The rear axles hold the kick of twenty Missouri *******.
  
It is in the records of the patent office and the ads there is twenty horse power pull here.
  
The farm boy says hello to you instead of twenty mules-he sings to you instead of ten span of mules.
  
A bucket of oil and a can of grease is your hay and oats.
  
Rain proof and fool proof they stable you anywhere in the fields with the stars for a roof.
  
I carve a team of long ear mules on the steering wheel-it's good-by now to leather reins and the songs of the old mule skinners.

EMPTY battlefields keep their phantoms.
Grass crawls over old gun wheels
And a nodding Canada thistle flings a purple
Into the summer's southwest wind,
Wrapping a root in the rust of a bayonet,
Reaching a blossom in rust of shrapnel.

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 ******.

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.

WHO knows what I know
when I have asked the night questions
and the night has answered nothing
only the old answers?
  
Who picked a crimson cryptogram,
the tail light of a motor car turning a corner,
or the midnight sign of a chile con carne place,
or a man out of the ashes of false dawn muttering "hot-dog" to the night watchmen:
Is there a spieler who has spoken the word or taken the number of night's nothings? am I the spieler? or you?
  
Is there a tired head
the night has not fed and rested
and kept on its neck and shoulders?
  
Is there a wish
of man to woman
and woman to man
the night has not written
and signed its name under?
  
Does the night forget
as a woman forgets?
and remember
as a woman remembers?
  
Who gave the night
this head of hair,
this gipsy head
calling: Come-on?
  
Who gave the night anything at all
and asked the night questions
and was laughed at?
  
Who asked the night
for a long soft kiss
and lost the half-way lips?
who picked a red lamp in a mist?
  
Who saw the night
fold its Mona Lisa hands
and sit half-smiling, half-sad,
nothing at all,
and everything,
all the world ?
  
Who saw the night
let down its hair
and shake its bare shoulders
and blow out the candles of the moon,
whispering, snickering,
cutting off the snicker .. and sobbing ..
out of pillow-wet kisses and tears?
  
Is the night woven of anything else
than the secret wishes of women,
the stretched empty arms of women?
the hair of women with stars and roses?
I asked the night these questions.
I heard the night asking me these questions.
  
I saw the night
put these whispered nothings
across the city dust and stones,
across a single yellow sunflower,
one stalk strong as a woman's wrist;
  
And the play of a light rain,
the jig-time folly of a light rain,
the creepers of a drizzle on the sidewalks
for the policemen and the railroad men,
for the home-goers and the homeless,
silver fans and funnels on the asphalt,
the many feet of a fog mist that crept away;
  
I saw the night
put these nothings across
and the night wind came saying: Come-on:
and the curve of sky swept off white clouds
and swept on white stars over Battery to Bronx,
scooped a sea of stars over Albany, Dobbs Ferry, Cape Horn, Constantinople.
  
I saw the night's mouth and lips
strange as a face next to mine on a pillow
and now I know ... as I knew always ...
the night is a lover of mine ...
I know the night is ... everything.
I know the night is ... all the world.
  
I have seen gold lamps in a lagoon
play sleep and murmur
with never an eyelash,
never a glint of an eyelid,
quivering in the water-shadows.
  
A taxi whizzes by, an owl car clutters, passengers yawn reading street signs, a *** on a park bench shifts, another *** keeps his majesty of stone stillness, the forty-foot split rocks of Central Park sleep the sleep of stone whalebacks, the cornices of the Metropolitan Art mutter their own nothings to the men with rolled-up collars on the top of a bus:
Breaths of the sea salt Atlantic, breaths of two rivers, and a heave of hawsers and smokestacks, the swish of multiplied sloops and war dogs, the hesitant hoo-hoo of coal boats: among these I listen to Night calling:
I give you what money can never buy: all other lovers change: all others go away and come back and go away again:
I am the one you slept with last night.
I am the one you sleep with tonight and tomorrow night.
I am the one whose passion kisses
  keep your head wondering
  and your lips aching
  to sing one song
  never sung before
  at night's gipsy head
  calling: Come-on.
These hands that slid to my neck and held me,
these fingers that told a story,
this gipsy head of hair calling: Come-on:
can anyone else come along now
and put across night's nothings again?
  
I have wanted kisses my heart stuttered at asking,
I have pounded at useless doors and called my people fools.
I have staggered alone in a winter dark making mumble songs
to the sting of a blizzard that clutched and swore.
It was the night in my blood:
  open dreaming night,
  night of tireless sheet-steel blue:
The hands of God washing something,
  feet of God walking somewhere.

LISTEN a while, the moon is a lovely woman, a lonely woman, lost in a silver dress, lost in a circus rider's silver dress.
  
Listen a while, the lake by night is a lonely woman, a lovely woman, circled with birches and pines mixing their green and white among stars shattered in spray clear nights.
  
I know the moon and the lake have twisted the roots under my heart the same as a lonely woman, a lovely woman, in a silver dress, in a circus rider's silver dress.

Stuff of the moon
Runs on the lapping sand
Out to the longest shadows.
Under the curving willows,
And round the creep of the wave line,
Fluxions of yellow and dusk on the waters
Make a wide dreaming ***** of an old pond in the night.

She sits in the dust at the walls
     And makes cigars,
Bending at the bench
With fingers wage-anxious,
Changing her sweat for the day's pay.

Now the noon hour has come,
And she leans with her bare arms
On the window-sill over the river,
Leans and feels at her throat
Cool-moving things out of the free open ways:

At her throat and eyes and nostrils
The touch and the blowing cool
Of great free ways beyond the walls.

WHEN the sea is everywhere
from horizon to horizon ..
  when the salt and blue
  fill a circle of horizons ..
I swear again how I know
the sea is older than anything else
and the sea younger than anything else.
  
My first father was a landsman.
My tenth father was a sea-lover,
  a gipsy sea-boy, a singer of chanties.
  (Oh Blow the Man Down!)
  
The sea is always the same:
and yet the sea always changes.
  
  The sea gives all,
  and yet the sea keeps something back.
  
The sea takes without asking.
The sea is a worker, a thief and a loafer.
  Why does the sea let go so slow?
  Or never let go at all?
  
  The sea always the same
  day after day,
  the sea always the same
  night after night,
  fog on fog and never a star,
  wind on wind and running white sheets,
  bird on bird always a sea-bird-
  so the days get lost:
  it is neither Saturday nor Monday,
  it is any day or no day,
  it is a year, ten years.
  
  Fog on fog and never a star,
  what is a man, a child, a woman,
  to the green and grinding sea?
The ropes and boards squeak and groan.
  
On the land they know a child they have named Today.
On the sea they know three children they have named:
  Yesterday, Today, To-morrow.
  
I made a song to a woman:-it ran:
  I have wanted you.
  I have called to you
  on a day I counted a thousand years.
  
In the deep of a sea-blue noon
many women run in a man's head,
phantom women leaping from a man's forehead
  .. to the railings ... into the sea ... to the
  sea rim ...
  .. a man's mother ... a man's wife ... other
  women ...
  
I asked a sure-footed sailor how and he said:
  I have known many women but there is only one sea.
I saw the North Star once
and our old friend, The Big Dipper,
  only the sea between us:
  "Take away the sea
  and I lift The Dipper,
  swing the handle of it,
  drink from the brim of it."
  
I saw the North Star one night
and five new stars for me in the rigging ropes,
and seven old stars in the cross of the wireless
  plunging by night,
  plowing by night-
Five new cool stars, seven old warm stars.
  
I have been let down in a thousand graves by my kinfolk.
I have been left alone with the sea and the sea's wife, the wind, for my last friends
And my kinfolk never knew anything about it at all.
  
Salt from an old work of eating our graveclothes is here.
  The sea-kin of my thousand graves,
  The sea and the sea's wife, the wind,
They are all here to-night
    between the circle of horizons,
    between the cross of the wireless
    and the seven old warm stars.
  
Out of a thousand sea-holes I came yesterday.
Out of a thousand sea-holes I come to-morrow.
  
I am kin of the changer.
  I am a son of the sea
  and the sea's wife, the wind.

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 HAVE ransacked the encyclopedias
And slid my fingers among topics and titles
Looking for you.
  
And the answer comes slow.
There seems to be no answer.
  
I shall ask the next banana peddler the who and the why of it.
  
Or-the iceman with his iron tongs gripping a clear cube in summer sunlight-maybe he will know.

JOHN BROWN'S body under the morning stars.
Six feet of dust under the morning stars.
And a panorama of war performs itself
Over the six-foot stage of circling armies.
Room for Gettysburg, Wilderness, Chickamauga,
On a six-foot stage of dust.

I AM an ancient reluctant conscript.

On the soup wagons of Xerxes I was a cleaner of pans.

On the march of Miltiades' phalanx I had a haft and head;
I had a bristling gleaming spear-handle.

Red-headed Caesar picked me for a teamster.
He said, "Go to work, you Tuscan *******,
Rome calls for a man who can drive horses."

The units of conquest led by Charles the Twelfth,
The whirling whimsical Napoleonic columns:
They saw me one of the horseshoers.

I trimmed the feet of a white horse Bonaparte swept the night stars with.

Lincoln said, "Get into the game; your nation takes you."
And I drove a wagon and team and I had my arm shot off
At Spottsylvania Court House.

I am an ancient reluctant conscript.

The owl-car clatters along, dogged by the echo
From building and battered paving-stone.
The headlight scoffs at the mist,
And fixes its yellow rays in the cold slow rain;
Against a pane I press my forehead
And drowsily look on the walls and sidewalks.

The headlight finds the way
And life is gone from the wet and the welter--
Only an old woman, bloated, disheveled and bleared.
Far-wandered waif of other days,
Huddles for sleep in a doorway,
Homeless.

RED barns and red heifers spot the green
grass circles around Omaha-the farmers
haul tanks of cream and wagon loads of cheese.
  
Shale hogbacks across the river at Council
Bluffs-and shanties hang by an eyelash to
the hill slants back around Omaha.
  
A span of steel ties up the kin of Iowa and
Nebraska across the yellow, big-hoofed Missouri River.
Omaha, the roughneck, feeds armies,
Eats and swears from a ***** face.
Omaha works to get the world a breakfast.

Mrs. Gabrielle Giovannitti comes along Peoria Street
     every morning at nine o'clock
With kindling wood piled on top of her head, her eyes
     looking straight ahead to find the way for her old feet.
Her daughter-in-law, Mrs. Pietro Giovannitti, whose
     husband was killed in a tunnel explosion through
     the negligence of a fellow-servant,
Works ten hours a day, sometimes twelve, picking onions
     for Jasper on the Bowmanville road.
She takes a street car at half-past five in the morning,
     Mrs. Pietro Giovannitti does,
And gets back from Jasper's with cash for her day's
     work, between nine and ten o'clock at night.
Last week she got eight cents a box, Mrs. Pietro
     Giovannitti, picking onions for Jasper,
But this week Jasper dropped the pay to six cents a
     box because so many women and girls were answering
     the ads in the Daily News.
Jasper belongs to an Episcopal church in Ravenswood
     and on certain Sundays
He enjoys chanting the Nicene creed with his daughters
     on each side of him joining their voices with his.
If the preacher repeats old sermons of a Sunday, Jasper's
     mind wanders to his 700-acre farm and how he
     can make it produce more efficiently
And sometimes he speculates on whether he could word
     an ad in the Daily News so it would bring more
     women and girls out to his farm and reduce operating
     costs.
Mrs. Pietro Giovannitti is far from desperate about life;
     her joy is in a child she knows will arrive to her in
     three months.
And now while these are the pictures for today there are
     other pictures of the Giovannitti people I could give
     you for to-morrow,
And how some of them go to the county agent on winter
     mornings with their baskets for beans and cornmeal
     and molasses.
I listen to fellows saying here's good stuff for a novel or
     it might be worked up into a good play.
I say there's no dramatist living can put old Mrs.
     Gabrielle Giovannitti into a play with that kindling
     wood piled on top of her head coming along Peoria
     Street nine o'clock in the morning.

On the breakwater in the summer dark, a man and a
     girl are sitting,
She across his knee and they are looking face into face
Talking to each other without words, singing rythms in
     silence to each other.

A funnel of white ranges the blue dusk from an out-
     going boat,
Playing its searchlight, puzzled, abrupt, over a streak of
     green,
And two on the breakwater keep their silence, she on his
     knee.

Little one, you have been buzzing in the books,
Flittering in the newspapers and drinking beer with
     lawyers
And amid the educated men of the clubs you have been
     getting an earful of speech from trained tongues.
Take an earful from me once, go with me on a hike
Along sand stretches on the great inland sea here
And while the eastern breeze blows on us and the
     restless surge
Of the lake waves on the breakwater breaks with an ever
     fresh monotone,
Let us ask ourselves: What is truth? what do you or I
     know?
How much do the wisest of the world's men know about
     where the massed human procession is going?

You have heard the mob laughed at?
I ask you: Is not the mob rough as the mountains are
     rough?
And all things human rise from the mob and relapse and
     rise again as rain to the sea.

I DON'T know how he came,
shambling, dark, and strong.
  
He stood in the city and told men:
My people are fools, my people are young and strong, my people must learn, my people are terrible workers and fighters.
Always he kept on asking: Where did that blood come from?
  
They said: You for the fool killer, you for the ***** hatch and a necktie party.
  
  They hauled him into jail.
  They sneered at him and spit on him,
  And he wrecked their jails,
  Singing, "******* your jails,"
  And when he was most in jail
  Crummy among the crazy in the dark
  Then he was most of all out of jail
  Shambling, dark, and strong,
Always asking: Where did that blood come from?
  They laid hands on him
  And the fool killers had a laugh
  And the necktie party was a go, by God.
They laid hands on him and he was a goner.
  They hammered him to pieces and he stood up.
They buried him and he walked out of the grave, by God,
  Asking again: Where did that blood come from?

For the gladness here where the sun is shining at
          evening on the weeds at the river,
     Our prayer of thanks.

For the laughter of children who tumble barefooted and
          bareheaded in the summer grass,
     Our prayer of thanks.

For the sunset and the stars, the women and the white
          arms that hold us,
     Our prayer of thanks.

     God,
If you are deaf and blind, if this is all lost to you,
God, if the dead in their coffins amid the silver handles
          on the edge of town, or the reckless dead of war
          days thrown unknown in pits, if these dead are
          forever deaf and blind and lost,
     Our prayer of thanks.

     God,
The game is all your way, the secrets and the signals and
          the system; and so for the break of the game and
          the first play and the last.
     Our prayer of thanks.

OUT of white lips a question: Shall seven million dead ask for their blood a little land for the living wives and children, a little land for the living brothers and sisters?

Out of white lips:-Shall they have only air that sweeps round the earth for breath of their nostrils and no footing on the dirt of the earth for their battle-drabbed, battle-soaked shoes?

Out of white lips:-Is the red in the flag the blood of a free man on a piece of land his own or is it the red of a sheep slit in the throat for mutton?

Out of white lips a white pain murmurs: Who shall have land? Him who has stood ankle deep in the blood of his comrades, in the red trenches dug in the land?

IN the newspaper office-who are the spooks?
Who wears the mythic coat invisible?

Who pussyfoots from desk to desk
              with a speaking forefinger?
Who gumshoes amid the copy paper
              with a whispering thumb?

Speak softly-the sacred cows may hear.
Speak easy-the sacred cows must be fed.

Take a hold now
On the silver handles here,
Six silver handles,
One for each of his old pals.

Take hold
And lift him down the stairs,
Put him on the rollers
Over the floor of the hearse.

Take him on the last haul,
To the cold straight house,
The level even house,
To the last house of all.

     The dead say nothing
     And the dead know much
     And the dead hold under their tongues
     A locked-up story.

THE WEST window is a panel of marching onions.
Five new lilacs nod to the wind and fence boards.
The rain dry fence boards, the stained knot holes, heliograph a peace.
(How long ago the knee drifts here and a blizzard howling at the knot holes, whistling winter war drums?)

Passers-By,
Out of your many faces
Flash memories to me
Now at the day end
Away from the sidewalks
Where your shoe soles traveled
And your voices rose and blend
To form the city's afternoon roar
Hindering an old silence.

Passers-by,
I remember lean ones among you,
Throats in the clutch of a hope,
Lips written over with strivings,
Mouths that kiss only for love.
Records of great wishes slept with,
     Held long
And prayed and toiled for.

     Yes,
Written on
Your mouths
And your throats
I read them
When you passed by.

NOTHING else in this song-only your face.
Nothing else here-only your drinking, night-gray eyes.
  
The pier runs into the lake straight as a rifle barrel.
I stand on the pier and sing how I know you mornings.
It is not your eyes, your face, I remember.
It is not your dancing, race-horse feet.
It is something else I remember you for on the pier mornings.
  
Your hands are sweeter than nut-brown bread when you touch me.
Your shoulder brushes my arm-a south-west wind crosses the pier.
I forget your hands and your shoulder and I say again:
  
Nothing else in this song-only your face.
Nothing else here-only your drinking, night-gray eyes.

WHAT cry of peach blossoms
  let loose on the air today
I heard with my face thrown
  in the pink-white of it all?
  in the red whisper of it all?
  
What man I heard saying:
  Christ, these are beautiful!
  
And Christ and Christ was in his mouth,
  over these peach blossoms?

Open the door now.
Go roll up the collar of your coat
To walk in the changing scarf of mist.

Tell your sins here to the pearl fog
And know for once a deepening night
Strange as the half-meanings
Alurk in a wise woman's mousey eyes.

     Yes, tell your sins
And know how careless a pearl fog is
Of the laws you have broken.

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.

I have been in Pennsylvania,
In the Monongahela and Hocking Valleys.

In the blue Susquehanna
On a Saturday morning
I saw a mounted constabulary go by,
I saw boys playing marbles.
Spring and the hills laughed.

And in places
Along the Appalachian chain,
I saw steel arms handling coal and iron,
And I saw the white-cauliflower faces
Of miner's wives waiting for the men to come home from the day's work.

I made color studies in crimson and violet
Over the dust and domes of culm at sunset.

I PAINTED on the roof of a skyscraper.
I painted a long while and called it a day's work.
The people on a corner swarmed and the traffic cop's whistle never let up all afternoon.
They were the same as bugs, many bugs on their way-
Those people on the go or at a standstill;
And the traffic cop a spot of blue, a splinter of brass,
Where the black tides ran around him
And he kept the street. I painted a long while
And called it a day's work.

I TELL them where the wind comes from,
Where the music goes when the fiddle is in the box.
  
Kids-I saw one with a proud chin, a sleepyhead,
And the moonline creeping white on her pillow.
  I have seen their heads in the starlight
  And their proud chins marching in a mist of stars.
  
They are the only people I never lie to.
  I give them honest answers,
Answers shrewd as the circles of white on brown chestnuts.

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.

THE TELESCOPE picks off star dust
on the clean steel sky and sends it to me.
  
The telephone picks off my voice and
sends it cross country a thousand miles.
  
The eyes in my head pick off pages of
Napoleon memoirs ... a rag handler,
a head of dreams walks in a sheet of
mist ... the palace panels shut in nobodies
drinking nothings out of silver
helmets ... in the end we all come to a
rock island and the hold of the sea-walls.

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.

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.

ROSES and gold
For you today,
And the flash of flying flags.
  
  I will have
  Ashes,
  Dust in my hair,
Crushes of hoofs.
  
Your name
Fills the mouth
Of rich man and poor.
  Women bring
Armfuls of flowers
And throw on you.
  
  I go hungry
  Down in dreams
  And loneliness,
  Across the rain
  To slashed hills
Where men wait and hope for me.

"I KNEW a real man once," says Agatha in the splendor of a shagbark hickory tree.
  
Did a man touch his lips to Agatha? Did a man hold her in his arms? Did a man only look at her and pass by?
  
Agatha, far past forty in a splendor of remembrance, says, "I knew a real man once."

After the last red sunset glimmer,
Black on the line of a low hill rise,
Formed into moving shadows, I saw
A plowboy and two horses lined against the gray,
Plowing in the dusk the last furrow.
The turf had a gleam of brown,
And smell of soil was in the air,
And, cool and moist, a haze of April.

I shall remember you long,
Plowboy and horses against the sky in shadow.
I shall remember you and the picture
You made for me,
Turning the turf in the dusk
And haze of an April gloaming.

PEA pods cling to stems.
Neponset, the village,
Clings to the Burlington railway main line.
Terrible midnight limiteds roar through
Hauling sleepers to the Rockies and Sierras.
The earth is slightly shaken
And Neponset trembles slightly in its sleep.

I. CHICKENS

I am The Great White Way of the city:
When you ask what is my desire, I answer:
"Girls fresh as country wild flowers,
With young faces tired of the cows and barns,
Eager in their eyes as the dawn to find my mysteries,
Slender supple girls with shapely legs,
Lure in the arch of their little shoulders
And wisdom from the prairies to cry only softly at
          the ashes of my mysteries."

                           II. USED UP

    Lines based on certain regrets that come with rumination
               upon the painted faces of women on
                   North Clark Street, Chicago

               Roses,
             Red roses,
               Crushed
In the rain and wind
Like mouths of women
Beaten by the fists of
Men using them.
     O little roses
     And broken leaves
     And petal wisps:
You that so flung your crimson
     To the sun
Only yesterday.

                            III. HOME

Here is a thing my heart wishes the world had more of:
I heard it in the air of one night when I listened
To a mother singing softly to a child restless and angry
     in the darkness.

Out of the fire
Came a man sunken
To less than cinders,
A tea-cup of ashes or so.
And I,
The gold in the house,
Writhed into a stiff pool.

She loves blood-red poppies for a garden to walk in.
In a loose white gown she walks
          and a new child tugs at cords in her body.
Her head to the west at evening when the dew is creeping,
A shudder of gladness runs in her bones and torsal fiber:
She loves blood-red poppies for a garden to walk in.

New-mown hay smell and wind of the plain made her
     a woman whose ribs had the power of the hills in
     them and her hands were tough for work and there
     was passion for life in her womb.
She and her man crossed the ocean and the years that
     marked their faces saw them haggling with landlords
     and grocers while six children played on the stones
     and prowled in the garbage cans.
One child coughed its lungs away, two more have adenoids
     and can neither talk nor run like their mother,
     one is in jail, two have jobs in a box factory
And as they fold the pasteboard, they wonder what the
     wishing is and the wistful glory in them that flutters
     faintly when the glimmer of spring comes on
     the air or the green of summer turns brown:
They do not know it is the new-mown hay smell calling
     and the wind of the plain praying for them to come
     back and take hold of life again with tough hands
     and with passion.

(For S. A.)TO write one book in five years
or five books in one year,
to be the painter and the thing painted,
... where are we, bo?
  
Wait-get his number.
The barber shop handling is here
and the tweeds, the cheviot, the Scotch Mist,
and the flame orange scarf.
  
Yet there is more-he sleeps under bridges
with lonely crazy men; he sits in country
jails with bootleggers; he adopts the children
of broken-down burlesque actresses; he has
cried a heart of tears for Windy MacPherson's
father; he pencils wrists of lonely women.
  
Can a man sit at a desk in a skyscraper in Chicago
and be a harnessmaker in a corn town in Iowa
and feel the tall grass coming up in June
and the ache of the cottonwood trees
singing with the prairie wind?

IT'S a lean car ... a long-legged dog of a car ... a gray-ghost eagle car.
The feet of it eat the dirt of a road ... the wings of it eat the hills.
Danny the driver dreams of it when he sees women in red skirts and red sox in his sleep.
It is in Danny's life and runs in the blood of him ... a lean gray-ghost car.

*** tiddy um,
    tiddy um,
    tiddy um tum tum.
My knees are loose-like, my feet want to sling their selves.
I feel like tickling you under the chin-honey-and a-asking: Why Does a Chicken Cross the Road?
When the hens are a-laying eggs, and the roosters pluck-pluck-put-akut and you-honey-put new potatoes and gravy on the table, and there ain't too much rain or too little:
        Say, why do I feel so gabby?
        Why do I want to holler all over the place?.    .    .
Do you remember I held empty hands to you
    and I said all is yours
    the handfuls of nothing?.    .    .
I ask you for white blossoms.
I bring a concertina after sunset under the apple trees.
I bring out "The Spanish Cavalier" and "In the Gloaming, O My Darling."

The orchard here is near and home-like.
The oats in the valley run a mile.
Between are the green and marching potato vines.
The lightning bugs go criss-cross carrying a zigzag of fire: the potato bugs are asleep under their stiff and yellow-striped wings: here romance stutters to the western stars, "Excuse ... me...".    .    .
Old foundations of rotten wood.
An old barn done-for and out of the wormholes ten-legged roaches shook up and scared by sunlight.
So a pickax digs a long tooth with a short memory.
Fire can not eat this ******* till it has lain in the sun..    .    .
The story lags.
The story has no connections.
The story is nothing but a lot of banjo plinka planka plunks.

The roan horse is young and will learn: the roan horse buckles into harness and feels the foam on the collar at the end of a haul: the roan horse points four legs to the sky and rolls in the red clover: the roan horse has a rusty jag of hair between the ears hanging to a white star between the eyes..    .    .
In Burlington long ago
And later again in Ashtabula
I said to myself:
  I wonder how far Ophelia went with Hamlet.
What else was there Shakespeare never told?
There must have been something.
If I go bugs I want to do it like Ophelia.
There was class to the way she went out of her head..    .    .
Does a famous poet eat watermelon?
Excuse me, ask me something easy.
I have seen farmhands with their faces in fried catfish on a Monday morning.

And the Japanese, two-legged like us,
The Japanese bring slices of watermelon into pictures.
The black seeds make oval polka dots on the pink meat.

Why do I always think of ******* and buck-and-wing dancing whenever I see watermelon?

Summer mornings on the docks I walk among bushel peach baskets piled ten feet high.
Summer mornings I smell new wood and the river wind along with peaches.
I listen to the steamboat whistle hong-honging, hong-honging across the town.
And once I saw a teameo straddling a street with a hayrack load of melons..    .    .
******* play banjos because they want to.
The explanation is easy.

It is the same as why people pay fifty cents for tickets to a policemen's masquerade ball or a grocers-and-butchers' picnic with a fat man's foot race.
It is the same as why boys buy a nickel's worth of peanuts and eat them and then buy another nickel's worth.
Newsboys shooting craps in a back alley have a fugitive understanding of the scientific principle involved.
The jockey in a yellow satin shirt and scarlet boots, riding a sorrel pony at the county fair, has a grasp of the theory.
It is the same as why boys go running lickety-split
away from a school-room geography lesson
in April when the crawfishes come out
and the young frogs are calling
and the pussywillows and the cat-tails
know something about geography themselves..    .    .
I ask you for white blossoms.
I offer you memories and people.
I offer you a fire zigzag over the green and marching vines.
I bring a concertina after supper under the home-like apple trees.
I make up songs about things to look at:
    potato blossoms in summer night mist filling the garden with white spots;
    a cavalryman's yellow silk handkerchief stuck in a flannel pocket over the left side of the shirt, over the ventricles of blood, over the pumps of the heart.

Bring a concertina after sunset under the apple trees.
Let romance stutter to the western stars, "Excuse ... me..."

All the policemen, saloonkeepers and efficiency experts in Toledo
  knew Bern Dailey; secretary ten years when Whitlock was mayor.
Pickpockets, yeggs, three card men, he knew them all and how they flit
  from zone to zone, birds of wind and weather, singers, fighters,
  scavengers.

The Washington monument pointed to a new moon for us
  and a gang from over the river sang ragtime to a ukelele.
The river mist marched up and down the Potomac, we hunted
  the fog-swept Lincoln Memorial, white as a blond woman's arm.
We circled the city of Washington and came back home four o'clock in the morning,
  passing a sign: House Where Abraham Lincoln Died, Admission Cents.

I got a letter from him in Sweden and I sent him a postcard from Norway ..
  every newspaper from America ran news of "the flu."

The path of a night fog swept up the river to the Lincoln Memorial
  when I saw it again and alone at a winter's end, the marble in the mist
  white as a blond woman's arm.

THE BRIDGE says: Come across, try me; see how good I am.
The big rock in the river says: Look at me; learn how to stand up.
The white water says: I go on; around, under, over, I go on.
A kneeling, scraggly pine says: I am here yet; they nearly got me last year.
A sliver of moon slides by on a high wind calling: I know why; I'll see you to-morrow; I'll tell you everything to-morrow.

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.