‘Track’ by Tomas Tranströmer

2 A.M. moonlight. The train has stopped

out in a field. Far off sparks of light from a town,

flickering coldly on the horizon.

As when a man goes so deep into his dream

he will never remember he was there

when he returns again to his view.

Or when a person goes so deep into a sickness

that his days all become some flickering sparks, a swarm,

feeble and cold on the horizon

The train is entirely motionless.

2 o’clock: strong moonlight, few stars.

tomastranstromer.net/poetry/poetry-3/

‘Winter Sun’ by Molly Fisk

How valuable it is in these short days,
threading through empty maple branches,
the lacy-needled sugar pines.

Its glint off sheets of ice tells the story
of Death’s brightness, her bitter cold.

We can make do with so little, just the hint
of warmth, the slanted light.

The way we stand there, soaking in it,
mittened fingers reaching.

And how carefully we gather what we can
to offer later, in darkness, one body to another.

www.berfrois.com/2011/12/winter-sun-molly-fisk/

‘Ithaca’ by C.P. Cavafy

As you set out for Ithaca
hope that your journey is a long one,
full of adventure, full of discovery.
Laistrygonians and Cyclops,
angry Poseidon-don’t be afraid of them:
you’ll never find things like that on your way
as long as you keep your thoughts raised high,
as long as a rare sensasion
touches your spirit and your body.
Laistrygonians and Cyclops,
wild Poseidon-you won’t encounter them
unless you bring them along inside your soul,
unless your soul sets them up in front of you.

Hope that your journey is a long one.
May there be many summer mornings when,
with what pleasure, what joy,
you come into harbors you’re seeing for the first time;
may you stop at Phoenician trading stations
to buy fine things,
mother of pearl and coral, amber and ebony,
sensual perfume of every kind-
as many sensual perfumes as you can;
and may you visit many Egyptian cities
to learn and learn again from those who know.

Keep Ithaka always in your mind.
Arriving there is what you’re destined for.
But don’t hurry the journey at all.
Better if it lasts for years,
so that you’re old by the time you reach the island,
wealthy with all you’ve gained on the way,
not expecting Ithaca to make you rich.
Ithaca gave you the marvelous journey.
Without her you would have not set out.
She has nothing left to give you now.

And if you find her poor, Ithaca won’t have fooled you.
Wise as you will have become, so full of experience,
you’ll have understood by then what these Ithacas mean.

http://youtu.be/1n3n2Ox4Yfk

“The Agamemnon Rag” by Jack Conway

Atlas, you’re Homer. I am so glad you’re Hera.
Thera so many things to tell you. I went on that
minotaur of the museum. The new display centaurs
on how you can contract Sisyphus if you don’t use
a Trojan on your Dictys. It was all Greek to me, see.
When I was Roman around,
I rubbed Midas against someone. “Medea, you look like a Goddess,”
he said. The Minerva him! I told him to
Frigg off, oracle the cops. “Loki here,” I said.
“In Odin times men had better manners.” It’s best to try
and nymph that sort of thing in the bud. He said he knew
Athena two about women like me, then tried to Bacchus
into a corner. Dryads I could, he wouldn’t stop.
“Don’t Troy with my affections,” he said.
“I’m already going to Helen a hand basket.”
I pretended to be completely Apollo by his behavior.
If something like that Mars your day, it Styx with you
forever. “I’m not Bragi,” he said. “But Idon better.”
Some people will never Lerna. Juno what I did?
Valhalla for help. I knew the police would
Pegasus to the wall. The Sirens went off.
Are you or Argonaut guilty, they asked.
He told the cops he was Iliad bad clams.
He said he accidentally Electra Cupid himself
trying to adjust a lamp shade. This job has its
pluses and Minos. The cops figured he was Fulla it.
He nearly Runic for me. I’m telling you,
it was quite an Odyssey, but I knew things would
Pan out. And oh, by the way, here’s all his gold.
I was able to Fleece him before the museum closed.

www.poetryfoundation.org/poetrymagazine/poem/171199

“Aristotle” by Billy Collins

This is the beginning.
Almost anything can happen.
This is where you find
the creation of light, a fish wriggling onto land,
the first word of Paradise Lost on an empty page.
Think of an egg, the letter A,
a woman ironing on a bare stage
as the heavy curtain rises.
This is the very beginning.
The first-person narrator introduces himself,
tells us about his lineage.
The mezzo-soprano stands in the wings.
Here the climbers are studying a map
or pulling on their long woolen socks.
This is early on, years before the Ark, dawn.
The profile of an animal is being smeared
on the wall of a cave,
and you have not yet learned to crawl.
This is the opening, the gambit,
a pawn moving forward an inch.
This is your first night with her,
your first night without her.
This is the first part
where the wheels begin to turn,
where the elevator begins its ascent,
before the doors lurch apart.
This is the middle.
Things have had time to get complicated,
messy, really. Nothing is simple anymore.
Cities have sprouted up along the rivers
teeming with people at cross-purposesi
a million schemes, a million wild looks.
Disappointment unshoulders his knapsack
here and pitches his ragged tent.
This is the sticky part where the plot congeals,
where the action suddenly reverses
or swerves off in an outrageous direction.
Here the narrator devotes a long paragraph
to why Miriam does not want Edward’s child.
Someone hides a letter under a pillow.
Here the aria rises to a pitch,
a song of betrayal, salted with revenge.
And the climbing party is stuck on a ledge
halfway up the mountain.
This is the bridge, the painful modulation.
This is the thick of things.
So much is crowded into the middlei
the guitars of Spain, piles of ripe avocados,
Russian uniforms, noisy parties,
lakeside kisses, arguments heard through a walli
too much to name, too much to think about.
And this is the end,
the car running out of road,
the river losing its name in an ocean,
the long nose of the photographed horse
touching the white electronic line.
This is the colophon, the last elephant in the parade,
the empty wheelchair,
and pigeons floating down in the evening.
Here the stage is littered with bodies,
the narrator leads the characters to their cells,
and the climbers are in their graves.
It is me hitting the period
and you closing the book.
It is Sylvia Plath in the kitchen
and St. Clement with an anchor around his neck.
This is the final bit
thinning away to nothing.
This is the end, according to Aristotle,
what we have all been waiting for,
what everything comes down to,
the destination we cannot help imagining,
a streak of light in the sky,
a hat on a peg, and outside the cabin, falling leaves.

“When I Think” by Robert Creeley

When I think of where I’ve come from
or even try to measure as any kind of
distance those places, all the various
people, and all the ways in which i re-
member them, so that even the skin I
touched or was myself fact of, inside,
could see through like a hole in the wall
or listen to, it must have been, to what
was going on in there, even if I was still
too dumb to know anything—When I think
of the miles and miles of roads, of meals,
of telephone wires even, or even of water
poured out in endless streams down streaks
of black sky or the dirt roads washed clean,
or myriad, salty tears and suddenly it’s spring
again, or it was—Even when I think again of
all those I treated so poorly, names, places,
their waiting uselessly for me in the rain and
I never came, was never really there at all,
was moving so confusedly, so fast, so driven
like a car along some empty highway passing,
passing other cars—When I try to think of
things, of what’s happened, of what a life is
and was, my life, when I wonder what it meant,
the sad days passing, the continuing, echoing deaths,
all the painful, belligerent news, and the dog still
waiting to be fed, the closeness of you sleeping, voices,
presences, of children, of our own grown children,
the shining, bright sun, the smell of the air just now,
each physical moment, passing, passing, it’s what
it always is or ever was, just then, just there.

http://goo.gl/Sv7ZE

“Baseball Canto” by Lawrence Ferlinghetti

Watching baseball
sitting in the sun
eating popcorn
Rereading Ezra Pound

and wishing Juan Marichal
would hit a hole right through
the Anglo-Saxon tradition
in the First Canto
and demolish the barbarian invaders

When the San Francisco Giants take the field
and everybody stands up to the National Anthem
with some Irish tenor's voice
piped over the loudspeakers
with all the players stuck dead in their places
and the white umpires like Irish cops
in their black suits and little black caps
presses over their hearts
standing straight and still
like some funeral of a blarney bartender
and all facing East
as if expecting some Great White Hope
or the Founding Fathers
to appear on the horizon
like 1066 or 1776 or all that

But Willie Mays appears instead
in the bottom of the first
and a roar goes up
	as he clouts the first one into the sun
		and takes off
			like a footrunner from Thebes
	The ball is lost in the sun
		and maidens wail after him
			but he keeps running
				through the Anglo-Saxon epic
And Tito Fuentes comes up
	Looking like a bullfighter
in his tight pants and small pointed shoes

		    And the rightfield bleachers go mad
			With chicanos & blacks & Brooklyn beerdrinkers
				"Sweet Tito! Sock it to heem, Sweet Tito!"
		     And Sweet Tito puts his foot in the bucket
			         and smacks one that doesn't come back at all
			and flees around the bases
		         like he's escaping from the United fruit Company
			as the Gringo dollar beats out the Pound
			       and Sweet Tito beats it out
			       like he's beating out usury
			       not to mention fascism and anti-semitism
		And Juan Marchial comes up
		    and the chicano bleachers go loco again
			as Juan belts the first fast ball
			       out of sight
				  and rounds first and keeps going
                         		and rounds second and rounds third
						and keeps going
					          and hits pay-dirt
			     to the roars of the grungy populace
		As some nut presses the backstage panic button
for the tape-recorded National anthem again
to save the situation
but he don't stop nobody this time
in their revolution round the loaded white bases
in this last of the great Anglo-Saxon epics
in the Territorio Libre of baseball

“Abend” (Sunset, or Evening) by Rainer Maria Rilke (2 translations)

The sky puts on the darkening blue coat
held for it by a row of ancient trees;
you watch: and the lands grow distant in your sight,
one journeying to heaven, one that falls;

and leave you, not at home in either one,
not quite so still and dark as the darkened houses,
not calling to eternity with the passion
of what becomes a star each night, and rises;

and leave you (inexpressibly to unravel)
your life, with its immensity and fear,
so that, now bounded, now immeasurable,
it is alternately stone in you and star.

Translated by Stephen Mitchell

Slowly the west reaches for clothes of new colors
which it passes to a row of ancient trees.
You look, and soon these two worlds both leave you,
one part climbs toward heaven, one sinks to earth,

leaving you, not really belonging to either,
not so hopelessly dark as that house that is silent,
not so unswervingly given to the eternal as that thing
that turns to a star each night and climbs-

leaving you (it is impossible to untangle the threads)
your own life, timid and standing high and growing,
so that, sometimes blocked in, sometimes reaching out,
one moment your life is a stone in you, and the next, a star.

Translated by Robert Bly

Der Abend wechselt langsam die Gewänder,
die ihm ein Rand von alten Bäumen hält;
du schaust: und von dir scheiden sich die Länder,
ein himmelfahrendes und eins, das fällt;

und lassen dich, zu keinem ganz gehörend,
nicht ganz so dunkel wie das Haus, das schweigt,
nicht ganz so sicher Ewiges beschwörend
wie das, was Stern wird jede Nacht und steigt -

und lassen dir (unsäglich zu entwirrn)
dein Leben bang und riesenhaft und reifend,
so daß es, bald begrenzt und bald begreifend,
abwechselnd Stein in dir wird und Gestirn.

, ,

“A Snap Quiz in Body Language” by David Wagoner

We can’t hear what they’re saying, but that man
Is holding that woman in his arms. Your assignment
Is to deduce their thoughts from what they do.
They’ve left no apparent space between their bodies.
It could be called a close embrace, but notice:
Her arms are at her sides, her hands relaxed,
Her face impassive, while he’s whispering
Something in her ear. His upper torso
Is tilted slightly forward. Hers is yielding,
But not in a way suggesting sweet surrender.
Is this a seduction scene? Is she being held
For questioning? Should she call a lawyer?
He’s looking into her eyes now. How wide open
Would you say hers are? What does he see in them?
If he were to let her go, class, what would she do?

The Atlantic, November, 2004

“After Reading a Child’s Guide to Modern Physics” by W.H. Auden

If all a top physicist knows
About the Truth be true,
Then, for all the so-and-so’s,
Futility and grime,
Our common world contains,
We have a better time
Than the Greater Nebulae do,
Or the atoms in our brains.

Marriage is rarely bliss
But, surely it would be worse
As particles to pelt
At thousands of miles per sec
About a universe
Wherein a lover’s kiss
Would either not be felt
Or break the loved one’s neck.

Though the face at which I stare
While shaving it be cruel
For, year after year, it repels
An ageing suitor, it has,
Thank God, sufficient mass
To be altogether there,
Not an indeterminate gruel
Which is partly somewhere else.

Our eyes prefer to suppose
That a habitable place
Has a geocentric view,
That architects enclose
A quiet Euclidian space:
Exploded myths – but who
Could feel at home astraddle
An ever expanding saddle?

This passion of our kind
For the process of finding out
Is a fact one can hardly doubt,
But I would rejoice in it more
If I knew more clearly what
We wanted the knowledge for,
Felt certain still that the mind
Is free to know or not.

It has chosen once, it seems,
And whether our concern
For magnitude’s extremes
Really become a creature
Who comes in a median size,
Or politicizing Nature
Be altogether wise,
Is something we shall learn.