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*Poem of the day thread

On the death of Kazimir Malevich

Ripping the stream of memory,
You look around and your face is pride-stricken.
Your name is — Kazimir.
The sun of your salvation wanes and you look at it.
Beauty has supposedly torn apart your earth’s mountains,
No area can frame your figure.
Give me those eyes of yours! I’ll throw open a window in my head!
Man, why have you stricken your face with pride?
Your life is only a fly and your desire is succulent food.
No glow comes from the sun of your salvation.
Thunder will lay low the helmet of your head.
Pe — is the inkpot of your words.
Trr — is your desire.
Agalthon — is your skinny memory.
Hey, Kazimir! Where’s your desk?
Looks as if it’s not here, and your desire is — Trr.
Hey, Kazimir! Where’s your friend?
She is also gone, and your memory’s inkpot is — Pe.
Eight years have crackled away in those ears of yours.
Fifty minutes have beat away in that heart of yours.
Ten times has the river flowed before you.
The inkpot of your desire Trr and Pe has ended.
“Imagine that!” you say, and your memory is — Agalthon.
There you stand, pushing apart smoke with your hands supposedly.
The pride-stricken expression on that face of yours wanes,
And your memory and your desire Trr disappear.

May 17, 1935

Daniil Kharms
 
"Mexico"

Once each year
After a warm day in April
When darkness comes to the desert
Uninvited but planning to spend the night
Something hits me like a shovel
And I am stunned into believing
Anything is possible

There is no overture to frenzy
I simply look up and see Scorpio
Most dangerous of friends
With the last two stars in his tail
Blinking like lights at a railroad crossing
While in one claw he holds the top
Of a mountain in Mexico

And suddenly I know
Everything I need is waiting for me
South of here in another country
And I have been walking through empty
Rooms and talking to furniture

Then I say to myself
Why would I stay home and listen to Bach
Such precision could have happened
To anyone to an infinite number of monkeys with harpsichords

And next morning I start south
With my last chances flapping their wings
While birds of passage stream over me
In the opposite direction

I never find what I am looking for
And each time I return older
With my ugliness intact
But with the knowledge that if it isn’t there
In the darkness under Scorpio
It isn’t anywhere
 
Moon by JH Prynne

The night is already quiet and I am
bound in the rise and fall: learning
to wish always for more. This is the
means, the extension to keep very steady

so that the culmination
will be silent too and flow
with no trace of devoutness.

Since I must hold to the gradual in
this, as no revolution but a slow change
like the image of snow. The challenge is
not a moral excitement, but the expanse,

the continuing patience
dilating into forms so
much more than compact.

I would probably not even choose to inhabit the
wish as delay: it really is dark and the knowledge
of the unseen is a warmth which spreads into
the level ceremony of diffusion. The quiet

suggests that the act taken
extends so much further, there
is this insurgence of form:

we are more pliant than the mercantile notion
of choice will determine-we go in this way
on and on and the unceasing image of hope
is our place in the world. We live there and now

at night I recognise the signs
of this, the calm is a
modesty about conduct in

the most ethical sense. We disperse into the ether
as waves, we slant down into a precluded notion
of choice which becomes the unlearned habit of
wish: where we live, as we more often are than

we know. If we expand
into this wide personal vacancy
we could become the extent

of all the wishes that are now too far beyond
us. A community of wish, as the steppe
on which the extension would sprinkle out
the ethic density, the compact modern home.

The consequence of this
pastoral desire is prolonged
as our condition, but

I know there is more than the mere wish to
wander at large, since the wish itself diffuses
beyond this and will never end: these are songs
to the night under no affliction, knowing that

the wish is gift to the
spirit, is where we may
dwell as we would

go over and over within the life of the heart
and the grace which is open to both east and west.
These are psalms for the harp and the shining
stone: the negligence and still passion of night.
 
Under the Poplars by Cesar Vallejo

for José Eulogio Garrido


Like priestly imprisoned poets,
the poplars of blood have fallen asleep.
On the hills, the flocks of Bethlehem
chew arias of grass at sunset.

The ancient shepherd, who shivers
at the last martyrdoms of light,
in his Easter eyes has caught
a purebred flock of stars.

Formed in orphanhood, he goes down
with rumors of burial to the praying field,
and the sheep bells are seasoned with shadow.

It survives, the blue warped
in iron, and on it, pupils shrouded,
a dog etches its pastoral howl.
 
On this saddest of days - by Mike Gary
Mancunian poet.

We are the threads that weave,
we are the busy bee's
we are the fabric and the seams,
the reason why we achieve.
we are the warp and weft,
we earn our daily bread and we work because hard work brings success
we're born out of industry, we're cotton song through history
we're revolutionary, we work while others sleep,
we're in the bricks and mortars, with the mothers, fathers sons and daughters
the very DNA of what makes this city great
we are the wool ,the whine, the twine, crafted, tailored and designed
we're the sign of the cross, we're temples, synagogues and mosques,
we interlock and bisect, we criss cross and interject,
we are the textile of time,
the fundamentals of life
we are the battlers and fighters, we invented all-nighters
we're in the pulse the heartic sound,
we are the earth the sky the clouds
we are the contour lines, we are the isobars
we're ugly, beautiful, we carry battle scars
Success is our main goal,
our defence is our attack
if you give us your soul, we'll give you our heart and souls back.
 
From Visions of the Daughters of Albion by William Blake

They told me that the night and day were all that I could see;
They told me that I had five senses to enclose me up;
And they enclos’d my infinite brain into a narrow circle,
And sunk my heart into the Abyss, a red, round globe, hot burning,
 
Misery and Splendor
BY ROBERT HASS

Summoned by conscious recollection, she
would be smiling, they might be in a kitchen talking,
before or after dinner. But they are in this other room,
the window has many small panes, and they are on a couch
embracing. He holds her as tightly
as he can, she buries herself in his body.
Morning, maybe it is evening, light
is flowing through the room. Outside,
the day is slowly succeeded by night,
succeeded by day. The process wobbles wildly
and accelerates: weeks, months, years. The light in the room
does not change, so it is plain what is happening.
They are trying to become one creature,
and something will not have it. They are tender
with each other, afraid
their brief, sharp cries will reconcile them to the moment
when they fall away again. So they rub against each other,
their mouths dry, then wet, then dry.
They feel themselves at the center of a powerful
and baffled will. They feel
they are an almost animal,
washed up on the shore of a world—
or huddled against the gate of a garden—
to which they can’t admit they can never be admitted.
 
Vain Warnings by Silvina Ocamp


Be careful with your imagination.
Someplace on earth it remains, all the time it follows us
little by little turning into crude or delicate reality
what man or beast, plants or stones imagined.
The sick with fever, those who shake, those who want to and cannot speak,
in waiting rooms, amid pages of newspapers, oranges,
those who gaze at the ceiling or else the sun, injured,
those who embrace unlawfully, not knowing why
or in the blue precinct of marriage, those disfigured by hearty laughter,
the children, the slaves, the unjust, those who go shopping, handle meat,
the prisoners, soldiers, tyrants, with faces of singers,
the swimmers, the eager executioners, those who blaspheme,
those who beg or give, the missionaries, the anarchists,
the submissive, the proud, the solitary, those who don’t understand,
those who work constantly,
those who get tired after never doing anything
again don’t do anything without a break, irreducibly, the unborn,
those who carry signs in their fur, letters, drawings,
mysteries that no one has deciphered,
those who wash everything all day long like the raccoon,

the foul-smelling that scavenge for bones or excrement,
wallowing about to stink even more,
those who simply appear spiritual, or musical, or poetic,
those who devour others like them
or themselves because driven mad,
those that are streaked, with spots, with silver scales and tails,
the ferocious and the domesticated, those who love,
those who eat each other in order to fecundate,
those who live only on grass or precious milk
or those who need to eat rotten meat
those who crawl or the most beautiful, with princely feathers
those whom the water gathers among its glass, clear green or black
in the dark molds of the earth, buried,

those who take so long in dying that they do not die
and seem like plants or else stones, with the additions of time
those who barely live by a miracle, by suicide, on nothing
everything that they have imagined
and that we mortals imagine
forms the reality of the world.
 
The End of the World by Archibald McLeish


  • Quite unexpectedly as Vasserot
    The armless ambidextrian was lighting
    A match between his great and second toe
    And Ralph the Lion was engaged in biting
    The neck of Madame Sossman while the drum
    Pointed, and Teeny was about to cough
    In waltz-time swinging Jocko by the thumb —
    Quite unexpectedly the top blew off.

    And there, there overhead, there, there, hung over
    Those thousands of white faces, those dazed eyes,
    There in the starless dark, the poise, the hover,
    There with vast wings across the cancelled skies,
    There in the sudden blackness, the black pall
    Of nothing, nothing, nothing — nothing at all.
 
Somoza Unveils Somoza’s Statue of Somoza at the Somoza Stadium

(Ernesto Cardenal, 1954, trans. Donald Walsh)

It’s not that I think the people raised this statue to me,
because I know better than you that I ordered it myself.
Nor that I have any illusions about passing with it into posterity
because I know the people will one day tear it down.
Nor that I wished to erect to myself in life
the monument you’ll not erect to me in death:
I put up this statue just because I know you’ll hate it.
 
Incantation

(Czeslaw Milosz, 1968, trans. the author and Robert Pinsky)

Human reason is beautiful and invincible.
No bars, no barbed wire, no pulping of books,
No sentence of banishment can prevail against it.
It establishes the universal ideas in language,
And guides our hand so we write Truth and Justice
With capital letters, lie and oppression with small.
It puts what should be above things as they are,
It is an enemy of despair and a friend of hope.
It does not know Jew from Greek or slave from master,
Giving us the estate of the world to manage.
It saves austere and transparent phrases
From the filthy discord of tortured words.
It says that everything is new under the sun,
Opens the congealed fist of the past.
Beautiful and very young are Philo-Sophia
And poetry, her ally in the service of the good.
As late as yesterday Nature celebrated their birth,
The news was brought to the mountains by a unicorn and an echo,
Their friendship will be glorious, their time has no limit,
Their enemies have delivered themselves to destruction.
 
Campaign

In which her body was a question-mark

querying her lies; her mouth a ballot-box that bit the hand that fed. Her eyes? They swivelled for a jackpot win. Her heart was a stolen purse;
her rhetoric an empty vicarage, the windows smashed.

Then her feet grew sharp stilettos, awkward.

Then she had balls, believe it.

When she woke,

her nose was bloody, difficult.

The furious young

ran towards her through the fields of wheat.


Carol Ann Duffy
 
You and Gold and What Awaits You by Roque Dalton

In capitalism it’s a lie to say:
“Take care, you’re worth your weight in gold.”
Because in capitalism only the owners
of gold are worth their weight in gold.

In the construction of socialism
one no longer lies and it can be said:
“You’re worth more than gold, but
it’s necessary to take care of
the gold of social property,
Foreign exchange is important.”

Only in communism can it be said:
“You’re worth what you’re worth.
Gold has nothing to do with what you’re worth.”

In communism gold only has value
through the use workers and citizens
give it,
for example in dentistry
in decoration
or in adorning the necks
or ears of girls.
 
Karen Solie
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Crail Spring
Surprised on returning to find the flat
flooded with light. Merciless,
evaporative, even when overcast, and,
as the solstice neared, sanctimonious
in its imperative to productivity.
An expert with his pen-light wondering
how you let it get this bad. That tone.
We were out all day in the clarity
of errors that had multiplied
into reality. Extra weight exposed
by the indignity of seasonal clothes,
and suspicious the promise
of those first fine days wouldn’t be
borne out. Children wept with exhaustion
in the playground past eleven, birds
goaded awake at three. So when the haar
sailed in, flags flying, party in a bag,
and took over the streets, we rejoiced
to see our choices diminish along
with the outlines of what they’d wrought.
Otherwise, not a fucking thing, and we
decided to make a long weekend of it.
 
XVI Poem by Roque Dalton

Laws are created to be followed
By the poor.
Laws are made by the rich
To bring some order to exploitation.
The poor are the only law abiders in history.
When the poor make laws
The rich will be no more.
 
Eighteen Seventy by Arthur Rimbaud

You Dead of ninety-two and ninety-three,
Who, pale from the great kiss of Liberty,
Crushed, calm, beneath your wooden shoes
That yoke that weighs on human brows and souls:

Men exalted, great in agony,
You whose hearts raged with love, in misery,
O soldiers that Death, noble Lover, has sown
In all the old furrows, so they’ll be reborn:

You whose blood washed every soiled grandeur,
Dead of Valmy, Dead of Fleurus, Dead of Italy,
O millions of Christs with eyes gentle and sombre:

We’ve let you fall asleep with the Republic,
We, cowering under kings as if under blows.
– They’re telling tales of you so we’ll remember!
 
In Paris With You - James Fenton

Don't talk to me of love. I've had an earful
And I get tearful when I've downed a drink or two.
I'm one of your talking wounded.
I'm a hostage. I'm maroonded.
But I'm in Paris with you.

Yes I'm angry at the way I've been bamboozled
And resentful at the mess I've been through.
I admit I'm on the rebound
And I don't care where are we bound.
I'm in Paris with you.

Do you mind if we do not go to the Louvre
If we say sod off to sodding Notre Dame,
If we skip the Champs Elysées
And remain here in this sleazy

Old hotel room
Doing this and that
To what and whom
Learning who you are,
Learning what I am.

Don't talk to me of love. Let's talk of Paris,
The little bit of Paris in our view.
There's that crack across the ceiling
And the hotel walls are peeling
And I'm in Paris with you.

Don't talk to me of love. Let's talk of Paris.
I'm in Paris with the slightest thing you do.
I'm in Paris with your eyes, your mouth,
I'm in Paris with... all points south.
Am I embarrassing you?
I'm in Paris with you.
 
O Sultan, my master, if my clothes
are ripped and torn
it is because your dogs with claws
are allowed to tear me.
And your informers every day are those
who dog my heels …
the reason you’ve lost wars twice
was because you’ve been walled in from
mankind’s cause and voice
 
GRENFELL TOWER, JUNE 2017:
a poem by Ben Okri

'It was like a burnt matchbox in the sky.
It was black and long and burnt in the sky.
You saw it through the flowering stump of trees.
You saw it beyond the ochre spire of the church.
You saw it in the tears of those who survived.
You saw it through the rage of those who survived.
You saw it past the posters of those who had burnt to ashes.
You saw it past the posters of those who jumped to their deaths.
You saw it through the TV images of flames through windows
Running up the aluminium cladding
You saw it in print images of flames bursting out from the roof.
You heard it in the voices loud in the streets.
You heard it in the cries in the air howling for justice.
You heard it in the pubs the streets the basements the digs.
You heard it in the wailing of women and the silent scream
Of orphans wandering the streets
You saw it in your baby who couldn’t sleep at night
Spooked by the ghosts that wander the area still trying
To escape the fires that came at them black and choking.
You saw it in your dreams of the dead asking if living
Had no meaning being poor in a land
Where the poor die in flames without warning.
But when you saw it with your eyes it seemed what the eyes
Saw did not make sense cannot make sense will not make sense.
You saw it there in the sky, tall and black and burnt.
You counted the windows and counted the floors
And saw the sickly yellow of the half burnt cladding
And what you saw could only be seen in nightmare.
Like a war-zone come to the depths of a fashionable borough.
Like a war-zone planted here in the city.
To see with the eyes that which one only sees
In nightmares turns the day to night, turns the world upside down.

Those who were living now are dead
Those who were breathing are from the living earth fled.
If you want to see how the poor die, come see Grenfell Tower.
See the tower, and let a world-changing dream flower.

Residents of the area call it the crematorium.
It has revealed the undercurrents of our age.
The poor who thought voting for the rich would save them.
The poor who believed all that the papers said.
The poor who listened with their fears.
The poor who live in their rooms and dream for their kids.
The poor are you and I, you in your garden of flowers,
In your house of books, who gaze from afar
At a destiny that draws near with another name.
Sometimes it takes an image to wake up a nation
From its secret shame. And here it is every name
Of someone burnt to death, on the stairs or in their room,
Who had no idea what they died for, or how they were betrayed.
They did not die when they died; their deaths happened long
Before. It happened in the minds of people who never saw
Them. It happened in the profit margins. It happened
In the laws. They died because money could be saved and made.

Those who are living now are dead
Those who were breathing are from the living earth fled.
If you want to see how the poor die, come see Grenfell Tower
See the tower, and let a world-changing dream flower.

They called the tower ugly; they named it an eyesore.
All around the beautiful people in their beautiful houses
Didn’t want the ugly tower to ruin their house prices.
Ten million was spent to encase the tower in cladding.
Had it ever been tested before except on this eyesore,
Had it ever been tested for fire, been tried in a blaze?
But it made the tower look pretty, yes it made the tower look pretty.
But in twenty four storeys, not a single sprinkler.
In twenty four storeys not a single alarm that worked.
In twenty four storeys not a single fire escape,
Only a single stairwell designed in hell, waiting
For an inferno. That’s the story of our times.
Make it pretty on the outside, but a death trap
On the inside. Make the hollow sound nice, make
The empty look nice. That’s all they will see,
How it looks, how it sounds, not how it really is, unseen.
But if you really look you can see it, if you really listen
You can hear it. You’ve got to look beneath the cladding.
There’s cladding everywhere. Political cladding,
Economic cladding, intellectual cladding — things that look good
But have no centre, have no heart, only moral padding.
They say the words but the words are hollow.
They make the gestures and the gestures are shallow.
Their bodies come to the burnt tower but their souls don’t follow.

Those who were living are now dead
Those who were breathing are from the living earth fled.
If you want to see how the poor die, come see Grenfell Tower
See the tower, and let a world-changing deed flower.

The voices here must speak for the dead.
Speak for the dead. Speak for the dead.
See their pictures line the walls. Poverty is its own
Colour, its own race. They were Muslim and Christian,
Black and white and colours in between. They were young
And old and beautiful and middle aged. There were girls
In their best dresses with hearts open to the future.
There was an old man with his grandchildren;
There was Amaya Tuccu, three years old,
Burnt to ashes before she could see the lies of the world.
There are names who were living beings who dreamt
Of fame or contentment or education or love
Who are now ashes in a burnt out shell of cynicism.
There were two Italians, lovely and young,
Who in the inferno were on their mobile phone to friends
While the smoke of profits suffocated their voices.
There was the baby thrown from many storeys high
By a mother who knew otherwise he would die.
There were those who jumped from their windows
And those who died because they were told to stay
In their burning rooms. There was the little girl on fire
Seen diving out from the twentieth floor. Need I say more.

Those who are living now are dead
Those who were breathing are from the living earth fled.
If you want to see how the poor die, come see Grenfell Tower
See the tower, and let a world-changing dream flower.

Always there’s that discrepancy
Between what happens and what we are told.
The official figures were stuck at thirty.
Truth in the world is rarer than gold.
Bodies brought out in the dark
Bodies still in the dark.
Dark the smoke and dark the head.
Those who were living are now dead.

And while the tower flamed they were tripping
Over bodies at the stairs
Because it was pitch black.
And those that survived
Sleep like refugees on the floor
Of a sports centre.
And like creatures scared of the dark,
A figure from on high flits by,
Speaking to the police and brave firefighters,
But avoiding the victims,
Whose hearts must be brimming with dread.
Those who were breathing are from the living earth fled.

But if you go to Grenfell Tower, if you can pull
Yourselves from your tennis games and your perfect dinners
If you go there while the black skeleton of that living tower
Still stands unreal in the air, a warning for similar towers to fear,
You will breathe the air thick with grief
With women spontaneously weeping
And children wandering around stunned
And men secretly wiping a tear from the eye
And people unbelieving staring at this sinister form in the sky
You will see the trees with their leaves green and clean
And will inhale the incense meant
To cleanse the air of unhappiness
You will see banks of flowers
And white paper walls sobbing with words
And candles burning for the blessing of the dead
You will see the true meaning of community
Food shared and stories told and volunteers everywhere
You will breathe the air of incinerators
Mixed with the essence of flower.
If you want to see how the poor die, come see Grenfell Tower.

Make sense of these figures if you will
For the spirit lives where truth cannot kill.
Ten million spent on the falsely clad
In a fire where hundreds lost all they had.
Five million offered in relief
Ought to make a nation alter its belief.
An image gives life and an image kills.
The heart reveals itself beyond political skills.
In this age of austerity
The poor die for others’ prosperity.
Nurseries and libraries fade from the land.
A strange time is shaping on the strand.
A sword of fate hangs over the deafness of power.
See the tower, and let a new world-changing thought flower.'
 
GRENFELL TOWER, JUNE 2017:
a poem by Ben Okri

'It was like a burnt matchbox in the sky.
It was black and long and burnt in the sky.
You saw it through the flowering stump of trees.
You saw it beyond the ochre spire of the church.
You saw it in the tears of those who survived.
You saw it through the rage of those who survived.
You saw it past the posters of those who had burnt to ashes.
You saw it past the posters of those who jumped to their deaths.
You saw it through the TV images of flames through windows
Running up the aluminium cladding
You saw it in print images of flames bursting out from the roof.
You heard it in the voices loud in the streets.
You heard it in the cries in the air howling for justice.
You heard it in the pubs the streets the basements the digs.
You heard it in the wailing of women and the silent scream
Of orphans wandering the streets
You saw it in your baby who couldn’t sleep at night
Spooked by the ghosts that wander the area still trying
To escape the fires that came at them black and choking.
You saw it in your dreams of the dead asking if living
Had no meaning being poor in a land
Where the poor die in flames without warning.
But when you saw it with your eyes it seemed what the eyes
Saw did not make sense cannot make sense will not make sense.
You saw it there in the sky, tall and black and burnt.
You counted the windows and counted the floors
And saw the sickly yellow of the half burnt cladding
And what you saw could only be seen in nightmare.
Like a war-zone come to the depths of a fashionable borough.
Like a war-zone planted here in the city.
To see with the eyes that which one only sees
In nightmares turns the day to night, turns the world upside down.

Those who were living now are dead
Those who were breathing are from the living earth fled.
If you want to see how the poor die, come see Grenfell Tower.
See the tower, and let a world-changing dream flower.

Residents of the area call it the crematorium.
It has revealed the undercurrents of our age.
The poor who thought voting for the rich would save them.
The poor who believed all that the papers said.
The poor who listened with their fears.
The poor who live in their rooms and dream for their kids.
The poor are you and I, you in your garden of flowers,
In your house of books, who gaze from afar
At a destiny that draws near with another name.
Sometimes it takes an image to wake up a nation
From its secret shame. And here it is every name
Of someone burnt to death, on the stairs or in their room,
Who had no idea what they died for, or how they were betrayed.
They did not die when they died; their deaths happened long
Before. It happened in the minds of people who never saw
Them. It happened in the profit margins. It happened
In the laws. They died because money could be saved and made.

Those who are living now are dead
Those who were breathing are from the living earth fled.
If you want to see how the poor die, come see Grenfell Tower
See the tower, and let a world-changing dream flower.

They called the tower ugly; they named it an eyesore.
All around the beautiful people in their beautiful houses
Didn’t want the ugly tower to ruin their house prices.
Ten million was spent to encase the tower in cladding.
Had it ever been tested before except on this eyesore,
Had it ever been tested for fire, been tried in a blaze?
But it made the tower look pretty, yes it made the tower look pretty.
But in twenty four storeys, not a single sprinkler.
In twenty four storeys not a single alarm that worked.
In twenty four storeys not a single fire escape,
Only a single stairwell designed in hell, waiting
For an inferno. That’s the story of our times.
Make it pretty on the outside, but a death trap
On the inside. Make the hollow sound nice, make
The empty look nice. That’s all they will see,
How it looks, how it sounds, not how it really is, unseen.
But if you really look you can see it, if you really listen
You can hear it. You’ve got to look beneath the cladding.
There’s cladding everywhere. Political cladding,
Economic cladding, intellectual cladding — things that look good
But have no centre, have no heart, only moral padding.
They say the words but the words are hollow.
They make the gestures and the gestures are shallow.
Their bodies come to the burnt tower but their souls don’t follow.

Those who were living are now dead
Those who were breathing are from the living earth fled.
If you want to see how the poor die, come see Grenfell Tower
See the tower, and let a world-changing deed flower.

The voices here must speak for the dead.
Speak for the dead. Speak for the dead.
See their pictures line the walls. Poverty is its own
Colour, its own race. They were Muslim and Christian,
Black and white and colours in between. They were young
And old and beautiful and middle aged. There were girls
In their best dresses with hearts open to the future.
There was an old man with his grandchildren;
There was Amaya Tuccu, three years old,
Burnt to ashes before she could see the lies of the world.
There are names who were living beings who dreamt
Of fame or contentment or education or love
Who are now ashes in a burnt out shell of cynicism.
There were two Italians, lovely and young,
Who in the inferno were on their mobile phone to friends
While the smoke of profits suffocated their voices.
There was the baby thrown from many storeys high
By a mother who knew otherwise he would die.
There were those who jumped from their windows
And those who died because they were told to stay
In their burning rooms. There was the little girl on fire
Seen diving out from the twentieth floor. Need I say more.

Those who are living now are dead
Those who were breathing are from the living earth fled.
If you want to see how the poor die, come see Grenfell Tower
See the tower, and let a world-changing dream flower.

Always there’s that discrepancy
Between what happens and what we are told.
The official figures were stuck at thirty.
Truth in the world is rarer than gold.
Bodies brought out in the dark
Bodies still in the dark.
Dark the smoke and dark the head.
Those who were living are now dead.

And while the tower flamed they were tripping
Over bodies at the stairs
Because it was pitch black.
And those that survived
Sleep like refugees on the floor
Of a sports centre.
And like creatures scared of the dark,
A figure from on high flits by,
Speaking to the police and brave firefighters,
But avoiding the victims,
Whose hearts must be brimming with dread.
Those who were breathing are from the living earth fled.

But if you go to Grenfell Tower, if you can pull
Yourselves from your tennis games and your perfect dinners
If you go there while the black skeleton of that living tower
Still stands unreal in the air, a warning for similar towers to fear,
You will breathe the air thick with grief
With women spontaneously weeping
And children wandering around stunned
And men secretly wiping a tear from the eye
And people unbelieving staring at this sinister form in the sky
You will see the trees with their leaves green and clean
And will inhale the incense meant
To cleanse the air of unhappiness
You will see banks of flowers
And white paper walls sobbing with words
And candles burning for the blessing of the dead
You will see the true meaning of community
Food shared and stories told and volunteers everywhere
You will breathe the air of incinerators
Mixed with the essence of flower.
If you want to see how the poor die, come see Grenfell Tower.

Make sense of these figures if you will
For the spirit lives where truth cannot kill.
Ten million spent on the falsely clad
In a fire where hundreds lost all they had.
Five million offered in relief
Ought to make a nation alter its belief.
An image gives life and an image kills.
The heart reveals itself beyond political skills.
In this age of austerity
The poor die for others’ prosperity.
Nurseries and libraries fade from the land.
A strange time is shaping on the strand.
A sword of fate hangs over the deafness of power.
See the tower, and let a new world-changing thought flower.'


That is powerful.....
Extremely upsetting but needed.
 
Wait
By Galway Kinnell

Wait, for now.
Distrust everything, if you have to.
But trust the hours. Haven't they
carried you everywhere, up to now?
Personal events will become interesting again.
Hair will become interesting.
Pain will become interesting.
Buds that open out of season will become lovely again.
Second-hand gloves will become lovely again,
their memories are what give them
the need for other hands. And the desolation
of lovers is the same: that enormous emptiness
carved out of such tiny beings as we are
asks to be filled; the need
for the new love is faithfulness to the old.

Wait.
Don't go too early.
You're tired. But everyone's tired.
But no one is tired enough.
Only wait a while and listen.
Music of hair,
Music of pain,
music of looms weaving all our loves again.
Be there to hear it, it will be the only time,
most of all to hear,
the flute of your whole existence,
rehearsed by the sorrows, play itself into total exhaustion.
 
Leda and the Swan
William Yeats

A sudden blow: the great wings beating still
Above the staggering girl, her thighs caressed
By the dark webs, her nape caught in his bill,
He holds her helpless breast upon his breast.

How can those terrified vague fingers push
The feathered glory from her loosening thighs?
And how can body, laid in that white rush,
But feel the strange heart beating where it lies?

A shudder in the loins engenders there
The broken wall, the burning roof and tower
And Agamemnon dead.
Being so caught up,
So mastered by the brute blood of the air,
Did she put on his knowledge with his power
Before the indifferent beak could let her drop?
 
My Grandmother's Love Letters
Hart Crane
There are no stars tonight
But those of memory.
Yet how much room for memory there is
In the loose girdle of soft rain.

There is even room enough
For the letters of my mother’s mother,
Elizabeth,
That have been pressed so long
Into a corner of the roof
That they are brown and soft,
And liable to melt as snow.

Over the greatness of such space
Steps must be gentle.
It is all hung by an invisible white hair.
It trembles as birch limbs webbing the air.

And I ask myself:

"Are your fingers long enough to play
Old keys that are but echoes:
Is the silence strong enough
To carry back the music to its source
And back to you again
As though to her?"

Yet I would lead my grandmother by the hand
Through much of what she would not understand;
And so I stumble. And the rain continues on the roof
With such a sound of gently pitying laughter.
 
The Octopus
Kay Ryan

The octopus has
eight of something.
If they’re legs then
all the arms are
missing. Nature often
makes mistakes in
distribution. You’d
think it would be
more distressing. Too
many rubber legs with
suckers, too many sets
of teeth on top each other:
some button in the
shop stuck on or off.
Sometimes a brain-feed
sticks until the brain
that gets delivered has
a hundred times the
strength it needs in
nature. Which changes
nature. A hundred
other creatures
gang together in a chain
of mutual interest
they wouldn’t have perceived
without the strange intelligence.
 
The Plough of Time
Lawrence Ferlinghetti

Night closed my windows and
The sky became a crystal house
The crystal windows glowed
The moon
shown through them
through the whole house of crystal
A single star beamed down
its crystal cable
and drew a plough through the earth
unearthing bodies clasped together
couples embracing
around the earth
They clung together everywhere
emitting small cries
that did not reach the stars
The crystal earth turned
and the bodies with it
And the sky did not turn
nor the stars with it
The stars remained fixed
each with its crystal cable
beamed to earth
each attached to the immense plough
furrowing our lives
 
A Dream
Susan Paddon

I imagine this boy,
a small boy. Someone to have driven toy cars with,
built complicated forts with, deep
in the woods. I see him
healthy.

My mother is there. She is rosy-cheeked
and no taller than the seat of a chair.
She keeps her distance, watches me and the boy play.
Each time I almost get close to her, she moves on,
disappears.

Since no one else is around,
I concentrate on the boy.
We throw marbles in the sand
out of purple and gold bags;
grow old and tired enough
to fall asleep.

I've heard a lot of people
have this dream.
 
wishes for sons
BY LUCILLE CLIFTON

i wish them cramps.
i wish them a strange town
and the last tampon.
i wish them no 7-11.

i wish them one week early
and wearing a white skirt.
i wish them one week late.

later i wish them hot flashes
and clots like you
wouldn't believe. let the
flashes come when they
meet someone special.
let the clots come
when they want to.

let them think they have accepted
arrogance in the universe,
then bring them to gynecologists
not unlike themselves.
 
The Censure of the Parliament Fart (1607)

Never was bestowed such art
Upon the tuning of a Fart.
Downe came grave auntient Sir John Crooke
And redd his message in his booke.
Fearie well, Quoth Sir William Morris, Soe:
But Henry Ludlowes Tayle cry'd Noe.
Up starts one fuller of devotion
Then Eloquence; and said a very ill motion
Not soe neither quoth Sir Henry Jenkin
The Motion was good; but for the stincking
Well quoth Sir Henry Poole it was a bold tricke
To Fart in the nose of the bodie pollitique
Indeed I must confesse quoth Sir Edward Grevill
The matter of it selfe was somewhat uncivill
Thanke God quoth Sir Edward Hungerford
That this Fart proved not a Turdd
 
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