Testy Pony by Zachary Schomburg

I am given a pony for my birthday, but it is
the wrong kind of pony. It is the kind of
pony that won't listen. It is testy. When I
ask it to go left, it goes right. When I ask
it to run, it sleeps on its side in the tall
grass. So when I ask it to jump us over the
river into the field I have never before
been, I have every reason to believe it will
fail, that we will be swept down the river to
our deaths. It is a fate for which I am
prepared. The blame of our death will rest
with the testy pony, and with that, I will be
remembered with reverence, and the pony
will be remembered with great anger. But
with me on its back, the testy pony rears
and approaches the river with unfettered
bravery. Its leap is glorious. It clears the
river with ease, not even getting its pony
hooves wet. And then there we are on the
other side of the river, the sun going down,
the pony circling, looking for something to
eat in the dirt. Real trust is to do so in the
face of clear doubt, and to trust is to love.
This is my failure, and for that I cannot be
forgiven.

Cement Cloud by Bob Holman

Front window TV breaking news just breaking
Lucy at the assembly line. Must eat more pastries faster!
When One falls, I think if the Other comes this way
It would flatten my flat yet Dad waits for family to come
Home what is that a place of safety laughter breaks
The sky so clear and how beautifully plunging my Friends
From the flaming pickets of the “World” nefarious
Brilliance blinds from death even “Is the air controller's
Computer broken or what?” asks the newscaster when news
Is history lies jokes tell themselves leaving trails of skin

The panic from just outside is my story holes of plane
Flames of symbol clocks of hearts the ash and human
And human there is first the body keep telling yourself
That or anything because what comes next to LIFT us
Ineffable dies in the utter unspeakability political under
Standing or taking of everything the value of freedom
Of peace and the seed that grows into a home where
The door can open a fireball erupts your tongue
Is suddenly singing Remember eyes locked forever
On the double tombstone that is not there and always

We Wear the Mask by Paul Lawrence Dunbar

We wear the mask that grins and lies,
It hides our cheeks and shades our eyes,—
This debt we pay to human guile;
With torn and bleeding hearts we smile,
And mouth with myriad subtleties.

Why should the world be over-wise,
In counting all our tears and sighs?
Nay, let them only see us, while
We wear the mask.

We smile, but, O great Christ, our cries
To thee from tortured souls arise.
We sing, but oh the clay is vile
Beneath our feet, and long the mile;
But let the world dream otherwise,
We wear the mask!

Touched by an Angel – Maya Angelou

We, unaccustomed to courage

exiles from delight

live coiled in shells of loneliness

until love leaves its high holy temple

and comes into our sight

to liberate us into life.

Love arrives

and in its train come ecstasies

old memories of pleasure

ancient histories of pain.

Yet if we are bold,

love strikes away the chains of fear

from our souls.

We are weaned from our timidity

In the flush of love's light

we dare be brave

And suddenly we see

that love costs all we are

and will ever be.

Yet it is only love

which sets us free

[Mel] The Harlot's House by Oscar Wilde

We caught the tread of dancing feet,
We loitered down the moonlit street,
And stopped beneath the harlot's house.

Inside, above the din and fray,
We heard the loud musicians play
The 'Treues Liebes Herz' of Strauss.

Like strange mechanical grotesques,
Making fantastic arabesques,
The shadows raced across the blind.

We watched the ghostly dancers spin
To sound of horn and violin,
Like black leaves wheeling in the wind.

Like wire-pulled automatons,
Slim silhouetted skeletons
Went sidling through the slow quadrille,

Then took each other by the hand,
And danced a stately saraband;
Their laughter echoed thin and shrill.

Sometimes a clockwork puppet pressed
A phantom lover to her breast,
Sometimes they seemed to try to sing.

Sometimes a horrible marionette
Came out, and smoked its cigarette
Upon the steps like a live thing.

Then, turning to my love, I said,
'The dead are dancing with the dead,
The dust is whirling with the dust.'

But she - she heard the violin,
And left my side, and entered in:
Love passed into the house of lust.

Then suddenly the tune went false,
The dancers wearied of the waltz,
The shadows ceased to wheel and whirl.

And down the long and silent street,
The dawn, with silver-sandalled feet,
Crept like a frightened girl.

[Mel] Be Drunk by Charles Baudelaire

 Always be drunk.
 That's it!
 The great imperative!
 In order not to feel
 Time's horrid fardel
 bruise your shoulders,
 grinding you into the earth,
 Get drunk and stay that way.
 On what?
 On  wine, poetry, virtue, whatever.
 But get drunk.
 And if you sometimes happen to wake up
 on the porches of a palace,
 in the green grass of a ditch,
 in the dismal loneliness of your own room,
 your drunkenness gone or disappearing,
 ask the wind,
 the wave,
 the star,
 the bird,
 the clock,
 ask everything that flees,
 everything that groans
 or rolls
 or sings,
 everything that speaks,
 ask what time it is;
 and the wind,
 the wave,
 the star,
 the bird,
 the clock
 will answer you:
 "Time to get drunk!
 Don't be martyred slaves of Time,
 Get drunk!
 Stay drunk!
 On wine, virtue, poetry, whatever!"

[Mel] Having A Coke With You by Frank O'Hara

Having a Coke with You

is even more fun than going to San Sebastian, Irún, Hendaye, Biarritz, Bayonne
or being sick to my stomach on the Travesera de Gracia in Barcelona
partly because in your orange shirt you look like a better happier St. Sebastian
partly because of my love for you, partly because of your love for yoghurt
partly because of the fluorescent orange tulips around the birches
partly because of the secrecy our smiles take on before people and statuary
it is hard to believe when I’m with you that there can be anything as still
as solemn as unpleasantly definitive as statuary when right in front of it
in the warm New York 4 o’clock light we are drifting back and forth
between each other like a tree breathing through its spectacles

and the portrait show seems to have no faces in it at all, just paint
you suddenly wonder why in the world anyone ever did them

I look
at you and I would rather look at you than all the portraits in the world
except possibly for the Polish Rider occasionally and anyway it’s in the Frick
which thank heavens you haven’t gone to yet so we can go together the first time
and the fact that you move so beautifully more or less takes care of Futurism
just as at home I never think of the Nude Descending a Staircase or
at a rehearsal a single drawing of Leonardo or Michelangelo that used to wow me
and what good does all the research of the Impressionists do them
when they never got the right person to stand near the tree when the sun sank
or for that matter Marino Marini when he didn’t pick the rider as carefully as the horse

it seems they were all cheated of some marvelous experience
which is not going to go wasted on me which is why I am telling you about it

[Mel] The Second Coming by William Butler Yeats

Turning and turning in the widening gyre
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.
Surely some revelation is at hand;
Surely the Second Coming is at hand.
The Second Coming! Hardly are those words out
When a vast image out of Spiritus Mundi
Troubles my sight: somewhere in the sands of the desert
A shape with lion body and the head of a man,
A gaze blank and pitiless as the sun,
Is moving its slow thighs, while all about it
Reel shadows of the indignant desert birds.
The darkness drops again; but now I know
That twenty centuries of stony sleep
were vexed to nightmare by a rocking cradle,
And what rough beast, its hour come round at last,
Slouches towards Bethlehem to be born?

[Winifred] Edmund Spencer Sonnet 75

One day I wrote her name upon the strand,

But came the waves and washed it away:

Again I wrote it with a second hand,

But came the tide, and made my pains his prey.

Vain man, said she, that doest in vain assay

A mortal thing so to immortalize,

For I myself shall like to this decay,

And eek my name be wiped out likewise.

Not so (quoth I), let baser things devise

To die in dust, but you shall live by fame:

My verse your virtues rare shall eternize,

And in the heavens write your glorious name.

Where whenas Death shall all the world subdue,

Out love shall live, and later life renew.

End of Summer

An agitation of the air,

A perturbation of the light

Admonished me the unloved year

Would turn on its hinge that night.

I stood in the disenchanted field

Amid the stubble and the stones,

Amazed, while a small worm lisped to me

The song of my marrow-bones.

Blue poured into summer blue,

A hawk broke from his cloudless tower,

The roof of the silo blazed, and I knew

That part of my life was over.

Already the iron door of the north

Clangs open: birds, leaves, snows

Order their populations forth,

And a cruel wind blows.

Stanley Kunitz

Seventh Month – Cyril Wong

August: time of death, a path opens
to the past like a wind through grass,

the way lit by sparks, flaming paper.

Yet rituals only displace our desire
to mourn. Let us remember the dead,

but more importantly, persuade them
to ensure no harm may visit us.

We leave a row of chairs for the ghosts
to take our places for just one night.

Wayang actors hide their exhaustion
behind painted faces, dusty cymbals

trailing the bright arc of their voices.

We think how the dead would take this –
foibles of a life sung by archetypes,

reduced to grave, inflated gestures.

Would they grumble to each other
in their seats, complain of a lack

of synchronism between the music
and the action, the noise of traffic

eating into their illusion of narrative?

When it is finally over, would they
linger to gossip amongst themselves

about those who moved on to the life
to follow, sighing upon the mention

of the ones who have chosen to stay?

You Fit Into Me

You fit into me

like a hook into an eye

a fish hook

an open eye

By Margaret Atwood

War Photographer

In his darkroom he is finally alone
with spools of suffering set out in ordered rows.
The only light is red and softly glows,
as though this were a church and he
a priest preparing to intone a Mass.
Belfast. Beirut. Phnom Penh. All flesh is grass.

He has a job to do. Solutions slop in trays
beneath his hands which did not tremble then
though seem to now. Rural England. Home again
to ordinary pain which simple weather can dispel,
to fields which don't explode beneath the feet
of running children in a nightmare heat.

Something is happening. A stranger's features
faintly start to twist before his eyes,
a half-formed ghost. He remembers the cries
of this man's wife, how he sought approval
without words to do what someone must
and how the blood stained into foreign dust.

A hundred agonies in black-and-white
from which his editor will pick out five or six
for Sunday's supplement. The reader's eyeballs prick
with tears between bath and pre-lunch beers.
From aeroplane he stares impassively at where
he earns a living and they do not care.

By Carol Ann Duffy

La Belle Dame Sans Merci

Ah, what can ail thee, wretched wight,
Alone and palely loitering;
The sedge is wither'd from the lake,
And no birds sing.

Ah, what can ail thee, wretched wight,
So haggard and so woe-begone?
The squirrel's granary is full,
And the harvest's done.

I see a lily on thy brow,
With anguish moist and fever dew;
And on thy cheek a fading rose
Fast withereth too.

I met a lady in the meads
Full beautiful, a faery's child;
Her hair was long, her foot was light,
And her eyes were wild.

I set her on my pacing steed,
And nothing else saw all day long;
For sideways would she lean, and sing
A faery's song.

I made a garland for her head,
And bracelets too, and fragrant zone;
She look'd at me as she did love,
And made sweet moan.

She found me roots of relish sweet,
And honey wild, and manna dew;
And sure in language strange she said,
I love thee true.

She took me to her elfin grot,
And there she gaz'd and sighed deep,
And there I shut her wild sad eyes--
So kiss'd to sleep.

And there we slumber'd on the moss,
And there I dream'd, ah woe betide,
The latest dream I ever dream'd
On the cold hill side.

I saw pale kings, and princes too,
Pale warriors, death-pale were they all;
Who cry'd--"La belle Dame sans merci
Hath thee in thrall!"

I saw their starv'd lips in the gloam
With horrid warning gaped wide,
And I awoke, and found me here
On the cold hill side.

And this is why I sojourn here
Alone and palely loitering,
Though the sedge is wither'd from the lake,
And no birds sing.

 [Rafiqqa]

Lady Lazarus

I have done it again.

One year in every ten

I manage it--

A sort of walking miracle, my skin

Bright as a Nazi lampshade,

My right foot

A paperweight,

My face a featureless, fine

Jew linen.

Peel off the napkin

O my enemy.

Do I terrify?--

The nose, the eye pits, the full set of teeth?

The sour breath

Will vanish in a day.

Soon, soon the flesh

The grave cave ate will be

At home on me

And I a smiling woman.

I am only thirty.

And like the cat I have nine times to die.

This is Number Three.

What a trash

To annihilate each decade.

What a million filaments.

The peanut-crunching crowd

Shoves in to see

Them unwrap me hand and foot--

The big strip tease.

Gentlemen, ladies

These are my hands

My knees.

I may be skin and bone,

Nevertheless, I am the same, identical woman.

The first time it happened I was ten.

It was an accident.

The second time I meant

To last it out and not come back at all.

I rocked shut

As a seashell.

They had to call and call

And pick the worms off me like sticky pearls.

Dying

Is an art, like everything else.

I do it exceptionally well.

I do it so it feels like hell.

I do it so it feels real.

I guess you could say I've a call.

It's easy enough to do it in a cell.

It's easy enough to do it and stay put.

It's the theatrical

Comeback in broad day

To the same place, the same face, the same brute

Amused shout:

'A miracle!'

That knocks me out.

There is a charge

For the eyeing of my scars, there is a charge

For the hearing of my heart--

It really goes.

And there is a charge, a very large charge

For a word or a touch

Or a bit of blood

Or a piece of my hair or my clothes.

So, so, Herr Doktor.

So, Herr Enemy.

I am your opus,

I am your valuable,

The pure gold baby

That melts to a shriek.

I turn and burn.

Do not think I underestimate your great concern.

Ash, ash--

You poke and stir.

Flesh, bone, there is nothing there--

A cake of soap,

A wedding ring,

A gold filling.

Herr God, Herr Lucifer

Beware

Beware.

Out of the ash

I rise with my red hair

And I eat men like air.

 [Rafiqqa]

Nothing Gold Can Stay

Nature's first green is gold,
Her hardest hue to hold.
Her early leaf's a flower;
But only so an hour.
Then leaf subsides to leaf,
So Eden sank to grief,
So dawn goes down to day
Nothing gold can stay.

Sonnet 43 - How do I love thee? Let me count the ways

How do I love thee? Let me count the ways.
I love thee to the depth and breadth and height
My soul can reach, when feeling out of sight
For the ends of Being and ideal Grace.
I love thee to the level of everyday's
Most quiet need, by sun and candle-light.
I love thee freely, as men strive for Right;
I love thee purely, as they turn from Praise.
I love thee with a passion put to use
In my old griefs, and with my childhood's faith.
I love thee with a love I seemed to lose
With my lost saints, --- I love thee with the breath,
Smiles, tears, of all my life! --- and, if God choose,
I shall but love thee better after death.

[Rafiqqa]

I carry your heart with me

i carry your heart with me (i carry it in
my heart) i am never without it (anywhere
i go you go, my dear; and whatever is done
by only me is your doing, my darling)
i fear
no fate (for you are my fate, my sweet) i want
no world (for beautiful you are my world, my true)
and it's you are whatever a moon has always meant
and whatever a sun will always sing is you

here is the deepest secret nobody knows
(here is the root of the root and the bud of the bud
and the sky of the sky of a tree called life; which grows
higher than the soul can hope or mind can hide)
and this is the wonder that's keeping the stars apart

i carry your heart (i carry it in my heart)

[Rafiqqa]

All the World's a Stage

All the world's a stage,

And all the men and women merely players:

They have their exits and their entrances;

And one man in his time plays many parts,

His acts being seven ages. At first the infant,

Mewling and puking in the nurse's arms.

And then the whining school-boy, with his satchel

And shining morning face, creeping like snail

Unwillingly to school. And then the lover,

Sighing like furnace, with a woeful ballad

Made to his mistress' eyebrow. Then a soldier,

Full of strange oaths and bearded like the pard,

Jealous in honour, sudden and quick in quarrel,

Seeking the bubble reputation

Even in the cannon's mouth. And then the justice,

In fair round belly with good capon lined,

With eyes severe and beard of formal cut,

Full of wise saws and modern instances;

And so he plays his part. The sixth age shifts

Into the lean and slipper'd pantaloon,

With spectacles on nose and pouch on side,

His youthful hose, well saved, a world too wide

For his shrunk shank; and his big manly voice,

Turning again toward childish treble, pipes

And whistles in his sound. Last scene of all,

That ends this strange eventful history,

Is second childishness and mere oblivion,

Sans teeth, sans eyes, sans taste, sans everything

[Rafiqqa]

Family Reunion - Sylvia Plath

Outside in the street I hear
A car door slam; voices coming near;
Incoherent scraps of talk
And high heels clicking up the walk;
The doorbell rends the noonday heat
With copper claws;
A second's pause.
The dull drums of my pulses beat
Against a silence wearing thin.
The door now opens from within.
Oh, hear the clash of people meeting ---
The laughter and the screams of greeting :

Fat always, and out of breath,
A greasy smack on every cheek
From Aunt Elizabeth;
There, that's the pink, pleased squeak
Of Cousin Jane, out spinster with
The faded eyes
And hands like nervous butterflies;
While rough as splintered wood
Across them all
Rasps the jarring baritone of Uncle Paul;
The youngest nephew gives a fretful whine
And drools at the reception line.

Like a diver on a lofty spar of land
Atop the flight of stairs I stand.
A whirlpool leers at me,
I cast off my identity
And make the fatal plunge.