1269 Arts and sciences poems

The change of color is likely and a difference a very little difference is prepared. Sugar is not a vegetable. Callous is something that hardening leaves behind what will be soft if there is a genuine interest in there being present as many girls as men. Does this change. It shows that dirt is clean when there is a volume. A cushion has that cover. Supposing you do not like to change, supposing it is very clean that there is no change in appearance, supposing that there is regularity and a costume is that any the worse than an oyster and an exchange. Come to season that is there any extreme use in feather and cotton. Is there not much more joy in a table and more chairs and very likely roundness and a place to put them. A circle of fine card board and a chance to see a tassel. What is the use of a violent kind of delightfulness if there is no pleasure in not getting tired of it. The question does not come before there is a quotation. In any kind of place there is a top to covering and it is a pleasure at any rate there is some venturing in refusing to believe nonsense. It shows what use there is in a whole piece if one uses it and it is extreme and very likely the little things could be dearer but in any case there is a bargain and if there is the best thing to do is to take it away and wear it and then be reckless be reckless and resolved on returning gratitude. Light blue and the same red with purple makes a change. It shows that there is no mistake. Any pink shows that and very likely it is reasonable. Very likely there should not be a finer fancy present. Some increase means a calamity and this is the best preparation for three and more being together. A little calm is so ordinary and in any case there is sweetness and some of that. A seal and matches and a swan and ivy and a suit. A closet, a closet does not connect under the bed. The band if it is white and black, the band has a green string. A sight a whole sight and a little groan grinding makes a trimming such a sweet singing trimming and a red thing not a round thing but a white thing, a red thing and a white thing. The disgrace is not in carelessness nor even in sewing it comes out out of the way. What is the sash like. The sash is not like anything mustard it is not like a same thing that has stripes, it is not even more hurt than that, it has a little top.

The visionary moment comes just as it is raining , just as bombs are falling,  just as atoms burst like a sneeze in a city park and enter the dark as if  it were the waiting ark. You open your hand and blow the dust. You pick and throw the stone. You make the round  O of  your mouth perfect as light and the tree bends and stands upright in the stolid night.

The amities of morning and the buxom habits of birds that swing a bell-bright city in their intelligent wings; last night’s squall has drawn off like anger’s tide, the remote and muffled waters beating solitudinous rocks and murmurous in the hidden parts, ebbing and beating, of the mind as some half-forgotten name . . . the rain has withdrawn like the tents and the Greeks, like the hard-to-believe- in days of our childhood. Light moves, the whole massed flotilla of morning, kin to the upward flight of birds returning; and brutality, the hungers and the hatreds seem fabulous, seem members; the gouty rat and straggly root collaborate. Earth in wounds, deaths, decays— past hours its rutted crusts— with the billowy sky is the field- upon-field, and all one, of one master observing the various fruits: somewhere a child in a cage, inferior bodies making a passable road, a girl passionate with pain, an old man watching the earth escape like his once endless strengths, his poems head- long. And one fills with awe—as the town with morning, every cranny, the birds brimming fire- escapes and broken windows— that the earth like some wise breath never balked, a many- membered bird-flight, should include all, must be a terrible good. The eyes passing, contracted from night and war the stars undertook, finally emerge the topgallant of morning, and those eyes roam free as the Greeks: wherever a drop of water is, spindrift city of water gleaming, there is home.

I walked on the banks of the tincan banana dock and sat down under the huge shade of a Southern Pacific locomotive to look at the sunset over the box house hills and cry. Jack Kerouac sat beside me on a busted rusty iron pole, companion, we thought the same thoughts of the soul, bleak and blue and sad-eyed, surrounded by the gnarled steel roots of trees of machinery. The oily water on the river mirrored the red sky, sun sank on top of final Frisco peaks, no fish in that stream, no hermit in those mounts, just ourselves rheumy-eyed and hung-over like old bums on the riverbank, tired and wily. Look at the Sunflower, he said, there was a dead gray shadow against the sky, big as a man, sitting dry on top of a pile of ancient sawdust— —I rushed up enchanted—it was my first sunflower, memories of Blake—my visions—Harlem and Hells of the Eastern rivers, bridges clanking Joes Greasy Sandwiches, dead baby carriages, black treadless tires forgotten and unretreaded, the poem of the riverbank, condoms & pots, steel knives, nothing stainless, only the dank muck and the razor-sharp artifacts passing into the past— and the gray Sunflower poised against the sunset, crackly bleak and dusty with the smut and smog and smoke of olden locomotives in its eye— corolla of bleary spikes pushed down and broken like a battered crown, seeds fallen out of its face, soon-to-be-toothless mouth of sunny air, sunrays obliterated on its hairy head like a dried wire spiderweb, leaves stuck out like arms out of the stem, gestures from the sawdust root, broke pieces of plaster fallen out of the black twigs, a dead fly in its ear, Unholy battered old thing you were, my sunflower O my soul, I loved you then! The grime was no man’s grime but death and human locomotives, all that dress of dust, that veil of darkened railroad skin, that smog of cheek, that eyelid of black mis’ry, that sooty hand or phallus or protuberance of artificial worse-than-dirt—industrial—modern—all that civilization spotting your crazy golden crown— and those blear thoughts of death and dusty loveless eyes and ends and withered roots below, in the home-pile of sand and sawdust, rubber dollar bills, skin of machinery, the guts and innards of the weeping coughing car, the empty lonely tincans with their rusty tongues alack, what more could I name, the smoked ashes of some cock cigar, the cunts of wheelbarrows and the milky breasts of cars, wornout asses out of chairs & sphincters of dynamos—all these entangled in your mummied roots—and you there standing before me in the sunset, all your glory in your form! A perfect beauty of a sunflower! a perfect excellent lovely sunflower existence! a sweet natural eye to the new hip moon, woke up alive and excited grasping in the sunset shadow sunrise golden monthly breeze! How many flies buzzed round you innocent of your grime, while you cursed the heavens of the railroad and your flower soul? Poor dead flower? when did you forget you were a flower? when did you look at your skin and decide you were an impotent dirty old locomotive? the ghost of a locomotive? the specter and shade of a once powerful mad American locomotive? You were never no locomotive, Sunflower, you were a sunflower! And you Locomotive, you are a locomotive, forget me not! So I grabbed up the skeleton thick sunflower and stuck it at my side like a scepter, and deliver my sermon to my soul, and Jack’s soul too, and anyone who’ll listen, —We’re not our skin of grime, we’re not dread bleak dusty imageless locomotives, we’re golden sunflowers inside, blessed by our own seed & hairy naked accomplishment-bodies growing into mad black formal sunflowers in the sunset, spied on by our own eyes under the shadow of the mad locomotive riverbank sunset Frisco hilly tincan evening sitdown vision. Berkeley, 1955

What thoughts I have of you tonight, Walt Whitman, for I walked down the sidestreets under the trees with a headache self-conscious looking at the full moon. In my hungry fatigue, and shopping for images, I went into the neon fruit supermarket, dreaming of your enumerations! What peaches and what penumbras! Whole families shopping at night! Aisles full of husbands! Wives in the avocados, babies in the tomatoes!—and you, Garcia Lorca, what were you doing down by the watermelons? I saw you, Walt Whitman, childless, lonely old grubber, poking among the meats in the refrigerator and eyeing the grocery boys. I heard you asking questions of each: Who killed the pork chops? What price bananas? Are you my Angel? I wandered in and out of the brilliant stacks of cans following you, and followed in my imagination by the store detective. We strode down the open corridors together in our solitary fancy tasting artichokes, possessing every frozen delicacy, and never passing the cashier. Where are we going, Walt Whitman? The doors close in an hour. Which way does your beard point tonight? (I touch your book and dream of our odyssey in the supermarket and feel absurd.) Will we walk all night through solitary streets? The trees add shade to shade, lights out in the houses, we'll both be lonely. Will we stroll dreaming of the lost America of love past blue automobiles in driveways, home to our silent cottage? Ah, dear father, graybeard, lonely old courage-teacher, what America did you have when Charon quit poling his ferry and you got out on a smoking bank and stood watching the boat disappear on the black waters of Lethe? Berkeley, 1955

One of her hands one of her cheeks lay under, Cosening the pillow of a lawful kiss, Which therefore swell’d, and seem’d to part asunder, As angry to be robb’d of such a bliss! The one look’d pale and for revenge did long, While t’other blush’d, ’cause it had done the wrong. Out of the bed the other fair hand was On a green satin quilt, whose perfect white Look’d like a daisy in a field of grass, And show’d like unmelt snow unto the sight; There lay this pretty perdue, safe to keep The rest o’ th’ body that lay fast asleep. Her eyes (and therefore it was night), close laid Strove to imprison beauty till the morn: But yet the doors were of such fine stuff made, That it broke through, and show’d itself in scorn, Throwing a kind of light about the place, Which turn’d to smiles still, as’t came near her face. Her beams, which some dull men call’d hair, divided, Part with her cheeks, part with her lips did sport. But these, as rude, her breath put by still; some Wiselier downwards sought, but falling short, Curled back in rings, and seemed to turn again To bite the part so unkindly held them in.

I Near Lion, Bliss mimes. Shy.  Fish hat, two bandaids. pith : flee cat light fat cloak Dear Orion, This rhymes. I.  Wish that, you had stayed. with : me that night that broke 2 Hear Why an oar slides off the boat. See thin blue chance hum there a fourth in rows. Dear Orion More rhymes. Cough.  A throat. Begin to dance somewhere the north wind blows. 3 Clear My One clogged throat. Reverse rhyme. Switch surface, depth.  Carry across the two of me, from you, or you. Dear Orion Bog, moat. Perverse sign. Hitch surfeit, step. Wary of dross a new love she, some clue. For, to. I Steer Me Bliss chimes. Why, dish-flat too bad, frayed. Flint sea. Sad height at float Dear She This rhymes. I, wish-that you had, stayed. With me. That night that broke

Sweet sweet sweet sweet sweet tea. Susie Asado. Sweet sweet sweet sweet sweet tea. Susie Asado. Susie Asado which is a told tray sure. A lean on the shoe this means slips slips hers. When the ancient light grey is clean it is yellow, it is a silver seller. This is a please this is a please there are the saids to jelly. These are the wets these say the sets to leave a crown to Incy. Incy is short for incubus. A pot. A pot is a beginning of a rare bit of trees. Trees tremble, the old vats are in bobbles, bobbles which shade and shove and render clean, render clean must. Drink pups. Drink pups drink pups lease a sash hold, see it shine and a bobolink has pins. It shows a nail. What is a nail. A nail is unison. Sweet sweet sweet sweet sweet tea.

Apeneck Sweeney spread his knees Letting his arms hang down to laugh, The zebra stripes along his jaw Swelling to maculate giraffe. The circles of the stormy moon Slide westward toward the River Plate, Death and the Raven drift above And Sweeney guards the hornèd gate. Gloomy Orion and the Dog Are veiled; and hushed the shrunken seas; The person in the Spanish cape Tries to sit on Sweeney’s knees Slips and pulls the table cloth Overturns a coffee-cup, Reorganised upon the floor She yawns and draws a stocking up; The silent man in mocha brown Sprawls at the window-sill and gapes; The waiter brings in oranges Bananas figs and hothouse grapes; The silent vertebrate in brown Contracts and concentrates, withdraws; Rachel née Rabinovitch Tears at the grapes with murderous paws; She and the lady in the cape Are suspect, thought to be in league; Therefore the man with heavy eyes Declines the gambit, shows fatigue, Leaves the room and reappears Outside the window, leaning in, Branches of wistaria Circumscribe a golden grin; The host with someone indistinct Converses at the door apart, The nightingales are singing near The Convent of the Sacred Heart, And sang within the bloody wood When Agamemnon cried aloud And let their liquid siftings fall To stain the stiff dishonoured shroud. 1918, 1919

Reader unmov’d and Reader unshaken, Reader unseduc’d and unterrified, through the long-loud and the sweet-still I creep toward you. Toward you, I thistle and I climb. I crawl, Reader, servile and cervine, through this blank season, counting—I sleep and I sleep. I sleep, Reader, toward you, loud as a cloud and deaf, Reader, deaf as a leaf. Reader:Why don’t you turn pale?