
the sum of power –
in narrow flesh,
the sum of light.
Then bring to birth,
push out into air, a Man-child
needing, like any other,
milk and love –
but who was God.
It is hard sometimes to
drag ourselves
back to the love of morning
after we've lain in the dark crying out
O God, save us from the horror . . . .
God has saved the world
one more day
even with its leaden burden of human evil;
we wake to birdsong.
And if sunlight's gossamer lifts in its net
the weight of all that is solid,
our hearts, too, are lifted,
swung like laughing infants;
but on gray mornings,
all incident - our own hunger,
the dear tasks of continuance,
the footsteps before us in the earth's
beloved dust, leading the way - all,
is hard to love again
for we resent a summons
that disregards our sloth, and this
calls us, calls us.