EVERY year Emily Dickinson sent one friend
the first arbutus bud in her garden.
  
In a last will and testament Andrew Jackson
remembered a friend with the gift of George
Washington's pocket spy-glass.
  
Napoleon too, in a last testament, mentioned a silver
watch taken from the bedroom of Frederick the Great,
and passed along this trophy to a particular friend.
  
O. Henry took a blood carnation from his coat lapel
and handed it to a country girl starting work in a
bean bazaar, and scribbled: "Peach blossoms may or
may not stay pink in city dust."
So it goes. Some things we buy, some not.
Tom Jefferson was proud of his radishes, and Abe
Lincoln blacked his own boots, and Bismarck called
Berlin a wilderness of brick and newspapers.
  
So it goes. There are accomplished facts.
Ride, ride, ride on in the great new blimps-
Cross unheard-of oceans, circle the planet.
When you come back we may sit by five hollyhocks.
We might listen to boys fighting for marbles.
The grasshopper will look good to us.
  
So it goes ...

Your western heads here cast on money,
You are the two that fade away together,
               Partners in the mist.

               Lunging buffalo shoulder,
               Lean Indian face,
We who come after where you are gone
Salute your forms on the new nickel.

               You are
               To us:
               The past.

               Runners
               On the prairie:
               Good-by.

AMONG the bumble-bees in red-top hay, a freckled field of brown-eyed Susans dripping yellow leaves in July,
        I read your heart in a book.

And your mouth of blue *****-I know somewhere I have seen it rain-shattered.

And I have seen a woman with her head flung between her naked knees, and her head held there listening to the sea, the great naked sea shouldering a load of salt.

And the blue ***** mouth sang to the sea:
        Mother of God, I'm so little a thing,
        Let me sing longer,
        Only a little longer.

And the sea shouldered its salt in long gray combers hauling new shapes on the beach sand.

THERE will be a rusty gun on the wall, sweetheart,
The rifle grooves curling with flakes of rust.
A spider will make a silver string nest in the darkest, warmest corner of it.
The trigger and the range-finder, they too will be rusty.
And no hands will polish the gun, and it will hang on the wall.
Forefingers and thumbs will point absently and casually toward it.
It will be spoken among half-forgotten, wished-to-be-forgotten things.
They will tell the spider: Go on, you're doing good work.

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.

THE MARE Alix breaks the world's trotting record one day. I see her heels flash down the dust of an Illinois race track on a summer afternoon. I see the timekeepers put their heads together over stopwatches, and call to the grand stand a split second is clipped off the old world's record and a new world's record fixed.

I see the mare Alix led away by men in undershirts and streaked faces. Dripping Alix in foam of white on the harness and shafts. And the men in undershirts kiss her ears and rub her nose, and tie blankets on her, and take her away to have the sweat sponged.

I see the grand stand jammed with prairie people yelling themselves hoarse. Almost the grand stand and the crowd of thousands are one pair of legs and one voice standing up and yelling hurrah.

I see the driver of Alix and the owner smothered in a fury of handshakes, a mob of caresses. I see the wives of the driver and owner smothered in a crush of white summer dresses and parasols.

Hours later, at sundown, gray dew creeping on the sod and sheds, I see Alix again:
      Dark, shining-velvet Alix,
      Night-sky Alix in a gray blanket,
      Led back and forth by a ******.
      Velvet and night-eyed Alix
      With slim legs of steel.

And I want to rub my nose against the nose of the mare Alix.

All day long in fog and wind,
The waves have flung their beating crests
Against the palisades of adamant.
     My boy, he went to sea, long and long ago,
     Curls of brown were slipping underneath his cap,
     He looked at me from blue and steely eyes;
     Natty, straight and true, he stepped away,
     My boy, he went to sea.
All day long in fog and wind,
The waves have flung their beating crests
Against the palisades of adamant.

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.

JESUS emptied the devils of one man into forty hogs and the hogs took the edge of a high rock and dropped off and down into the sea: a mob.

The sheep on the hills of Australia, blundering fourfooted in the sunset mist to the dark, they go one way, they hunt one sleep, they find one pocket of grass for all.

Karnak? Pyramids? Sphinx paws tall as a coolie? Tombs kept for kings and sacred cows? A mob.

Young roast pigs and naked dancing girls of Belshazzar, the room where a thousand sat guzzling when a hand wrote: Mene, mene, tekel, upharsin? A mob.

The honeycomb of green that won the sun as the Hanging Gardens of Nineveh, flew to its shape at the hands of a mob that followed the fingers of Nebuchadnezzar: a mob of one hand and one plan.

Stones of a circle of hills at Athens, staircases of a mountain in Peru, scattered clans of marble dragons in China: each a mob on the rim of a sunrise: hammers and wagons have them now.

Locks and gates of Panama? The Union Pacific crossing deserts and tunneling mountains? The Woolworth on land and the Titanic at sea? Lighthouses blinking a coast line from Labrador to Key West? Pigiron bars piled on a barge whistling in a fog off Sheboygan? A mob: hammers and wagons have them to-morrow.

The mob? A typhoon tearing loose an island from thousand-year moorings and bastions, shooting a volcanic ash with a fire tongue that licks up cities and peoples. Layers of worms eating rocks and forming loam and valley floors for potatoes, wheat, watermelons.

The mob? A jag of lightning, a geyser, a gravel mass loosening...

The mob ... kills or builds ... the mob is Attila or Ghengis Khan, the mob is Napoleon, Lincoln.

I am born in the mob-I die in the mob-the same goes for you-I don't care who you are.

I cross the sheets of fire in No Man's land for you, my brother-I slip a steel tooth into your throat, you my brother-I die for you and I **** you-It is a twisted and gnarled thing, a crimson wool:
                One more arch of stars,
                In the night of our mist,
                In the night of our tears.

A MILLION young workmen straight and strong lay stiff on the grass and roads,
And the million are now under soil and their rottening flesh will in the years feed roots of blood-red roses.
Yes, this million of young workmen slaughtered one another and never saw their red hands.
And oh, it would have been a great job of killing and a new and beautiful thing under the sun if the million knew why they hacked and tore each other to death.
The kings are grinning, the kaiser and the czar-they are alive riding in leather-seated motor cars, and they have their women and roses for ease, and they eat fresh-poached eggs for breakfast, new butter on toast, sitting in tall water-tight houses reading the news of war.
I dreamed a million ghosts of the young workmen rose in their shirts all soaked in crimson ... and yelled:
******* the grinning kings, ******* the kaiser and the czar.Chicago, 1915.

After waking at dawn one morning when the wind sang
     low among dry leaves in an elm

Among the red guns,
In the hearts of soldiers
Running free blood
In the long, long campaign:
     Dreams go on.

Among the leather saddles,
In the heads of soldiers
Heavy in the wracks and kills
Of all straight fighting:
     Dreams go on.

Among the hot muzzles,
In the hands of soldiers
Brought from flesh-folds of women--
Soft amid the blood and crying--
In all your hearts and heads
Among the guns and saddles and muzzles:

     Dreams,
Dreams go on,
Out of the dead on their backs,
Broken and no use any more:
Dreams of the way and the end go on.

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.

AND this will be all?
And the gates will never open again?
And the dust and the wind will play around the rusty door hinges and the songs of October moan, Why-oh, why-oh?
  
And you will look to the mountains
And the mountains will look to you
And you will wish you were a mountain
And the mountain will wish nothing at all?
  This will be all?
The gates will never-never open again?
  
The dust and the wind only
And the rusty door hinges and moaning October
And Why-oh, why-oh, in the moaning dry leaves,
  This will be all?
  
Nothing in the air but songs
And no singers, no mouths to know the songs?
You tell us a woman with a heartache tells you it is so?
  This will be all?

POLAND, France, Judea ran in her veins,
Singing to Paris for bread, singing to Gotham in a fizz at the pop of a bottle's cork.
  
"Won't you come and play wiz me" she sang ... and "I just can't make my eyes behave."
"Higgeldy-Piggeldy," "Papa's Wife," "Follow Me" were plays.
  
Did she wash her feet in a tub of milk? Was a strand of pearls sneaked from her trunk? The newspapers asked.
Cigarettes, tulips, pacing horses, took her name.
  
Twenty years old ... thirty ... forty ...
Forty-five and the doctors fathom nothing, the doctors quarrel, the doctors use silver tubes feeding twenty-four quarts of blood into the veins, the respects of a prize-fighter, a cab driver.
And a little mouth moans: It is easy to die when they are dying so many grand deaths in France.
  
A voice, a shape, gone.
A baby bundle from Warsaw ... legs, torso, head ... on a hotel bed at The Savoy.
The white chiselings of flesh that flung themselves in somersaults, straddles, for packed houses:
A memory, a stage and footlights out, an electric sign on Broadway dark.
  
She belonged to somebody, nobody.
No one man owned her, no ten nor a thousand.
She belonged to many thousand men, lovers of the white chiseling of arms and shoulders, the ivory of a laugh, the bells of song.
  
Railroad brakemen taking trains across Nebraska prairies, lumbermen jaunting in pine and tamarack of the Northwest, stock ranchers in the middle west, mayors of southern cities
Say to their pals and wives now: I see by the papers Anna Held is dead.

Cross the hands over the breast here--so.
Straighten the legs a little more--so.
And call for the wagon to come and take her home.
Her mother will cry some and so will her sisters and
     brothers.
But all of the others got down and they are safe and
     this is the only one of the factory girls who
     wasn't lucky in making the jump when the fire broke.
It is the hand of God and the lack of fire escapes.

MANY things I might have said today.
And I kept my mouth shut.
So many times I was asked
To come and say the same things
Everybody was saying, no end
To the yes-yes, yes-yes, me-too, me-too.
  
The aprons of silence covered me.
A wire and hatch held my tongue.
I spit nails into an abyss and listened.
I shut off the gabble of Jones, Johnson, Smith.
All whose names take pages in the city directory.
  
I fixed up a padded cell and lugged it around.
I locked myself in and nobody knew it.
Only the keeper and the kept in the hoosegow
Knew it-on the streets, in the postoffice,
On the cars, into the railroad station
Where the caller was calling, "All a-board,
All a-board for .. Blaa-blaa .. Blaa-blaa,
Blaa-blaa .. and all points northwest .. all a-board."
Here I took along my own hoosegow
And did business with my own thoughts.
Do you see? It must be the aprons of silence.

THREE walls around the town of Tela when I came.
They expected everything of those walls;
Nobody in the town came out to kiss my feet.

I knocked the walls down, killed three thousand soldiers,
Took away cattle and sheep, took all the loot in sight,
And burned special captives.

Some of the soldiers-I cut off hands and feet.
Others-I cut off ears and fingers.
Some-I put out the eyes.
I made a pyramid of heads.
I strung heads on trees circling the town.

When I got through with it
There wasn't much left of the town of Tela.

Close-mouthed you sat five thousand years and never
     let out a whisper.
Processions came by, marchers, asking questions you
     answered with grey eyes never blinking, shut lips
     never talking.
Not one croak of anything you know has come from your
     cat crouch of ages.
I am one of those who know all you know and I keep my
     questions: I know the answers you hold.

THE MOUTH of this man is a gaunt strong mouth.
The head of this man is a gaunt strong head.

The jaws of this man are bone of the Rocky Mountains, the Appalachians.
The eyes of this man are chlorine of two sobbing oceans,
Foam, salt, green, wind, the changing unknown.
The neck of this man is pith of buffalo prairie, old longing and new beckoning of corn belt or cotton belt,
Either a proud Sequoia trunk of the wilderness
Or huddling lumber of a sawmill waiting to be a roof.

Brother mystery to man and mob mystery,
Brother cryptic to lifted cryptic hands,
He is night and abyss, he is white sky of sun, he is the head of the people.
The heart of him the red drops of the people,
The wish of him the steady gray-eagle crag-hunting flights of the people.

Humble dust of a wheel-worn road,
Slashed sod under the iron-shining plow,
These of service in him, these and many cities, many borders, many wrangles between Alaska and the Isthmus, between the Isthmus and the Horn, and east and west of Omaha, and east and west of Paris, Berlin, Petrograd.
The blood in his right wrist and the blood in his left wrist run with the right wrist wisdom of the many and the left wrist wisdom of the many.
It is the many he knows, the gaunt strong hunger of the many.

Give me hunger,
O you gods that sit and give
The world its orders.
Give me hunger, pain and want,
Shut me out with shame and failure
From your doors of gold and fame,
Give me your shabbiest, weariest hunger!

But leave me a little love,
A voice to speak to me in the day end,
A hand to touch me in the dark room
Breaking the long loneliness.
In the dusk of day-shapes
Blurring the sunset,
One little wandering, western star
****** out from the changing shores of shadow.
Let me go to the window,
Watch there the day-shapes of dusk
And wait and know the coming
Of a little love.

Sobs En Route to a Penitentiary

Good-by now to the streets and the clash of wheels and
     locking hubs,
The sun coming on the brass buckles and harness knobs.
The muscles of the horses sliding under their heavy
     haunches,
Good-by now to the traffic policeman and his whistle,
The smash of the iron hoof on the stones,
All the crazy wonderful slamming roar of the street--
O God, there's noises I'm going to be hungry for.

I cried over beautiful things knowing no beautiful thing lasts.

The field of cornflower yellow is a scarf at the neck of the copper
  sunburned woman, the mother of the year, the taker of seeds.

The northwest wind comes and the yellow is torn full of holes,
  new beautiful things come in the first spit of snow on the northwest wind,
  and the old things go, not one lasts.

You came from the Aztecs
With a copper on your fore-arms
Tawnier than a sunset
Saying good-by to an even river.

And I said, you remember,
Those fore-arms of yours
Were finer than bronzes
And you were glad.

                    It was tears
And a path west
          and a home-going
          when I asked
Why there were scars of worn gold
Where a man's ring was fixed once
On your third finger.
                    And I call you
To come back
          before the days are longer.

I wanted a man's face looking into the jaws and throat
     of life
With something proud on his face, so proud no smash
     of the jaws,
No gulp of the throat leaves the face in the end
With anything else than the old proud look:
          Even to the finish, dumped in the dust,
          Lost among the used-up cinders,
          This face, men would say, is a flash,
          Is laid on bones taken from the ribs of the earth,
          Ready for the hammers of changing, changing years,
          Ready for the sleeping, sleeping years of silence.
          Ready for the dust and fire and wind.
I wanted this face and I saw it today in an Aztec mask.
A cry out of storm and dark, a red yell and a purple prayer,
A beaten shape of ashes
               waiting the sunrise or night,
               something or nothing,
               proud-mouthed,
               proud-eyed gambler.

WHITE MOON comes in on a baby face.
The shafts across her bed are flimmering.

Out on the land White Moon shines,
Shines and glimmers against gnarled shadows,
All silver to slow twisted shadows
Falling across the long road that runs from the house.

Keep a little of your beauty
And some of your flimmering silver
For her by the window to-night
Where you come in, White Moon.

THERE is a blue star, Janet,
Fifteen years' ride from us,
If we ride a hundred miles an hour.
  
There is a white star, Janet,
Forty years' ride from us,
If we ride a hundred miles an hour.
  
Shall we ride
To the blue star
Or the white star?

BABY vamps, is it harder work than it used to be?
Are the new soda parlors worse than the old time saloons?
  Baby vamps, do you have jobs in the day time or is this all you do? do you come out only at night?
In the winter at the skating rinks, in the summer at the roller coaster parks,
Wherever figure eights are carved, by skates in winter, by roller coasters in summer,
Wherever the whirligigs are going and chicken spanish and hot dog are sold,
There you come, giggling baby vamp, there you come with your blue baby eyes, saying:
  
    Take me along.

Shine on, O moon of summer.
Shine to the leaves of grass, catalpa and oak,
All silver under your rain to-night.

An Italian boy is sending songs to you to-night from an
     accordion.
A Polish boy is out with his best girl; they marry next
     month; to-night they are throwing you kisses.

An old man next door is dreaming over a sheen that sits
     in a cherry tree in his back yard.

The clocks say I must go--I stay here sitting on the
     back porch drinking white thoughts you rain down.

          Shine on, O moon,
Shake out more and more silver changes.

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.

(Bergen)SEVEN days all fog, all mist, and the turbines pounding through high seas.
I was a plaything, a rat's neck in the teeth of a scuffling mastiff.
Fog and fog and no stars, sun, moon.
Then an afternoon in fjords, low-lying lands scrawled in granite languages on a gray sky,
A night harbor, blue dusk mountain shoulders against a night sky,
And a circle of lights blinking: Ninety thousand people here.
  Among the Wednesday night thousands in goloshes and coats slickered for rain,
  I learned how hungry I was for streets and people.
  
I would rather be water than anything else.
I saw a drive of salt fog and mist in the North Atlantic and an iceberg dusky as a cloud in the gray of morning.
And I saw the dream pools of fjords in Norway ... and the scarf of dancing water on the rocks and over the edges of mountain shelves.
Bury me in a mountain graveyard in Norway.
Three tongues of water sing around it with snow from the mountains.
  
Bury me in the North Atlantic.
A fog there from Iceland will be a murmur in gray over me and a long deep wind sob always.
  
Bury me in an Illinois cornfield.
The blizzards loosen their pipe ***** voluntaries in winter stubble and the spring rains and the fall rains bring letters from the sea.

BAND concert public square Nebraska city. Flowing and circling dresses, summer-white dresses. Faces, flesh tints flung like sprays of cherry blossoms. And gigglers, God knows, gigglers, rivaling the pony whinnies of the Livery Stable Blues.

Cowboy rags and ****** rags. And boys driving sorrel horses hurl a cornfield laughter at the girls in dresses, summer-white dresses. Amid the cornet staccato and the tuba oompa, gigglers, God knows, gigglers daffy with life's razzle dazzle.

Slow good-night melodies and Home Sweet Home. And the snare drummer bookkeeper in a hardware store nods hello to the daughter of a railroad conductor-a giggler, God knows, a giggler-and the summer-white dresses filter fanwise out of the public square.

The crushed strawberries of ice cream soda places, the night wind in cottonwoods and willows, the lattice shadows of doorsteps and porches, these know more of the story.

SPEAK, sir, and be wise.
Speak choosing your words, sir, like an old woman over a bushel of apples.

FIVE geese deploy mysteriously.
Onward proudly with flagstaffs,
Hearses with silver bugles,
Bushels of plum-blossoms dropping
For ten mystic web-feet-
Each his own drum-major,
Each charged with the honor
Of the ancient goose nation,
Each with a nose-length surpassing
The nose-lengths of rival nations.
Somberly, slowly, unimpeachably,
Five geese deploy mysteriously.

A man saw the whole world as a grinning skull and
cross-bones. The rose flesh of life shriveled from all
faces. Nothing counts. Everything is a fake. Dust to
dust and ashes to ashes and then an old darkness and a
useless silence. So he saw it all. Then he went to a
Mischa Elman concert. Two hours waves of sound beat
on his eardrums. Music washed something or other
inside him. Music broke down and rebuilt something or
other in his head and heart. He joined in five encores
for the young Russian Jew with the fiddle. When he
got outside his heels hit the sidewalk a new way. He
was the same man in the same world as before. Only
there was a singing fire and a climb of roses everlastingly
over the world he looked on.

Between two hills
The old town stands.
The houses loom
And the roofs and trees
And the dusk and the dark,
The damp and the dew
     Are there.

The prayers are said
And the people rest
For sleep is there
And the touch of dreams
     Is over all.

BILBEA, I was in Babylon on Saturday night.
I saw nothing of you anywhere.
I was at the old place and the other girls were there, but no Bilbea.

Have you gone to another house? or city?
Why don't you write?
I was sorry. I walked home half-sick.

Tell me how it goes.
Send me some kind of a letter.
And take care of yourself.

Why shall I keep the old name?
What is a name anywhere anyway?
A name is a cheap thing all fathers and mothers leave
     each child:
A job is a job and I want to live, so
Why does God Almighty or anybody else care whether
     I take a new name to go by?

I DON'T blame the kettle drums-they are hungry.
And the snare drums-I know what they want-they are empty too.
And the harring booming bass drums-they are hungriest of all..    .    .
The howling spears of the Northwest die down.
The lullabies of the Southwest get a chance, a mother song.
A cradle moon rides out of a torn hole in the ragbag top of the sky.

SIX street ends come together here.
They feed people and wagons into the center.
In and out all day horses with thoughts of nose-bags,
Men with shovels, women with baskets and baby buggies.
Six ends of streets and no sleep for them all day.
The people and wagons come and go, out and in.
Triangles of banks and drug stores watch.
The policemen whistle, the trolley cars bump:
Wheels, wheels, feet, feet, all day.
  
In the false dawn when the chickens blink
And the east shakes a lazy baby toe at to-morrow,
And the east fixes a pink half-eye this way,
In the time when only one milk wagon crosses
These three streets, these six street ends,
It is the sleep time and they rest.
The triangle banks and drug stores rest.
The policeman is gone, his star and gun sleep.
The owl car blutters along in a sleep-walk.

"YOU ****," he flung at her.
It was more than a hundred times
He had thrown it into her face
And by this time it meant nothing to her.
She said to herself upstairs sweeping,
"Clocks are to tell time with, pitchers
Hold milk, spoons dip out gravy, and a
Coffee *** keeps the respect of those
Who drink coffee-I am a woman whose
Husband gives her a kiss once for ten
Times he throws it in my face, 'You ****.'
If I go to a small town and him along
Or if I go to a big city and him along.
What of it? Am I better off?" She swept
The upstairs and came downstairs to fix
Dinner for the family.

BORN a million years ago you stay here a million years ...
watching the women come and live and be laid away ...
you and they thin-gray thin-dusk lovely.
So it goes: either the early morning lights are lovely or the early morning star.
I am glad I have seen racehorses, women, mountains.

I waited today for a freight train to pass.
Cattle cars with steers butting their horns against the
     bars, went by.
And a half a dozen hoboes stood on bumpers between
     cars.
Well, the cattle are respectable, I thought.
Every steer has its transportation paid for by the farmer
     sending it to market,
While the hoboes are law-breakers in riding a railroad
     train without a ticket.
It reminded me of ten days I spent in the Allegheny
     County jail in Pittsburgh.
I got ten days even though I was a veteran of the
     Spanish-American war.
Cooped in the same cell with me was an old man, a
     bricklayer and a *****-fighter.
But it just happened he, too, was a veteran soldier, and
     he had fought to preserve the Union and free the
     *******.
We were three in all, the other being a Lithuanian who
     got drunk on pay day at the steel works and got to
     fighting a policeman;
All the clothes he had was a shirt, pants and shoes--
     somebody got his hat and coat and what money he
     had left over when he got drunk.

Sling me under the sea.
Pack me down in the salt and wet.
No farmer's plow shall touch my bones.
No Hamlet hold my jaws and speak
How jokes are gone and empty is my mouth.
Long, green-eyed scavengers shall pick my eyes,
Purple fish play hide-and-seek,
And I shall be song of thunder, crash of sea,
Down on the floors of salt and wet.
          Sling me... under the sea.

THE BOY Alexander understands his father to be a famous lawyer.
The leather law books of Alexander's father fill a room like hay in a barn.
Alexander has asked his father to let him build a house like bricklayers build, a house with walls and roofs made of big leather law books.
  
  The rain beats on the windows
  And the raindrops run down the window glass
  And the raindrops slide off the green blinds down the siding.
The boy Alexander dreams of Napoleon in John C. Abbott's history, Napoleon the grand and lonely man wronged, Napoleon in his life wronged and in his memory wronged.
The boy Alexander dreams of the cat Alice saw, the cat fading off into the dark and leaving the teeth of its Cheshire smile lighting the gloom.
  
Buffaloes, blizzards, way down in Texas, in the panhandle of Texas snuggling close to New Mexico,
These creep into Alexander's dreaming by the window when his father talks with strange men about land down in Deaf Smith County.
Alexander's father tells the strange men: Five years ago we ran a Ford out on the prairie and chased antelopes.
  
Only once or twice in a long while has Alexander heard his father say "my first wife" so-and-so and such-and-such.
A few times softly the father has told Alexander, "Your mother ... was a beautiful woman ... but we won't talk about her."
Always Alexander listens with a keen listen when he hears his father mention "my first wife" or "Alexander's mother."
  
Alexander's father smokes a cigar and the Episcopal rector smokes a cigar and the words come often: mystery of life, mystery of life.
These two come into Alexander's head blurry and gray while the rain beats on the windows and the raindrops run down the window glass and the raindrops slide off the green blinds and down the siding.
These and: There is a God, there must be a God, how can there be rain or sun unless there is a God?
  
So from the wrongs of Napoleon and the Cheshire cat smile on to the buffaloes and blizzards of Texas and on to his mother and to God, so the blurry gray rain dreams of Alexander have gone on five minutes, maybe ten, keeping slow easy time to the raindrops on the window glass and the raindrops sliding off the green blinds and down the siding.

The long beautiful night of the wind and rain in April,
The long night hanging down from the drooping branches of the top of a birch tree,
Swinging, swaying, to the wind for a partner, to the rain for a partner.
What is the humming, swishing thing they sing in the morning now?
The rain, the wind, the swishing whispers of the long slim curve so little and so dark on the western morning sky ... these dancing girls here on an April early morning ...
They have had a long cool beautiful night of it with their partners learning this year's song of April.

JOY ... weaving two violet petals for a coat lapel ... painting on a slab of night sky a Christ face ... slipping new brass keys into rusty iron locks and shouldering till at last the door gives and we are in a new room ... forever and ever violet petals, slabs, the Christ face, brass keys and new rooms.
  
are we near or far?... is there anything else?... who comes back?... and why does love ask nothing and give all? and why is love rare as a tailed comet shaking guesses out of men at telescopes ten feet long? why does the mystery sit with its chin on the lean forearm of women in gray eyes and women in hazel eyes?
  
are any of these less proud, less important, than a cross-examining lawyer? are any of these less perfect than the front page of a morning newspaper?
  
the answers are not computed and attested in the back of an arithmetic for the verifications of the lazy
  
there is no authority in the phone book for us to call and ask the why, the wherefore, and the howbeit it's ... a riddle ... by God.

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.

COVER me over
In dusk and dust and dreams.

Cover me over
And leave me alone.

Cover me over,
You tireless, great.

Hear me and cover me,
Bringers of dusk and dust and dreams.

I shall never forget you, Broadway
Your golden and calling lights.

I'll remember you long,
Tall-walled river of rush and play.

Hearts that know you hate you
And lips that have given you laughter
Have gone to their ashes of life and its roses,
Cursing the dreams that were lost
In the dust of your harsh and trampled stones.

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.