4.
The light has changed;
middle C is tuned darker now.
And the songs of morning sound over-rehearsed. â
This is the light of autumn, not the light of spring.
The light of autumn: you will not be spared.
The songs have changed; the unspeakable
has entered them.
This is the light of autumn, not the light that says
I am reborn.
Not the spring dawn: I strained, I suffered, I was delivered.
This is the present, an allegory of waste.
So much has changed. And still, you are fortunate:
the ideal burns in you like a fever.
Or not like a fever, like a second heart.
The songs have changed, but really they are still quite beautiful.
They have been concentrated in a smaller space, the space of the mind.
They are dark, now, with desolation and anguish.
And yet the notes recur. They hover oddly
in anticipation of silence.
The ear gets used to them.
The eye gets used to disappearances.
You will not be spared, nor will what you love be spared.
A wind has come and gone, taking apart the mind;
it has left in its wake a strange lucidity.
How privileged you are, to be passionately
clinging to what you love;
the forfeit of hope has not destroyed you.
Maestro, doloroso:
This is the light of autumn; it has turned on us.
Surely it is a privilege to approach the end
still believing in something.
Louise Gluck from âOctober,â in Averno
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The Laughing HeartÂ
your life is your life
donât let it be clubbed into dank submission.
be on the watch.
there are ways out.
there is light somewhere.
it may not be much light but
it beats the darkness.
be on the watch.
the gods will offer you chances.
know them.
take them.
you canât beat death but
you can beat death in life, sometimes.
and the more often you learn to do it,
the more light there will be.
your life is your life.
know it while you have it.
you are marvelous
the gods wait to delight
in you.
Charles Bukowski
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Green Apples
In August we carried the old horsehair mattress
to the back porch
and slept with our children in a row.
The wind came up the mountain into the orchard
telling me something:
saying something urgent.
I was happy.
The green apples fell on the sloping roof
and rattled down.
The wind was shaking me all night Long,
shaking me in my sleep
like a definition of love,
saying, this is the moment,
here, now.
Ruth Stone
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I am locked in a little cedar box
with a picture of shepherds pasted onto
the central panel between carvings.
The box stands on curved legs.
It has a gold, heart-shaped lock
and no key. I am trying to write my
way out of the closed box
redolent of cedar. Satan
comes to me in the locked box
and says, Iâll get you out. Say
My father is a shit. I say
my father is a shit and Satan
laughs and says, Itâs opening.
Say your mother is a pimp.
My mother is a pimp. Something
opens and breaks when I say that.
My spine uncurls in the cedar box
like the pink back of the ballerina pin
with a ruby eye, resting beside me on
satin in the cedar box.
Say shit, say death, say fuck the father,
Satan says, down my ear.
The pain of the locked past buzzes
in the childâs box on her bureau, under
the terrible round pond eye
etched around with roses, where
self-loathing gazed at sorrow.
Shit. Death. Fuck the father.
Something opens. Satan says
Donât you feel a lot better?
Light seems to break on the delicate
edelweiss pin, carved in two
colors of wood. I love him too,
you know, I say to Satan dark
in the locked box. I love them but
Iâm trying to say what happened to us
in the lost past. Of course, he says
and smiles, of course. Now say: torture.
I see, through blackness soaked in cedar,
the edge of a large hinge open.
Say: the fatherâs cock, the motherâs
cunt, says Satan, Iâll get you out.
The angle of the hinge widens
until I see the outlines of
the time before I was, when they were
locked in the bed. When I say
the magic words, Cock, Cunt,
Satan softly says, Come out.
But the air around the opening
is heavy and thick as hot smoke.
Come in, he says, and I feel his voice
breathing from the opening.
The exit is through Satanâs mouth.
Come in my mouth, he says, youâre there
already, and the huge hinge
begins to close. Oh no, I loved
them, too, I brace
my body tight
in the cedar house.
Satan sucks himself out the keyhole.
Iâm left locked in the box, he seals
the heart-shaped lock with the wax of his tongue.
Itâs your coffin now, Satan says.
I hardly hear;
I am warming my cold
hands at the dancerâs
ruby eyeâ
the fire, the suddenly discovered knowledge of love.
Sharon Olds, âSatan Saysâ
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In our silence, we were asking
those questions friends who trust each other
ask out of great fatigue,
each one hoping the other knows more
and when this isnât so, hoping
their shared impressions will amount to insight.
Is there any benefit in forcing upon oneself
the realization that one must die?
Is it possible to miss the opportunity of oneâs life?
Questions like that.
The snow heavy. The black night
transformed into busy white air.
Something we hadnât seen revealed.
Only the meaning wasnât revealed.
Louise Gluck, from âAverno,â in Averno
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When Hades decided he loved this girl
he built for her a duplicate of earth,
everything the same, down to the meadow,
but with a bed added.
Everything the same, including sunlight,
because it would be hard on a young girl
to go so quickly from bright light to utter darkness
Gradually, he thought, he'd introduce the night,
first as the shadows of fluttering leaves.
Then moon, then stars. Then no moon, no stars.
Let Persephone get used to it slowly.
In the end, he thought, she'd find it comforting.
A replica of earth
except there was love here.
Doesn't everyone want love?
He waited many years,
building a world, watching
Persephone in the meadow.
Persephone, a smeller, a taster.
If you have one appetite, he thought,
you have them all.
Doesn't everyone want to feel in the night
the beloved body, compass, polestar,
to hear the quiet breathing that says
I am alive, that means also
you are alive, because you hear me,
you are here with me. And when one turns,
the other turnsâ
That's what he felt, the lord of darkness,
looking at the world he had
constructed for Persephone. It never crossed his mind
that there'd be no more smelling here,
certainly no more eating.
Guilt? Terror? The fear of love?
These things he couldn't imagine;
no lover ever imagines them.
He dreams, he wonders what to call this place.
First he thinks: The New Hell. Then: The Garden.
In the end, he decides to name it
Persephone's Girlhood.
A soft light rising above the level meadow,
behind the bed. He takes her in his arms.
He wants to say I love you, nothing can hurt you
but he thinks
this is a lie, so he says in the end
you're dead, nothing can hurt you
which seems to him
a more promising beginning, more true.
Louise Gluck, âA Myth of Devotionâ from AvernoÂ
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There was a war between good and evil.
We decided to call the body good.
That made death evil.
It turned the soul
against death completely.
Like a foot soldier wanting
to serve a great warrior, the soul
wanted to side with the body.
It turned against the dark,
against the forms of death
it recognized.
Where does the voice come from
that says suppose the war
is evil, that says
suppose the body did this to us,
made us afraid of loveâ
Louise Gluck, âCrater Lake,â from Averno
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Time was experiencedÂ
less as narrative than ritual.
What was repeated had weight.Â
Louise Gluck, from âPrismâ in Averno
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Persephone is having sex in hell.
Unlike the rest of us, she doesn't know
what winter is, only that
she is what causes it.
She is lying in the bed of Hades.
What is in her mind?
Is she afraid? Has something
blotted out the idea
of mind?
She does know the earth
is run by mothers, this much
is certain. She also knows
she is not what is called
a girl any longer. Regarding
incarceration, she believes
she has been a prisoner since she has been a daughter.
The terrible reunions in store for her
will take up the rest of her life.
When the passion for expiation
is chronic, fierce, you do not choose
the way you live. You do not live;
you are not allowed to die.
You drift between earth and death
which seem, finally,
strangely alike. Scholars tell us
that there is no point in knowing what you want
when the forces contending over you
could kill you.
White of forgetfulness,
white of safetyâ
They say
there is a rift in the human soul
which was not constructed to belong
entirely to life. Earth
asks us to deny this rift, a threat
disguised as suggestionâ
as we have seen
in the tale of Persephone
which should be read
as an argument between the mother and the loverâ
the daughter is just meat.
When death confronts her, she has never seen
the meadow without the daisies.
Suddenly she is no longer
singing her maidenly songs
about her mother's
beauty and fecundity. Where
the rift is, the break is.
Song of the earth,
song of the mythic vision of eternal lifeâ
My soul
shattered with the strain
of trying to belong to earthâ
What will you do,
when it is your turn in the field with the god?
Louise Gluck, from âPersephone the Wanderer,â in Averno
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I was young here. Riding
the subway with my small book
as though to defend myself against
the same world:
you are not alone,
the poem said,
in the dark tunnel.
Louise Gluck, from âOctober,â in Averno
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3.
Snow had fallen. I remember
music from an open window.
Come to me, said the world.
This is not to say
it spoke in exact sentences
but that I perceived beauty in this manner.
Sunrise. A film of moisture
on each living thing. Pools of cold light
formed in the gutters.
I stood
at the doorway,
ridiculous as it now seems.
What others found in art,
I found in nature. What others found
in human love, I found in nature.
Very simple. But there was no voice there.
Winter was over. In the thawed dirt,
bits of green were showing.
Come to me, said the world. I was standing
in my wool coat at a kind of bright portal â
I can finally say
long ago; it gives me considerable pleasure. Beauty
the healer, the teacher â
death cannot harm me
more than you have harmed me,
my beloved life.
Louise Gluck, from âOctober,â in Averno
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One Way to Say I Love You
The inside of this room
is getting greener every day.
She has developed a growing affection for houseplants,
setting them all over, on shelves, tables, and dressers,
hanging them from hooks. She tells me their names:
Peace Lilly, Sansevieria,
Golden Pothos, Wandering Jew.
Some are soft and feathery;
Others are stiff, straight and serious.
She says blowing gently
on the leaves means âI love you.â
I take her word for it and
send the phrase on an idle breeze,
but the plants make no reply, growing slowly in the lowlight.
- Joshua Barnhart
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The Yearner
I stacked three pillows, made sure
my head was heavy with bills, wine, yesterdayâs
deadline, and I slept hard, tight
as cement on my left arm. The needles came.
At dawn, I dragged it
like a salmon from under my body.
A part of me is dead. Now
I can shake my own hand,
meet myself again for the first time.
How my fingers feel to one another, strangers,
for a tingling moment, I am another.
Promise? This time will be different.
Rachel Long
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Please Don't
tell the flowersâthey think
the sun loves them.
The grass is under the same
simple-minded impression
about the rain, the fog, the dew.
And when the wind blows,
it feels so good
they lose control of themselves
and swobtoggle wildly
around, bumping accidentally into their
slender neighbors.
Forgetful little lotus-eaters,
solar-powered
hydroholics, drawing nourishment up
through stems into their
thin green skin,
high on the expensive
chemistry of mitochondrial explosion,
believing that the dirt
loves them, the night, the starsâ
reaching down a little deeper
with their pale albino roots,
all Dizzy
Gillespie with the utter
sufficiency of everything.
They don't imagine lawn
mowers, the four stomachs
of the cow, or human beings with boots
who stop to marvel
at their exquisite
flexibility and color.
They persist in their soft-headed
hallucination of happiness.
But please don't mention it.
Not yet. Tell me
what would you possibly gain
from being right?
Tony Hoagland, from Application for Release from the Dream
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âwhile underneath my own shoesÂ
I suddenly can feel the emptiness of space;Â
and over my head, I see light falling from the sky
that all these years
I might have been leaning back
to gaze at and long for and praise.â
Tony Hoagland, from âA History of High Heelsâ from Application for Release from the Dream
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âYesterday I wish for rain, the cold clear kind that falls from very high,
and when it fell, I felt such joy.Â
But itâs what I donât pray for that can rescue me.
Surprise, surprise, only surprise will help me on my way.â
-- Tony Hoagland, from âAiportâ from Application for Release from the Dream
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âThe baby starts out as a luminous jellybean of godÂ
and gradually transforms into a strange, lopsided growth:Â
a man who will not let himself be touched;
an aging girl who smiles and is angry with the moon.Â
Underneath the smile is bitterness, and underneath the bitterness is grief,
and underneath the grief the desire to survive at any cost.â
-- Tony Hoagland, from âAirportâ from Application for Release from the Dream
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