My head knocks against the stars.
My feet are on the hilltops.
My finger-tips are in the valleys and shores of
     universal life.
Down in the sounding foam of primal things I
     reach my hands and play with pebbles of
     destiny.
I have been to hell and back many times.
I know all about heaven, for I have talked with God.
I dabble in the blood and guts of the terrible.
I know the passionate seizure of beauty
And the marvelous rebellion of man at all signs
     reading "Keep Off."

My name is Truth and I am the most elusive captive
     in the universe.

I could love you
as dry roots love rain.
I could hold you
as branches in the wind
brandish petals.
Forgive me for speaking so soon.

    Let your heart look
    on white sea spray
    and be lonely.

    Love is a fool star.

    You and a ring of stars
    may mention my name
    and then forget me.

    Love is a fool star.

I am the ******.
Singer of songs,
Dancer...
Softer than fluff of cotton...
Harder than dark earth
Roads beaten in the sun
By the bare feet of slaves...
Foam of teeth... breaking crash of laughter...
Red love of the blood of woman,
White love of the tumbling pickaninnies...
Lazy love of the banjo thrum...
Sweated and driven for the harvest-wage,
Loud laughter with hands like hams,
Fists toughened on the handles,
Smiling the slumber dreams of old jungles,
Crazy as the sun and dew and dripping, heaving life
     of the jungle,
Brooding and muttering with memories of shackles:
               I am the ******.
               Look at me.
               I am the ******.

Wilson and Pilcer and Snack stood before the zoo elephant.

     Wilson said, "What is its name? Is it from Asia or Africa? Who feeds
it? Is it a he or a she? How old is it? Do they have twins? How much does
it cost to feed? How much does it weigh? If it dies, how much will another
one cost? If it dies, what will they use the bones, the fat, and the hide
for? What use is it besides to look at?"

     Pilcer didn't have any questions; he was murmering to himself, "It's
a house by itself, walls and windows, the ears came from tall cornfields,
by God; the architect of those legs was a workman, by God; he stands like
a bridge out across the deep water; the face is sad and the eyes are kind;
I know elephants are good to babies."

     Snack looked up and down and at last said to himself, "He's a tough
son-of-a-gun outside and I'll bet he's got a strong heart, I'll bet he's
strong as a copper-riveted boiler inside."

     They didn't put up any arguments.
     They didn't throw anything in each other's faces.
     Three men saw the elephant three ways
     And let it go at that.
     They didn't spoil a sunny Sunday afternoon;

"Sunday comes only once a week," they told each other.

Musings of a Police Reporter in the Identification Bureau

You have loved forty women, but you have only one thumb.
You have led a hundred secret lives, but you mark only
     one thumb.
You go round the world and fight in a thousand wars and
     win all the world's honors, but when you come back
     home the print of the one thumb your mother gave
     you is the same print of thumb you had in the old
     home when your mother kissed you and said good-by.
Out of the whirling womb of time come millions of men
and their feet crowd the earth and they cut one anothers'
     throats for room to stand and among them all
     are not two thumbs alike.
Somewhere is a Great God of Thumbs who can tell the
     inside story of this.

FROM the time of the early radishes
To the time of the standing corn
Sleepy Henry Hackerman hoes.
  
There are laws in the village against weeds.
The law says a **** is wrong and shall be killed.
The weeds say life is a white and lovely thing
And the weeds come on and on in irrepressible regiments.
Sleepy Henry Hackerman hoes; and the village law uttering a ban on weeds is unchangeable law.

YOUR bony head, Jazbo, O dock walloper,
Those grappling hooks, those wheelbarrow handlers,
The dome and the wings of you, ******,
The red roof and the door of you,
I know where your songs came from.
I know why God listens to your, "Walk All Over God's Heaven."
I heard you shooting craps, "My baby's going to have a new dress."
I heard you in the cinders, "I'm going to live anyhow until I die."
I saw five of you with a can of beer on a summer night and I listened to the five of you
    harmonizing six ways to sing, "Way Down Yonder in the Cornfield."
I went away asking where I come from.

THE SINS of Kalamazoo are neither scarlet nor crimson.
  
The sins of Kalamazoo are a convict gray, a dishwater drab.
  
And the people who sin the sins of Kalamazoo are neither scarlet nor crimson.
  
They run to drabs and grays-and some of them sing they shall be washed whiter than snow-and some: We should worry.
  
Yes, Kalamazoo is a spot on the map
And the passenger trains stop there
And the factory smokestacks smoke
And the grocery stores are open Saturday nights
And the streets are free for citizens who vote
And inhabitants counted in the census.
Saturday night is the big night.
  Listen with your ears on a Saturday night in Kalamazoo
  And say to yourself: I hear America, I hear, what do I hear?
  
Main street there runs through the middle of the twon
And there is a ***** postoffice
And a ***** city hall
And a ***** railroad station
And the United States flag cries, cries the Stars and Stripes to the four winds on Lincoln's birthday and the Fourth of July.
  
Kalamazoo kisses a hand to something far off.
  
Kalamazoo calls to a long horizon, to a shivering silver angel, to a creeping mystic what-is-it.
  
"We're here because we're here," is the song of Kalamazoo.
  
"We don't know where we're going but we're on our way," are the words.
  
There are hound dogs of bronze on the public square, hound dogs looking far beyond the public square.
  
Sweethearts there in Kalamazoo
Go to the general delivery window of the postoffice
And speak their names and ask for letters
And ask again, "Are you sure there is nothing for me?
I wish you'd look again-there must be a letter for me."
  
And sweethearts go to the city hall
And tell their names and say,"We want a license."
And they go to an installment house and buy a bed on time and a clock
And the children grow up asking each other, "What can we do to **** time?"
They grow up and go to the railroad station and buy tickets for Texas, Pennsylvania, Alaska.
"Kalamazoo is all right," they say. "But I want to see the world."
And when they have looked the world over they come back saying it is all like Kalamazoo.
  
The trains come in from the east and hoot for the crossings,
And buzz away to the peach country and Chicago to the west
Or they come from the west and shoot on to the Battle Creek breakfast bazaars
And the speedbug heavens of Detroit.
  
"I hear America, I hear, what do I hear?"
Said a loafer lagging along on the sidewalks of Kalamazoo,
Lagging along and asking questions, reading signs.
  
Oh yes, there is a town named Kalamazoo,
A spot on the map where the trains hesitate.
I saw the sign of a five and ten cent store there
And the Standard Oil Company and the International Harvester
And a graveyard and a ball grounds
And a short order counter where a man can get a stack of wheats
And a pool hall where a rounder leered confidential like and said:
"Lookin' for a quiet game?"
  
The loafer lagged along and asked,
"Do you make guitars here?
Do you make boxes the singing wood winds ask to sleep in?
Do you rig up strings the singing wood winds sift over and sing low?"
The answer: "We manufacture musical instruments here."
  
Here I saw churches with steeples like hatpins,
Undertaking rooms with sample coffins in the show window
And signs everywhere satisfaction is guaranteed,
Shooting galleries where men **** imitation pigeons,
And there were doctors for the sick,
And lawyers for people waiting in jail,
And a dog catcher and a superintendent of streets,
And telephones, water-works, trolley cars,
And newspapers with a splatter of telegrams from sister cities of Kalamazoo the round world over.
  
And the loafer lagging along said:
Kalamazoo, you ain't in a class by yourself;
I seen you before in a lot of places.
If you are nuts America is nuts.
  And lagging along he said bitterly:
  Before I came to Kalamazoo I was silent.
  Now I am gabby, God help me, I am gabby.
  
Kalamazoo, both of us will do a fadeaway.
I will be carried out feet first
And time and the rain will chew you to dust
And the winds blow you away.
And an old, old mother will lay a green moss cover on my bones
And a green moss cover on the stones of your postoffice and city hall.
  
  Best of all
I have loved your kiddies playing run-sheep-run
And cutting their initials on the ball ground fence.
They knew every time I fooled them who was fooled and how.
  
  Best of all
I have loved the red gold smoke of your sunsets;
I have loved a moon with a ring around it
Floating over your public square;
I have loved the white dawn frost of early winter silver
And purple over your railroad tracks and lumber yards.
  
  The wishing heart of you I loved, Kalamazoo.
  I sang bye-lo, bye-lo to your dreams.
I sang bye-lo to your hopes and songs.
I wished to God there were hound dogs of bronze on your public square,
Hound dogs with bronze paws looking to a long horizon with a shivering silver angel, a creeping mystic what-is-it.

Dragoons, I tell you the white hydrangeas
     turn rust and go soon.
Already mid September a line of brown runs
     over them.
One sunset after another tracks the faces, the
     petals.
Waiting, they look over the fence for what
     way they go.

LEAVES of poplars pick Japanese prints against the west.
Moon sand on the canal doubles the changing pictures.
      The moon's good-by ends pictures.
The west is empty. All else is empty. No moon-talk at all now.
      Only dark listening to dark.

(March, 1919)A LIAR goes in fine clothes.
A liar goes in rags.
A liar is a liar, clothes or no clothes.
A liar is a liar and lives on the lies he tells and dies in a life of lies.
And the stonecutters earn a living-with lies-on the tombs of liars.
  
Aliar looks 'em in the eye
And lies to a woman,
Lies to a man, a pal, a child, a fool.
And he is an old liar; we know him many years back.
  
  A liar lies to nations.
  A liar lies to the people.
A liar takes the blood of the people
And drinks this blood with a laugh and a lie,
  A laugh in his neck,
  A lie in his mouth.
And this liar is an old one; we know him many years.
  He is straight as a dog's hind leg.
  He is straight as a corkscrew.
He is white as a black cat's foot at midnight.
  
The tongue of a man is tied on this,
On the liar who lies to nations,
The liar who lies to the people.
The tongue of a man is tied on this
And ends: To hell with 'em all.
  To hell with 'em all.
  
It's a song hard as a riveter's hammer,
  Hard as the sleep of a crummy hobo,
  Hard as the sleep of a lousy doughboy,
Twisted as a shell-shock idiot's gibber.
  
The liars met where the doors were locked.
They said to each other: Now for war.
The liars fixed it and told 'em: Go.
  
Across their tables they fixed it up,
Behind their doors away from the mob.
And the guns did a job that nicked off millions.
The guns blew seven million off the map,
The guns sent seven million west.
Seven million shoving up the daisies.
Across their tables they fixed it up,
  The liars who lie to nations.
  
  And now
  Out of the butcher's job
  And the boneyard junk the maggots have cleaned,
  Where the jaws of skulls tell the jokes of war ghosts,
Out of this they are calling now: Let's go back where we were.
    Let us run the world again, us, us.
  
Where the doors are locked the liars say: Wait and we'll cash in again.
  
So I hear The People talk.
I hear them tell each other:
  Let the strong men be ready.
  Let the strong men watch.
  Let your wrists be cool and your head clear.
  Let the liars get their finish,
  The liars and their waiting game, waiting a day again
  To open the doors and tell us: War! get out to your war again.
  
So I hear The People tell each other:
  Look at to-day and to-morrow.
  Fix this clock that nicks off millions
  When The Liars say it's time.
  Take things in your own hands.
    To hell with 'em all,
  The liars who lie to nations,
  The liars who lie to The People.

I WAS born on the prairie and the milk of its wheat, the red of its clover, the eyes of its women, gave me a song and a slogan.

Here the water went down, the icebergs slid with gravel, the gaps and the valleys hissed, and the black loam came, and the yellow sandy loam.
Here between the sheds of the Rocky Mountains and the Appalachians, here now a morning star fixes a fire sign over the timber claims and cow pastures, the corn belt, the cotton belt, the cattle ranches.
Here the gray geese go five hundred miles and back with a wind under their wings honking the cry for a new home.
Here I know I will hanker after nothing so much as one more sunrise or a sky moon of fire doubled to a river moon of water.

The prairie sings to me in the forenoon and I know in the night I rest easy in the prairie arms, on the prairie heart..    .    .
        After the sunburn of the day
        handling a pitchfork at a hayrack,
        after the eggs and biscuit and coffee,
        the pearl-gray haystacks
        in the gloaming
        are cool prayers
        to the harvest hands.

In the city among the walls the overland passenger train is choked and the pistons hiss and the wheels curse.
On the prairie the overland flits on phantom wheels and the sky and the soil between them muffle the pistons and cheer the wheels..    .    .
I am here when the cities are gone.
I am here before the cities come.
I nourished the lonely men on horses.
I will keep the laughing men who ride iron.
I am dust of men.

The running water babbled to the deer, the cottontail, the gopher.
You came in wagons, making streets and schools,
Kin of the ax and rifle, kin of the plow and horse,
Singing Yankee Doodle, Old Dan Tucker, Turkey in the Straw,
You in the coonskin cap at a log house door hearing a lone wolf howl,
You at a sod house door reading the blizzards and chinooks let loose from Medicine Hat,
I am dust of your dust, as I am brother and mother
To the copper faces, the worker in flint and clay,
The singing women and their sons a thousand years ago
Marching single file the timber and the plain.

I hold the dust of these amid changing stars.
I last while old wars are fought, while peace broods mother-like,
While new wars arise and the fresh killings of young men.
I fed the boys who went to France in great dark days.
Appomattox is a beautiful word to me and so is Valley Forge and the Marne and Verdun,
I who have seen the red births and the red deaths
Of sons and daughters, I take peace or war, I say nothing and wait.

Have you seen a red sunset drip over one of my cornfields, the shore of night stars, the wave lines of dawn up a wheat valley?
Have you heard my threshing crews yelling in the chaff of a strawpile and the running wheat of the wagonboards, my cornhuskers, my harvest hands hauling crops, singing dreams of women, worlds, horizons?.    .    .
        Rivers cut a path on flat lands.
        The mountains stand up.
        The salt oceans press in
        And push on the coast lines.
        The sun, the wind, bring rain
        And I know what the rainbow writes across the east or west in a half-circle:
        A love-letter pledge to come again..    .    .
      Towns on the Soo Line,
      Towns on the Big Muddy,
      Laugh at each other for cubs
      And tease as children.

Omaha and Kansas City, Minneapolis and St. Paul, sisters in a house together, throwing slang, growing up.
Towns in the Ozarks, Dakota wheat towns, Wichita, Peoria, Buffalo, sisters throwing slang, growing up..    .    .
Out of prairie-brown grass crossed with a streamer of wigwam smoke-out of a smoke pillar, a blue promise-out of wild ducks woven in greens and purples-
Here I saw a city rise and say to the peoples round world: Listen, I am strong, I know what I want.
Out of log houses and stumps-canoes stripped from tree-sides-flatboats coaxed with an ax from the timber claims-in the years when the red and the white men met-the houses and streets rose.

A thousand red men cried and went away to new places for corn and women: a million white men came and put up skyscrapers, threw out rails and wires, feelers to the salt sea: now the smokestacks bite the skyline with stub teeth.

In an early year the call of a wild duck woven in greens and purples: now the riveter's chatter, the police patrol, the song-whistle of the steamboat.

To a man across a thousand years I offer a handshake.
I say to him: Brother, make the story short, for the stretch of a thousand years is short..    .    .
What brothers these in the dark?
What eaves of skyscrapers against a smoke moon?
These chimneys shaking on the lumber shanties
When the coal boats plow by on the river-
The hunched shoulders of the grain elevators-
The flame sprockets of the sheet steel mills
And the men in the rolling mills with their shirts off
Playing their flesh arms against the twisting wrists of steel:
        what brothers these
        in the dark
        of a thousand years?.    .    .
A headlight searches a snowstorm.
A funnel of white light shoots from over the pilot of the Pioneer Limited crossing Wisconsin.

In the morning hours, in the dawn,
The sun puts out the stars of the sky
And the headlight of the Limited train.

The fireman waves his hand to a country school teacher on a bobsled.
A boy, yellow hair, red scarf and mittens, on the bobsled, in his lunch box a pork chop sandwich and a V of gooseberry pie.

The horses fathom a snow to their knees.
Snow hats are on the rolling prairie hills.
The Mississippi bluffs wear snow hats..    .    .
Keep your hogs on changing corn and mashes of grain,
    O farmerman.
    Cram their insides till they waddle on short legs
    Under the drums of bellies, hams of fat.
    **** your hogs with a knife slit under the ear.
    Hack them with cleavers.
    Hang them with hooks in the hind legs..    .    .
A wagonload of radishes on a summer morning.
Sprinkles of dew on the crimson-purple *****.
The farmer on the seat dangles the reins on the rumps of dapple-gray horses.
The farmer's daughter with a basket of eggs dreams of a new hat to wear to the county fair..    .    .
On the left-and right-hand side of the road,
        Marching corn-
I saw it knee high weeks ago-now it is head high-tassels of red silk creep at the ends of the ears..    .    .
I am the prairie, mother of men, waiting.
They are mine, the threshing crews eating beefsteak, the farmboys driving steers to the railroad cattle pens.
They are mine, the crowds of people at a Fourth of July basket picnic, listening to a lawyer read the Declaration of Independence, watching the pinwheels and Roman candles at night, the young men and women two by two hunting the bypaths and kissing bridges.
They are mine, the horses looking over a fence in the frost of late October saying good-morning to the horses hauling wagons of rutabaga to market.
They are mine, the old zigzag rail fences, the new barb wire..    .    .
The cornhuskers wear leather on their hands.
There is no let-up to the wind.
Blue bandannas are knotted at the ruddy chins.

Falltime and winter apples take on the smolder of the five-o'clock November sunset: falltime, leaves, bonfires, stubble, the old things go, and the earth is grizzled.
The land and the people hold memories, even among the anthills and the angleworms, among the toads and woodroaches-among gravestone writings rubbed out by the rain-they keep old things that never grow old.

The frost loosens corn husks.
The Sun, the rain, the wind
        loosen corn husks.
The men and women are helpers.
They are all cornhuskers together.
I see them late in the western evening
        in a smoke-red dust..    .    .
The phantom of a yellow rooster flaunting a scarlet comb, on top of a dung pile crying hallelujah to the streaks of daylight,
The phantom of an old hunting dog nosing in the underbrush for muskrats, barking at a **** in a treetop at midnight, chewing a bone, chasing his tail round a corncrib,
The phantom of an old workhorse taking the steel point of a plow across a forty-acre field in spring, hitched to a harrow in summer, hitched to a wagon among cornshocks in fall,
These phantoms come into the talk and wonder of people on the front porch of a farmhouse late summer nights.
"The shapes that are gone are here," said an old man with a cob pipe in his teeth one night in Kansas with a hot wind on the alfalfa..    .    .
Look at six eggs
In a mockingbird's nest.

Listen to six mockingbirds
Flinging follies of O-be-joyful
Over the marshes and uplands.

Look at songs
Hidden in eggs..    .    .
When the morning sun is on the trumpet-vine blossoms, sing at the kitchen pans: Shout All Over God's Heaven.
When the rain slants on the potato hills and the sun plays a silver shaft on the last shower, sing to the bush at the backyard fence: Mighty Lak a Rose.
When the icy sleet pounds on the storm windows and the house lifts to a great breath, sing for the outside hills: The Ole Sheep Done Know the Road, the Young Lambs Must Find the Way..    .    .
Spring slips back with a girl face calling always: "Any new songs for me? Any new songs?"

O prairie girl, be lonely, singing, dreaming, waiting-your lover comes-your child comes-the years creep with toes of April rain on new-turned sod.
O prairie girl, whoever leaves you only crimson poppies to talk with, whoever puts a good-by kiss on your lips and never comes back-
There is a song deep as the falltime redhaws, long as the layer of black loam we go to, the shine of the morning star over the corn belt, the wave line of dawn up a wheat valley..    .    .
O prairie mother, I am one of your boys.
I have loved the prairie as a man with a heart shot full of pain over love.
Here I know I will hanker after nothing so much as one more sunrise or a sky moon of fire doubled to a river moon of water..    .    .
I speak of new cities and new people.
I tell you the past is a bucket of ashes.
I tell you yesterday is a wind gone down,
  a sun dropped in the west.
I tell you there is nothing in the world
  only an ocean of to-morrows,
  a sky of to-morrows.

I am a brother of the cornhuskers who say
  at sundown:
        To-morrow is a day.

THE SEA rocks have a green moss.
The pine rocks have red berries.
I have memories of you.
  
Speak to me of how you miss me.
Tell me the hours go long and slow.
  
Speak to me of the drag on your heart,
The iron drag of the long days.
  
I know hours empty as a beggar's tin cup on a rainy day, empty as a soldier's sleeve with an arm lost.
  
Speak to me ...

LONG ago I learned how to sleep,
In an old apple orchard where the wind swept by counting its money and throwing it away,
In a wind-gaunt orchard where the limbs forked out and listened or never listened at all,
In a passel of trees where the branches trapped the wind into whistling, "Who, who are you?"
I slept with my head in an elbow on a summer afternoon and there I took a sleep lesson.
There I went away saying: I know why they sleep, I know how they trap the tricky winds.
Long ago I learned how to listen to the singing wind and how to forget and how to hear the deep whine,
Slapping and lapsing under the day blue and the night stars:
  Who, who are you?
  
Who can ever forget
listening to the wind go by
counting its money
and throwing it away?

THE BUFFALOES are gone.
And those who saw the buffaloes are gone.
Those who saw the buffaloes by thousands and how they pawed the prairie sod into dust with their hoofs, their great heads down pawing on in a great pageant of dusk,
Those who saw the buffaloes are gone.
And the buffaloes are gone.

SMOKE of the fields in spring is one,
Smoke of the leaves in autumn another.
Smoke of a steel-mill roof or a battleship funnel,
They all go up in a line with a smokestack,
Or they twist ... in the slow twist ... of the wind.
  
If the north wind comes they run to the south.
If the west wind comes they run to the east.
  By this sign
  all smokes
  know each other.
Smoke of the fields in spring and leaves in autumn,
Smoke of the finished steel, chilled and blue,
By the oath of work they swear: "I know you."
  
Hunted and hissed from the center
Deep down long ago when God made us over,
Deep down are the cinders we came from-
You and I and our heads of smoke.
  
Some of the smokes God dropped on the job
Cross on the sky and count our years
And sing in the secrets of our numbers;
Sing their dawns and sing their evenings,
Sing an old log-fire song:
  
You may put the damper up,
You may put the damper down,
The smoke goes up the chimney just the same.
  
Smoke of a city sunset skyline,
Smoke of a country dusk horizon-
  They cross on the sky and count our years.
  
Smoke of a brick-red dust
  Winds on a spiral
  Out of the stacks
For a hidden and glimpsing moon.
This, said the bar-iron shed to the blooming mill,
This is the slang of coal and steel.
The day-gang hands it to the night-gang,
The night-gang hands it back.
  
Stammer at the slang of this-
Let us understand half of it.
  In the rolling mills and sheet mills,
  In the harr and boom of the blast fires,
  The smoke changes its shadow
  And men change their shadow;
  A ******, a ***, a bohunk changes.
  
  A bar of steel-it is only
Smoke at the heart of it, smoke and the blood of a man.
A runner of fire ran in it, ran out, ran somewhere else,
And left-smoke and the blood of a man
And the finished steel, chilled and blue.
  
So fire runs in, runs out, runs somewhere else again,
And the bar of steel is a gun, a wheel, a nail, a shovel,
A rudder under the sea, a steering-gear in the sky;
And always dark in the heart and through it,
  Smoke and the blood of a man.
Pittsburg, Youngstown, Gary-they make their steel with men.
  
In the blood of men and the ink of chimneys
The smoke nights write their oaths:
Smoke into steel and blood into steel;
Homestead, Braddock, Birmingham, they make their steel with men.
Smoke and blood is the mix of steel.
  
  The birdmen drone
  in the blue; it is steel
  a motor sings and zooms.
  
Steel barb-wire around The Works.
Steel guns in the holsters of the guards at the gates of The Works.
Steel ore-boats bring the loads clawed from the earth by steel, lifted and lugged by arms of steel, sung on its way by the clanking clam-shells.
The runners now, the handlers now, are steel; they dig and clutch and haul; they hoist their automatic knuckles from job to job; they are steel making steel.
Fire and dust and air fight in the furnaces; the pour is timed, the billets wriggle; the clinkers are dumped:
Liners on the sea, skyscrapers on the land; diving steel in the sea, climbing steel in the sky.
  
Finders in the dark, you Steve with a dinner bucket, you Steve clumping in the dusk on the sidewalks with an evening paper for the woman and kids, you Steve with your head wondering where we all end up-
Finders in the dark, Steve: I hook my arm in cinder sleeves; we go down the street together; it is all the same to us; you Steve and the rest of us end on the same stars; we all wear a hat in hell together, in hell or heaven.
  
Smoke nights now, Steve.
Smoke, smoke, lost in the sieves of yesterday;
Dumped again to the scoops and hooks today.
Smoke like the clocks and whistles, always.
  Smoke nights now.
  To-morrow something else.
  
Luck moons come and go:
Five men swim in a *** of red steel.
Their bones are kneaded into the bread of steel:
Their bones are knocked into coils and anvils
And the ******* plungers of sea-fighting turbines.
Look for them in the woven frame of a wireless station.
So ghosts hide in steel like heavy-armed men in mirrors.
Peepers, skulkers-they shadow-dance in laughing tombs.
They are always there and they never answer.
  
One of them said: "I like my job, the company is good to me, America is a wonderful country."
One: "Jesus, my bones ache; the company is a liar; this is a free country, like hell."
One: "I got a girl, a peach; we save up and go on a farm and raise pigs and be the boss ourselves."
And the others were roughneck singers a long ways from home.
Look for them back of a steel vault door.
  
They laugh at the cost.
They lift the birdmen into the blue.
It is steel a motor sings and zooms.
  
In the subway plugs and drums,
In the slow hydraulic drills, in gumbo or gravel,
Under dynamo shafts in the webs of armature spiders,
They shadow-dance and laugh at the cost.
  
The ovens light a red dome.
Spools of fire wind and wind.
Quadrangles of crimson sputter.
The lashes of dying maroon let down.
Fire and wind wash out the ****.
Forever the **** gets washed in fire and wind.
The anthem learned by the steel is:
  Do this or go hungry.
Look for our rust on a plow.
Listen to us in a threshing-engine razz.
Look at our job in the running wagon wheat.
  
Fire and wind wash at the ****.
Box-cars, clocks, steam-shovels, churns, pistons, boilers, scissors-
Oh, the sleeping **** from the mountains, the ****-heavy pig-iron will go down many roads.
Men will stab and shoot with it, and make butter and tunnel rivers, and mow hay in swaths, and slit hogs and skin beeves, and steer airplanes across North America, Europe, Asia, round the world.
  
Hacked from a hard rock country, broken and baked in mills and smelters, the rusty dust waits
Till the clean hard weave of its atoms cripples and blunts the drills chewing a hole in it.
The steel of its plinths and flanges is reckoned, O God, in one-millionth of an inch.
  
Once when I saw the curves of fire, the rough scarf women dancing,
Dancing out of the flues and smoke-stacks-flying hair of fire, flying feet upside down;
Buckets and baskets of fire exploding and chortling, fire running wild out of the steady and fastened ovens;
Sparks cracking a harr-harr-huff from a solar-plexus of rock-ribs of the earth taking a laugh for themselves;
Ears and noses of fire, gibbering gorilla arms of fire, gold mud-pies, gold bird-wings, red jackets riding purple mules, scarlet autocrats tumbling from the humps of camels, assassinated czars straddling vermillion balloons;
I saw then the fires flash one by one: good-by: then smoke, smoke;
And in the screens the great sisters of night and cool stars, sitting women arranging their hair,
Waiting in the sky, waiting with slow easy eyes, waiting and half-murmuring:
  "Since you know all
  and I know nothing,
  tell me what I dreamed last night."
  
Pearl cobwebs in the windy rain,
in only a flicker of wind,
are caught and lost and never known again.
  
A pool of moonshine comes and waits,
but never waits long: the wind picks up
loose gold like this and is gone.
  
A bar of steel sleeps and looks slant-eyed
on the pearl cobwebs, the pools of moonshine;
sleeps slant-eyed a million years,
sleeps with a coat of rust, a vest of moths,
a shirt of gathering sod and loam.
  
The wind never bothers ... a bar of steel.
The wind picks only .. pearl cobwebs .. pools of moonshine.

WHEN the jury files in to deliver a verdict after weeks of direct and cross examinations, hot clashes of lawyers and cool decisions of the judge,
There are points of high silence-twiddling of thumbs is at an end-bailiffs near cuspidors take fresh chews of tobacco and wait-and the clock has a chance for its ticking to be heard.
A lawyer for the defense clears his throat and holds himself ready if the word is "Guilty" to enter motion for a new trial, speaking in a soft voice, speaking in a voice slightly colored with bitter wrongs mingled with monumental patience, speaking with mythic Atlas shoulders of many preposterous, unjust circumstances.

THEY all want to play Hamlet.
They have not exactly seen their fathers killed
Nor their mothers in a frame-up to ****,
Nor an Ophelia dying with a dust gagging the heart,
Not exactly the spinning circles of singing golden spiders,
Not exactly this have they got at nor the meaning of flowers-O flowers, flowers slung by a dancing girl-in the saddest play the inkfish, Shakespeare, ever wrote;
Yet they all want to play Hamlet because it is sad like all actors are sad and to stand by an open grave with a joker's skull in the hand and then to say over slow and say over slow wise, keen, beautiful words masking a heart that's breaking, breaking,
This is something that calls and calls to their blood.
They are acting when they talk about it and they know it is acting to be particular about it and yet: They all want to play Hamlet.

HUNTINGTON sleeps in a house six feet long.
Huntington dreams of railroads he built and owned.
Huntington dreams of ten thousand men saying: Yes, sir.

Blithery sleeps in a house six feet long.
Blithery dreams of rails and ties he laid.
Blithery dreams of saying to Huntington: Yes, sir.

Huntington,
Blithery, sleep in houses six feet long.

THE Government--I heard about the Government and
I went out to find it. I said I would look closely at
it when I saw it.
Then I saw a policeman dragging a drunken man to
the callaboose. It was the Government in action.
I saw a ward alderman slip into an office one morning
and talk with a judge. Later in the day the judge
dismissed a case against a pickpocket who was a
live ward worker for the alderman. Again I saw
this was the Government, doing things.
I saw militiamen level their rifles at a crowd of work-
ingmen who were trying to get other workingmen
to stay away from a shop where there was a strike
on. Government in action.

Everywhere I saw that Government is a thing made of
men, that Government has blood and bones, it is
many mouths whispering into many ears, sending
telegrams, aiming rifles, writing orders, saying
"yes" and "no."

Government dies as the men who form it die and are laid
away in their graves and the new Government that
comes after is human, made of heartbeats of blood,
ambitions, lusts, and money running through it all,
money paid and money taken, and money covered
up and spoken of with hushed voices.
A Government is just as secret and mysterious and sensi-
tive as any human sinner carrying a load of germs,
traditions and corpuscles handed down from
fathers and mothers away back.

THE FLUTTER of blue pigeon's wings
Under a river bridge
Hunting a clean dry arch,
A corner for a sleep-
This flutters here in a woman's hand.
  
A singing sleep cry,
A drunken poignant two lines of song,
Somebody looking clean into yesterday
And remembering, or looking clean into
To-morrow, and reading,-
This sings here as a woman's sleep cry sings.
  
Pigeon friend of mine,
Fly on, sing on.

THERE is a wolf in me ... fangs pointed for tearing gashes ... a red tongue for raw meat ... and the hot lapping of blood-I keep this wolf because the wilderness gave it to me and the wilderness will not let it go.

There is a fox in me ... a silver-gray fox ... I sniff and guess ... I pick things out of the wind and air ... I nose in the dark night and take sleepers and eat them and hide the feathers ... I circle and loop and double-cross.

There is a hog in me ... a snout and a belly ... a machinery for eating and grunting ... a machinery for sleeping satisfied in the sun-I got this too from the wilderness and the wilderness will not let it go.

There is a fish in me ... I know I came from saltblue water-gates ... I scurried with shoals of herring ... I blew waterspouts with porpoises ... before land was ... before the water went down ... before Noah ... before the first chapter of Genesis.

There is a baboon in me ... clambering-clawed ... dog-faced ... yawping a galoot's hunger ... hairy under the armpits ... here are the hawk-eyed hankering men ... here are the blond and blue-eyed women ... here they hide curled asleep waiting ... ready to snarl and **** ... ready to sing and give milk ... waiting-I keep the baboon because the wilderness says so.

There is an eagle in me and a mockingbird ... and the eagle flies among the Rocky Mountains of my dreams and fights among the Sierra crags of what I want ... and the mockingbird warbles in the early forenoon before the dew is gone, warbles in the underbrush of my Chattanoogas of hope, gushes over the blue Ozark foothills of my wishes-And I got the eagle and the mockingbird from the wilderness.

O, I got a zoo, I got a menagerie, inside my ribs, under my bony head, under my red-valve heart-and I got something else: it is a man-child heart, a woman-child heart: it is a father and mother and lover: it came from God-Knows-Where: it is going to God-Knows-Where-For I am the keeper of the zoo: I say yes and no: I sing and **** and work: I am a pal of the world: I came from the wilderness.

SHAKE back your hair, O red-headed girl.
Let go your laughter and keep your two proud freckles on your chin.
Somewhere is a man looking for a red-headed girl and some day maybe he will look into your eyes for a restaurant cashier and find a lover, maybe.
Around and around go ten thousand men hunting a red headed girl with two freckles on her chin.
I have seen them hunting, hunting.
  Shake back your hair; let go your laughter.

Night from a railroad car window
Is a great, dark, soft thing
Broken across with slashes of light.

I thought of killing myself because I am only a bricklayer
      and you a woman who loves the man who runs a drug store.

I don't care like I used to; I lay bricks straighter than I
      used to and I sing slower handling the trowel afternoons.

When the sun is in my eyes and the ladders are shaky and the
      mortar boards go wrong, I think of you.

Sunday night and the park policemen tell each other it
     is dark as a stack of black cats on Lake Michigan.
A big picnic boat comes home to Chicago from the peach
     farms of Saugatuck.
Hundreds of electric bulbs break the night's darkness, a
     flock of red and yellow birds with wings at a standstill.
Running along the deck railings are festoons and leaping
     in curves are loops of light from prow and stern
     to the tall smokestacks.
Over the hoarse crunch of waves at my pier comes a
     hoarse answer in the rhythmic oompa of the brasses
     playing a Polish folk-song for the home-comers.

IN the night, when the sea-winds take the city in their arms,
And cool the loud streets that kept their dust noon and afternoon;
In the night, when the sea-birds call to the lights of the city,
The lights that cut on the skyline their name of a city;
In the night, when the trains and wagons start from a long way off
For the city where the people ask bread and want letters;
In the night the city lives too-the day is not all.
In the night there are dancers dancing and singers singing,
And the sailors and soldiers look for numbers on doors.
In the night the sea-winds take the city in their arms.

THEY were calling certain styles of whiskers by the name of "lilacs."
And another manner of beard assumed in their chatter a verbal guise
Of "mutton chops," "galways," "feather dusters."
  
Metaphors such as these sprang from their lips while other street cries
Sprang from sparrows finding scattered oats among interstices of the curb.
Ah-hah these metaphors-and Ah-hah these boys-among the police they were known
As the ***** Dozen and their names took the front pages of newspapers
And two of them croaked on the same day at a "necktie party" ... if we employ the metaphors of their lips.

I am a copper wire slung in the air,
Slim against the sun I make not even a clear line of shadow.
Night and day I keep singing--humming and thrumming:
It is love and war and money; it is the fighting and the
     tears, the work and want,
Death and laughter of men and women passing through
     me, carrier of your speech,
In the rain and the wet dripping, in the dawn and the
     shine drying,
               A copper wire.

BURY this old Illinois farmer with respect.
He slept the Illinois nights of his life after days of work in Illinois cornfields.
Now he goes on a long sleep.
The wind he listened to in the cornsilk and the tassels, the wind that combed his red beard zero mornings when the snow lay white on the yellow ears in the bushel basket at the corncrib,
The same wind will now blow over the place here where his hands must dream of Illinois corn.

THE BABY moon, a canoe, a silver papoose canoe, sails and sails in the Indian west.
A ring of silver foxes, a mist of silver foxes, sit and sit around the Indian moon.
One yellow star for a runner, and rows of blue stars for more runners, keep a line of watchers.
O foxes, baby moon, runners, you are the panel of memory, fire-white writing to-night of the Red Man's dreams.
Who squats, legs crossed and arms folded, matching its look against the moon-face, the star-faces, of the West?
Who are the Mississippi Valley ghosts, of copper foreheads, riding wiry ponies in the night?-no bridles, love-arms on the pony necks, riding in the night a long old trail?
Why do they always come back when the silver foxes sit around the early moon, a silver papoose, in the Indian west?

IT'S a jazz affair, drum crashes and cornet razzes
The trombone pony neighs and the tuba ******* snorts.
The banjo tickles and titters too awful.
The chippies talk about the funnies in the papers.
  The cartoonists weep in their beer.
  Ship riveters talk with their feet
  To the feet of floozies under the tables.
A quartet of white hopes mourn with interspersed snickers:
    "I got the blues.
    I got the blues.
    I got the blues."
And ... as we said earlier:
  The cartoonists weep in their beer.

THE PAWN-SHOP man knows hunger,
And how far hunger has eaten the heart
Of one who comes with an old keepsake.
Here are wedding rings and baby bracelets,
Scarf pins and shoe buckles, jeweled garters,
Old-fashioned knives with inlaid handles,
Watches of old gold and silver,
Old coins worn with finger-marks.
They tell stories.

When Abraham Lincoln was shoveled into the tombs,
  he forgot the copperheads and the assassin...
  in the dust, in the cool tombs.

And Ulysses Grant lost all thought of con men and Wall Street,
  cash and collateral turned ashes...
  in the dust, in the cool tombs.

Pocahontas' body, lovely as a poplar, sweet as a red haw
  in November or a pawpaw in May, did she wonder? does she remember?...
  in the dust, in the cool tombs?

Take any streetful of people buying clothes and groceries,
  cheering a hero or throwing confetti and blowing tin horns...
  tell me if the lovers are losers...
  tell me if any get more than the lovers...
  in the dust...
  in the cool tombs.

WHAT does the hangman think about
When he goes home at night from work?
When he sits down with his wife and
Children for a cup of coffee and a
Plate of ham and eggs, do they ask
Him if it was a good day's work
And everything went well or do they
Stay off some topics and talk about
The weather, base ball, politics
And the comic strips in the papers
And the movies? Do they look at his
Hands when he reaches for the coffee
Or the ham and eggs? If the little
Ones say, Daddy, play horse, here's
A rope-does he answer like a joke:
I seen enough rope for today?
Or does his face light up like a
Bonfire of joy and does he say:
It's a good and dandy world we live
In. And if a white face moon looks
In through a window where a baby girl
Sleeps and the moon gleams mix with
Baby ears and baby hair-the hangman-
How does he act then? It must be easy
For him. Anything is easy for a hangman,
I guess.

Fling your red scarf faster and faster, dancer.
It is summer and the sun loves a million green leaves,
     masses of green.
Your red scarf flashes across them calling and a-calling.
The silk and flare of it is a great soprano leading a
     chorus
Carried along in a rouse of voices reaching for the heart
     of the world.
Your toes are singing to meet the song of your arms:

Let the red scarf go swifter.
Summer and the sun command you.

Among the shadows where two streets cross,
A woman lurks in the dark and waits
To move on when a policeman heaves in view.
Smiling a broken smile from a face
Painted over haggard bones and desperate eyes,
All night she offers passers-by what they will
Of her beauty wasted, body faded, claims gone,
And no takers.

The lawyers, Bob, know too much.
They are chums of the books of old John Marshall.
They know it all, what a dead hand wrote,
A stiff dead hand and its knuckles crumbling,
The bones of the fingers a thin white ash.
        The lawyers know
        a dead man's thought too well.

In the heels of the higgling lawyers, Bob,
Too many slippery ifs and buts and howevers,
Too much hereinbefore provided whereas,
Too many doors to go in and out of.

When the lawyers are through
What is there left, Bob?
Can a mouse nibble at it
And find enough to fasten a tooth in?

Why is there always a secret singing
When a lawyer cashes in?
Why does a hearse horse snicker
Hauling a lawyer away?

The work of a bricklayer goes to the blue.
The knack of a mason outlasts a moon.
The hands of a plasterer hold a room together.
The land of a farmer wishes him back again.
         Singers of songs and dreamers of plays
         Build a house no wind blows over.
The lawyers--tell me why a hearse horse snickers
         hauling a lawyer's bones.

You will come one day in a waver of love,
Tender as dew, impetuous as rain,
The tan of the sun will be on your skin,
The purr of the breeze in your murmuring speech,
You will pose with a hill-flower grace.

You will come, with your slim, expressive arms,
A poise of the head no sculptor has caught
And nuances spoken with shoulder and neck,
Your face in a pass-and-repass of moods
As many as skies in delicate change
Of cloud and blue and flimmering sun.

                    Yet,
You may not come, O girl of a dream,
We may but pass as the world goes by
And take from a look of eyes into eyes,
A film of hope and a memoried day.

WHAT was the name you called me?-
And why did you go so soon?
  
The crows lift their caw on the wind,
And the wind changed and was lonely.
  
The warblers cry their sleepy-songs
Across the valley gloaming,
Across the cattle-horns of early stars.
  
Feathers and people in the crotch of a treetop
Throw an evening waterfall of sleepy-songs.
  
What was the name you called me?-
And why did you go so soon?

THE BALLOONS hang on wires in the Marigold Gardens.
They spot their yellow and gold, they juggle their blue and red, they float their faces on the face of the sky.
Balloon face eaters sit by hundreds reading the eat cards, asking, "What shall we eat?"-and the waiters, "Have you ordered?" they are sixty ballon faces sifting white over the tuxedoes.
Poets, lawyers, ad men, mason contractors, smartalecks discussing "educated *******," here they put ***** into their balloon faces.
Here sit the heavy balloon face women lifting crimson lobsters into their crimson faces, lobsters out of Sargossa sea bottoms.
Here sits a man cross-examining a woman, "Where were you last night? What do you do with all your money? Who's buying your shoes now, anyhow?"
So they sit eating whitefish, two balloon faces swept on God's night wind.
And all the time the balloon spots on the wires, a little mile of festoons, they play their own silence play of film yellow and film gold, bubble blue and bubble red.
The wind crosses the town, the wind from the west side comes to the banks of marigolds boxed in the Marigold Gardens.
Night moths fly and fix their feet in the leaves and eat and are seen by the eaters.
The jazz outfit sweats and the drums and the saxophones reach for the ears of the eaters.
The chorus brought from Broadway works at the fun and the slouch of their shoulders, the kick of their ankles, reach for the eyes of the eaters.
These girls from Kokomo and Peoria, these hungry girls, since they are paid-for, let us look on and listen, let us get their number.
  
Why do I go again to the balloons on the wires, something for nothing, kin women of the half-moon, dream women?
And the half-moon swinging on the wind crossing the town-these two, the half-moon and the wind-this will be about all, this will be about all.
  
Eaters, go to it; your mazuma pays for it all; it's a knockout, a classy knockout-and payday always comes.
The moths in the marigolds will do for me, the half-moon, the wishing wind and the little mile of balloon spots on wires-this will be about all, this will be about all.

THERE is a woman on Michigan Boulevard keeps a parrot and goldfish and two white mice.
  
She used to keep a houseful of girls in kimonos and three pushbuttons on the front door.
  
Now she is alone with a parrot and goldfish and two white mice ... but these are some of her thoughts:
  
The love of a soldier on furlough or a sailor on shore leave burns with a bonfire red and saffron.
  
The love of an emigrant workman whose wife is a thousand miles away burns with a blue smoke.
  
The love of a young man whose sweetheart married an older man for money burns with a sputtering uncertain flame.
  
And there is a love ... one in a thousand ... burns clean and is gone leaving a white ash....
  
And this is a thought she never explains to the parrot and goldfish and two white mice.

ALL I can give you is broken-face gargoyles.
It is too early to sing and dance at funerals,
Though I can whisper to you I am looking for an undertaker humming a lullaby and throwing his feet in a swift and mystic buck-and-wing, now you see it and now you don't.
  
Fish to swim a pool in your garden flashing a speckled silver,
A basket of wine-saps filling your room with flame-dark for your eyes and the tang of valley orchards for your nose,
Such a beautiful pail of fish, such a beautiful peck of apples, I cannot bring you now.
It is too early and I am not footloose yet.
  
I shall come in the night when I come with a hammer and saw.
I shall come near your window, where you look out when your eyes open in the morning,
And there I shall slam together bird-houses and bird-baths for wing-loose wrens and hummers to live in, birds with yellow wing tips to blur and buzz soft all summer,
So I shall make little fool homes with doors, always open doors for all and each to run away when they want to.
I shall come just like that even though now it is early and I am not yet footloose,
Even though I am still looking for an undertaker with a raw, wind-bitten face and a dance in his feet.
I make a date with you (put it down) for six o'clock in the evening a thousand years from now.
  
All I can give you now is broken-face gargoyles.
All I can give you now is a double gorilla head with two fish mouths and four eagle eyes hooked on a street wall, spouting water and looking two ways to the ends of the street for the new people, the young strangers, coming, coming, always coming.
  
It is early.
I shall yet be footloose.

I asked a gypsy pal
To imitate an old image
And speak old wisdom.
She drew in her chin,
Made her neck and head
The top piece of a Nile obelisk
     and said:
****** off the gag from thy mouth, child,
And be free to keep silence.
Tell no man anything for no man listens,
Yet hold thy lips ready to speak.

PENCILS
telling where the wind comes from
  open a story.
  
  Pencils
telling where the wind goes
  end a story.
  
These eager pencils
come to a stop
.. only .. when the stars high over
come to a stop.
  
Out of cabalistic to-morrows
come cryptic babies calling life
a strong and a lovely thing.
I have seen neither these
nor the stars high over
come to a stop.
Neither these nor the sea horses
running with the clocks of the moon.
Nor even a shooting star
snatching a pencil of fire
writing a curve of gold and white.
Like you .. I counted the shooting stars of a winter
night and my head was dizzy with all
of them calling one by one:
  
        Look for us again.

Now the stone house on the lake front is finished and the
     workmen are beginning the fence.
The palings are made of iron bars with steel points that
     can stab the life out of any man who falls on them.
As a fence, it is a masterpiece, and will shut off the rabble
     and all vagabonds and hungry men and all wandering
     children looking for a place to play.
Passing through the bars and over the steel points will go
     nothing except Death and the Rain and To-morrow.

Pile the bodies high at Austerlitz and Waterloo.
Shovel them under and let me work --
I am the grass; I cover all.

And pile them high at Gettysburg
And pile them high at Ypres and Verdun.
Shovel them under and let me work.
Two years, ten years, and passengers ask the conductor:
What place is this?
Where are we now?

I am the grass.
Let me work.

Dreams in the dusk,
Only dreams closing the day
And with the day's close going back
To the gray things, the dark things,
The far, deep things of dreamland.

Dreams, only dreams in the dusk,
Only the old remembered pictures
Of lost days when the day's loss
Wrote in tears the heart's loss.

Tears and loss and broken dreams
May find your heart at dusk.

Smash down the cities.
Knock the walls to pieces.
Break the factories and cathedrals, warehouses
     and homes
Into loose piles of stone and lumber and black
     burnt wood:
     You are the soldiers and we command you.

Build up the cities.
Set up the walls again.
Put together once more the factories and cathedrals,
     warehouses and homes
Into buildings for life and labor:
     You are workmen and citizens all: We
     command you.

Let a joy keep you.
Reach out your hands
And take it when it runs by,
As the Apache dancer
Clutches his woman.
I have seen them
Live long and laugh loud,
Sent on singing, singing,
Smashed to the heart
Under the ribs
With a terrible love.
Joy always,
Joy everywhere--
Let joy **** you!
Keep away from the little deaths.