CHATTER of birds two by two raises a night song joining a litany of running water-sheer waters showing the russet of old stones remembering many rains.

And the long willows drowse on the shoulders of the running water, and sleep from much music; joined songs of day-end, feathery throats and stony waters, in a choir chanting new psalms.

It is too much for the long willows when low laughter of a red moon comes down; and the willows drowse and sleep on the shoulders of the running water.

WANDERING oversea dreamer,
Hunting and hoarse, Oh daughter and mother,
Oh daughter of ashes and mother of blood,
Child of the hair let down, and tears,
Child of the cross in the south
And the star in the north,
Keeper of Egypt and Russia and France,
Keeper of England and Poland and Spain,
Make us a song for to-morrow.
Make us one new dream, us who forget,
Out of the storm let us have one star.
  
  Struggle, Oh anvils, and help her.
Weave with your wool. Oh winds and skies.
Let your iron and copper help,
    Oh dirt of the old dark earth.
  
Wandering oversea singer,
Singing of ashes and blood,
Child of the scars of fire,
  Make us one new dream, us who forget.
  Out of the storm let us have one star.

LAY me on an anvil, O God.
Beat me and hammer me into a crowbar.
Let me pry loose old walls.
Let me lift and loosen old foundations.

Lay me on an anvil, O God.
Beat me and hammer me into a steel spike.
Drive me into the girders that hold a skyscraper together.
Take red-hot rivets and fasten me into the central girders.
Let me be the great nail holding a skyscraper through blue nights into white stars.

AFTER you have spent all the money modistes and manicures and mannikins will take for fixing you over into a thing the people on the streets call proud and beautiful,
After the shops and fingers have worn out all they have and know and can hope to have and know for the sake of making you what the people on the streets call proud and beautiful,
After there is absolutely nothing more to be done for the sake of staging you as a great enigmatic bird of paradise and they must all declare you to be proud and beautiful,
After you have become the last word in good looks, insofar as good looks may be fixed and formulated, then, why then, there is nothing more to it then, it is then you listen and see how voices and eyes declare you to be proud and beautiful

THE POLICEMAN buys shoes slow and careful;
the teamster buys gloves slow and careful;
they take care of their feet and hands;
they live on their feet and hands.

The milkman never argues;
he works alone and no one speaks to him;
the city is asleep when he is on the job;
he puts a bottle on six hundred porches and calls it a day's work;
he climbs two hundred wooden stairways;
two horses are company for him;
he never argues.

The rolling-mill men and the sheet-steel men are brothers of cinders;
they empty cinders out of their shoes after the day's work;
they ask their wives to fix burnt holes in the knees of their trousers;
their necks and ears are covered with a ****;
they scour their necks and ears;
they are brothers of cinders.

IF we were such and so, the same as these,
maybe we too would be slingers and sliders,
tumbling half over in the water mirrors,
tumbling half over at the horse heads of the sun,
tumbling our purple numbers.
  
Twirl on, you and your satin blue.
Be water birds, be air birds.
Be these purple tumblers you are.
  
  Dip and get away
From loops into slip-knots,
Write your own ciphers and figure eights.
It is your wooded island here in Lincoln park.
Everybody knows this belongs to you.
  
  Five fat geese
Eat grass on a sod bank
And never count your slinging ciphers,
    your sliding figure eights,
  
A man on a green paint iron bench,
Slouches his feet and sniffs in a book,
And looks at you and your loops and slip-knots,
And looks at you and your sheaths of satin blue,
And slouches again and sniffs in the book,
And mumbles: It is an idle and a doctrinaire exploit.
Go on tumbling half over in the water mirrors.
Go on tumbling half over at the horse heads of the sun.
  Be water birds, be air birds.
  Be these purple tumblers you are.

(Handbook for Quarreling Lovers)I THOUGHT of offering you apothegms.
I might have said, "Dogs bark and the wind carries it away."
I might have said, "He who would make a door of gold must knock a nail in every day."
So easy, so easy it would have been to inaugurate a high impetuous moment for you to look on before the final farewells were spoken.
You who assumed the farewells in the manner of people buying newspapers and reading the headlines-and all peddlers of gossip who buttonhole each other and wag their heads saying, "Yes, I heard all about it last Wednesday."
  
I considered several apothegms.
"There is no love but service," of course, would only initiate a quarrel over who has served and how and when.
"Love stands against fire and flood and much bitterness," would only initiate a second misunderstanding, and bickerings with lapses of silence.
What is there in the Bible to cover our case, or Shakespere? What poetry can help? Is there any left but Epictetus?
  
Since you have already chosen to interpret silence for language and silence for despair and silence for contempt and silence for all things but love,
Since you have already chosen to read ashes where God knows there was something else than ashes,
Since silence and ashes are two identical findings for your eyes and there are no apothegms worth handing out like a hung jury's verdict for a record in our own hearts as well as the community at large,
I can only remember a Russian peasant who told me his grandfather warned him: If you ride too good a horse you will not take the straight road to town.
  
It will always come back to me in the blur of that hokku: The heart of a woman of thirty is like the red ball of the sun seen through a mist.
Or I will remember the witchery in the eyes of a girl at a barn dance one winter night in Illinois saying: Put off the wedding five times and nobody comes to it.

HAVE I told any man to be a liar for my sake?
Have I sold ice to the poor in summer and coal to the poor in winter for the sake of daughters who nursed brindle bull terriers and led with a leash their dogs clothed in plaid wool jackets?
Have I given any man an earful too much of my talk-or asked any man to take a snootful of ***** on my account?
Have I put wool in my own ears when men tried to tell me what was good for me? Have I been a *** listener?
Have I taken dollars from the living and the unborn while I made speeches on the retributions that shadow the heels of the dishonest?
Have I done any good under cover? Or have I always put it in the show windows and the newspapers?

Ten minutes now I have been looking at this.
I have gone by here before and wondered about it.
This is a bronze memorial of a famous general
Riding horseback with a flag and a sword and a revolver
     on him.
I want to smash the whole thing into a pile of junk to be
     hauled away to the scrap yard.
I put it straight to you,
After the farmer, the miner, the shop man, the factory
     hand, the fireman and the teamster,
Have all been remembered with bronze memorials,
Shaping them on the job of getting all of us
Something to eat and something to wear,
When they stack a few silhouettes
          Against the sky
          Here in the park,
And show the real huskies that are doing the work of
     the world, and feeding people instead of butchering them,
Then maybe I will stand here
And look easy at this general of the army holding a flag
     in the air,
And riding like hell on horseback
Ready to **** anybody that gets in his way,
Ready to run the red blood and slush the bowels of men
     all over the sweet new grass of the prairie.

ARMOUR AVENUE was the name of this street and door signs on empty houses read "The Silver Dollar," "Swede Annie" and the Christian names of madams such as "Myrtle" and "Jenny."
Scrap iron, rags and bottles fill the front rooms hither and yon and signs in Yiddish say Abe Kaplan & Co. are running junk shops in ***** houses of former times.
The segregated district, the Tenderloin, is here no more; the red-lights are gone; the ring of shovels handling scrap iron replaces the banging of pianos and the bawling songs of pimps.Chicago, 1915.

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.

FOR a woman's face remembered as a spot of quick light on the flat land of dark night,
For this memory of one mouth and a forehead they go on in the gray rain and the mud, they go on among the boots and guns.
The horizon ahead is a thousand fang flashes, it is a row of teeth that bite on the flanks of night, the horizon sings of a new **** and a big ****.
The horizon behind is a wall of dark etched with a memory, fixed with a woman's face-they fight on and on, boots in the mud and heads in the gray rain-for the women they hate and the women they love-for the women they left behind, they fight on.

THE HORSE'S name was Remorse.
There were people said, "Gee, what a nag!"
And they were Edgar Allan Poe bugs and so
They called him Remorse.
  
  When he was a gelding
He flashed his heels to other ponies
And threw dust in the noses of other ponies
And won his first race and his second
And another and another and hardly ever
Came under the wire behind the other runners.
  
And so, Remorse, who is gone, was the hero of a play
By Henry Blossom, who is now gone.
  
What is there to a monicker? Call me anything.
A nut, a cheese, something that the cat brought in.
  Nick me with any old name.
Class me up for a fish, a gorilla, a slant head, an egg, a ham.
Only ... slam me across the ears sometimes ... and hunt for a white star
In my forehead and twist the bang of my forelock around it.
Make a wish for me. Maybe I will light out like a streak of wind.

THEY are crying salt tears
Over the beautiful beloved body
Of Inez Milholland,
Because they are glad she lived,
Because she loved open-armed,
Throwing love for a cheap thing
Belonging to everybody-
Cheap as sunlight,
And morning air.

THE DOUBLE moon, one on the high back drop of the west, one on the curve of the river face,
The sky moon of fire and the river moon of water, I am taking these home in a basket, hung on an elbow, such a teeny weeny elbow, in my head.
I saw them last night, a cradle moon, two horns of a moon, such an early hopeful moon, such a child's moon for all young hearts to make a picture of.
The river-I remember this like a picture-the river was the upper twist of a written question mark.
I know now it takes many many years to write a river, a twist of water asking a question.
And white stars moved when the moon moved, and one red star kept burning, and the Big Dipper was almost overhead.

LET the crows go by hawking their caw and caw.
They have been swimming in midnights of coal mines somewhere.
Let 'em hawk their caw and caw.

Let the woodpecker drum and drum on a hickory stump.
He has been swimming in red and blue pools somewhere hundreds of years
And the blue has gone to his wings and the red has gone to his head.
Let his red head drum and drum.

Let the dark pools hold the birds in a looking-glass.
And if the pool wishes, let it shiver to the blur of many wings, old swimmers from old places.

Let the redwing streak a line of vermillion on the green wood lines.
And the mist along the river fix its purple in lines of a woman's shawl on lazy shoulders.

(Chirstmas Day, 1917)THE FIVE O'CLOCK prairie sunset is a strong man going to sleep after a long day in a cornfield.
  
The red dust of a rusty crimson is fixed with ******* of lavender. A hook of smoke, a woman's nose in charcoal and ... nothing.
  
The timberline turns in a cover of purple. A grain elevator humps a shoulder. One steel star whisks out a pointed fire. Moonlight comes on the stubble.
  
"Jesus in an Illinois barn early this morning, the baby Jesus ... in flannels ..."

Guns on the battle lines have pounded now a year
     between Brussels and Paris.
And, William Morris, when I read your old chapter on
     the great arches and naves and little whimsical
     corners of the Churches of Northern France--Brr-rr!
I'm glad you're a dead man, William Morris, I'm glad
     you're down in the damp and mouldy, only a memory
     instead of a living man--I'm glad you're gone.
You never lied to us, William Morris, you loved the
     shape of those stones piled and carved for you to
     dream over and wonder because workmen got joy
     of life into them,
Workmen in aprons singing while they hammered, and
     praying, and putting their songs and prayers into
     the walls and roofs, the bastions and cornerstones
     and gargoyles--all their children and kisses of
     women and wheat and roses growing.
I say, William Morris, I'm glad you're gone, I'm glad
     you're a dead man.
Guns on the battle lines have pounded a year now between
     Brussels and Paris.

I TOOK away three pictures.
One was a white gull forming a half-mile arch from the pines toward Waukegan.
One was a whistle in the little sandhills, a bird crying either to the sunset gone or the dusk come.
One was three spotted waterbirds, zigzagging, cutting scrolls and jags, writing a bird Sanscrit of wing points, half over the sand, half over the water, a half-love for the sea, a half-love for the land.
  
I took away three thoughts.
One was a thing my people call "love," a shut-in river hunting the sea, breaking white falls between tall clefs of hill country.
One was a thing my people call "silence," the wind running over the butter faced sand-flowers, running over the sea, and never heard of again.
One was a thing my people call "death," neither a whistle in the little sandhills, nor a bird Sanscrit of wing points, yet a coat all the stars and seas have worn, yet a face the beach wears between sunset and dusk.

Sandland where the salt water kills the sweet potatoes.
Homes for sandpipers-the script of their feet is on the sea shingles-they write in the morning, it is gone at noon-they write at noon, it is gone at night.
Pity the land, the sea, the ten mile flats, pity anything but the sandpiper's wire legs and feet.

THE WIND stops, the wind begins.
The wind says stop, begin.
  
A sea shovel scrapes the sand floor.
The shovel changes, the floor changes.
  
The sandpipers, maybe they know.
Maybe a three-pointed foot can tell.
Maybe the fog moon they fly to, guesses.
  
The sandpipers cheep "Here" and get away.
Five of them fly and keep together flying.
  
Night hair of some sea woman
Curls on the sand when the sea leaves
The salt tide without a good-by.
  
Boxes on the beach are empty.
Shake 'em and the nails loosen.
They have been somewhere.

CAST a bronze of my head and legs and put them on the king's street.
Set the cast of me here alongside Carl XII, making two Carls for the Swedish people and the utlanders to look at between the palace and the Grand Hotel.
The summer sun will shine on both the Carls, and November drizzles wrap the two, one in tall leather boots, one in wool leggins.
Also I place it in the record: the Swedish people may name boats after me or change the name of a long street and give it one of my nicknames.
The old men who beset the soil of Sweden and own the titles to the land-the old men who enjoy a silken shimmer to their chin whiskers when they promenade the streets named after old kings-if they forget me-the old men whose varicose veins stand more and more blue on the calves of their legs when they take their morning baths attended by old women born to the bath service of old men and young-if these old men say another King Carl should have a bronze on the king's street rather than a Fool Carl-
Then I would hurl them only another fool's laugh-
I would remember last Sunday when I stood on a jutland of fire-born red granite watching the drop of the sun in the middle of the afternoon and the full moon shining over Stockholm four o'clock in the afternoon.
If the young men will read five lines of one of my poems I will let the kings have all the bronze-I ask only that one page of my writings be a knapsack keepsake of the young men who are the bloodkin of those who laughed nine hundred years ago: We are afraid of nothing-only-the sky may fall on us.

THE SEA-WASH never ends.
The sea-wash repeats, repeats.
Only old songs? Is that all the sea knows?
  Only the old strong songs?
  Is that all?
The sea-wash repeats, repeats.

IN the moonlight under a ****-bark hickory tree
Watching the yellow shadows melt in hoof-pools,
Listening to the yes and the no of a woman's hands,
I kept my guess why the night was glad.
  
The night was lit with a woman's eyes.
The night was crossed with a woman's hands,
The night kept humming an undersong.

Thousands of sheep, soft-footed, black-nosed sheep--
one by one going up the hill and over the fence--one by
one four-footed pattering up and over--one by one wiggling
their stub tails as they take the short jump and go
over--one by one silently unless for the multitudinous
drumming of their hoofs as they move on and go over--
thousands and thousands of them in the grey haze of
evening just after sundown--one by one slanting in a
long line to pass over the hill--

     I am the slow, long-legged Sleepyman and I love you
sheep in Persia, California, Argentine, Australia, or
Spain--you are the thoughts that help me when I, the
Sleepyman, lay my hands on the eyelids of the children
of the world at eight o'clock every night--you thousands
and thousands of sheep in a procession of dusk making
an endless multitudinous drumming on the hills with
your hoofs.

IN the Shenandoah Valley, one rider gray and one rider blue, and the sun on the riders wondering.

Piled in the Shenandoah, riders blue and riders gray, piled with shovels, one and another, dust in the Shenandoah taking them quicker than mothers take children done with play.

The blue nobody remembers, the gray nobody remembers, it's all old and old nowadays in the Shenandoah..    .    .
And all is young, a butter of dandelions slung on the turf, climbing blue flowers of the wishing woodlands wondering: a midnight purple violet claims the sun among old heads, among old dreams of repeating heads of a rider blue and a rider gray in the Shenandoah.

My shirt is a token and symbol,
more than a cover for sun and rain,
my shirt is a signal,
and a teller of souls.

I can take off my shirt and tear it,
and so make a ripping razzly noise,
and the people will say,
"Look at him tear his shirt."

I can keep my shirt on.
I can stick around and sing like a little bird
and look 'em all in the eye and never be fazed.
I can keep my shirt on.

A man was crucified. He came to the city a stranger,
was accused, and nailed to a cross. He lingered hanging.
Laughed at the crowd. "The nails are iron," he
said, "You are cheap. In my country when we crucify
we use silver nails..." So he went jeering. They
did not understand him at first. Later they talked about
him in changed voices in the saloons, bowling alleys, and
churches. It came over them every man is crucified
only once in his life and the law of humanity dictates
silver nails be used for the job. A statue was erected
to him in a public square. Not having gathered his
name when he was among them, they wrote him as John
Silvernail on the statue.

DO you know how the dream looms? how if summer misses one of us the two of us miss summer-
Summer when the lungs of the earth take a long breath for the change to low contralto singing mornings when the green corn leaves first break through the black loam-
And another long breath for the silver soprano melody of the moon songs in the light nights when the earth is lighter than a feather, the iron mountains lighter than a goose down-
So I shall look for you in the light nights then, in the laughter of slats of silver under a hill hickory.
In the listening tops of the hickories, in the wind motions of the hickory shingle leaves, in the imitations of slow sea water on the shingle silver in the wind-
  I shall look for you.

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.

ON the lips of the child Janet float changing dreams.
It is a thin spiral of blue smoke,
A morning campfire at a mountain lake.

On the lips of the child Janet,
Wisps of haze on ten miles of corn,
Young light blue calls to young light gold of morning.

The shadows of the ships
Rock on the crest
In the low blue lustre
Of the tardy and the soft inrolling tide.

A long brown bar at the dip of the sky
Puts an arm of sand in the span of salt.

The lucid and endless wrinkles
Draw in, lapse and withdraw.
Wavelets crumble and white spent bubbles
Wash on the floor of the beach.

          Rocking on the crest
          In the low blue lustre
          Are the shadows of the ships.

By day the skyscraper looms in the smoke and sun and
     has a soul.
Prairie and valley, streets of the city, pour people into
     it and they mingle among its twenty floors and are
     poured out again back to the streets, prairies and
     valleys.
It is the men and women, boys and girls so poured in and
     out all day that give the building a soul of dreams
     and thoughts and memories.
(Dumped in the sea or fixed in a desert, who would care
     for the building or speak its name or ask a policeman
     the way to it?)

Elevators slide on their cables and tubes catch letters and
     parcels and iron pipes carry gas and water in and
     sewage out.
Wires climb with secrets, carry light and carry words,
     and tell terrors and profits and loves--curses of men
     grappling plans of business and questions of women
     in plots of love.

Hour by hour the caissons reach down to the rock of the
     earth and hold the building to a turning planet.
Hour by hour the girders play as ribs and reach out and
     hold together the stone walls and floors.

Hour by hour the hand of the mason and the stuff of the
     mortar clinch the pieces and parts to the shape an
     architect voted.
Hour by hour the sun and the rain, the air and the rust,
     and the press of time running into centuries, play
     on the building inside and out and use it.

Men who sunk the pilings and mixed the mortar are laid
     in graves where the wind whistles a wild song
     without words
And so are men who strung the wires and fixed the pipes
     and tubes and those who saw it rise floor by floor.
Souls of them all are here, even the hod carrier begging
     at back doors hundreds of miles away and the brick-
     layer who went to state's prison for shooting another
     man while drunk.
(One man fell from a girder and broke his neck at the
     end of a straight plunge--he is here--his soul has
     gone into the stones of the building.)

On the office doors from tier to tier--hundreds of names
     and each name standing for a face written across
     with a dead child, a passionate lover, a driving
     ambition for a million dollar business or a lobster's
     ease of life.

Behind the signs on the doors they work and the walls
     tell nothing from room to room.
Ten-dollar-a-week stenographers take letters from
     corporation officers, lawyers, efficiency engineers,
     and tons of letters go bundled from the building to all
     ends of the earth.
Smiles and tears of each office girl go into the soul of
     the building just the same as the master-men who
     rule the building.

Hands of clocks turn to noon hours and each floor
     empties its men and women who go away and eat
     and come back to work.
Toward the end of the afternoon all work slackens and
     all jobs go slower as the people feel day closing on
     them.
One by one the floors are emptied... The uniformed
     elevator men are gone. Pails clang... Scrubbers
     work, talking in foreign tongues. Broom and water
     and mop clean from the floors human dust and spit,
     and machine grime of the day.
Spelled in electric fire on the roof are words telling
     miles of houses and people where to buy a thing for
     money. The sign speaks till midnight.

Darkness on the hallways. Voices echo. Silence
     holds... Watchmen walk slow from floor to floor
     and try the doors. Revolvers bulge from their hip
     pockets... Steel safes stand in corners. Money
     is stacked in them.
A young watchman leans at a window and sees the lights
     of barges butting their way across a harbor, nets of
     red and white lanterns in a railroad yard, and a span
     of glooms splashed with lines of white and blurs of
     crosses and clusters over the sleeping city.
By night the skyscraper looms in the smoke and the stars
     and has a soul.

A FOREFINGER of stone, dreamed by a sculptor, points to the sky.
It says: This way! this way!

Four lions snore in stone at the corner of the shaft.
They too are the dream of a sculptor.
They too say: This way! this way!

The street cars swing at a curve.
The middle-class passengers witness low life.
The car windows frame low life all day in pictures.

Two Italian cellar delicatessens
            sell red and green peppers.
The Florida bananas furnish a burst of yellow.
The lettuce and the cabbage give a green.

Boys play marbles in the cinders.
The boys' hands need washing.
The boys are glad; they fight among each other.

A plank bridge leaps the Lehigh Valley railroad.
Then acres of steel rails, freight cars, smoke,
And then ... the blue lake shore
...Erie with Norse blue eyes ... and the white sun.

SLEEP is a maker of makers. Birds sleep. Feet cling to a perch. Look at the balance. Let the legs loosen, the backbone untwist, the head go heavy over, the whole works tumbles a done bird off the perch.
  
Fox cubs sleep. The pointed head curls round into hind legs and tail. It is a ball of red hair. It is a **** waiting. A wind might whisk it in the air across pastures and rivers, a cocoon, a pod of seeds. The snooze of the black nose is in a circle of red hair.
  
Old men sleep. In chimney corners, in rocking chairs, at wood stoves, steam radiators. They talk and forget and nod and are out of talk with closed eyes. Forgetting to live. Knowing the time has come useless for them to live. Old eagles and old dogs run and fly in the dreams.
  
Babies sleep. In flannels the papoose faces, the bambino noses, and dodo, dodo the song of many matushkas. Babies-a leaf on a tree in the spring sun. A nub of a new thing ***** the sap of a tree in the sun, yes a new thing, a what-is-it? A left hand stirs, an eyelid twitches, the milk in the belly bubbles and gets to be blood and a left hand and an eyelid. Sleep is a maker of makers.

THE SIX month child
Fresh from the tub
Wriggles in our hands.
This is our fish child.
Give her a nickname: Slippery.

I SIT in a chair and read the newspapers.

Millions of men go to war, acres of them are buried, guns and ships broken, cities burned, villages sent up in smoke, and children where cows are killed off amid hoarse barbecues vanish like finger-rings of smoke in a north wind.

I sit in a chair and read the newspapers.

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.

THE DOME of the capitol looks to the Potomac river.
  Out of haze over the sunset,
  Out of a smoke rose gold:
One star shines over the sunset.
Night takes the dome and the river, the sun and the smoke rose gold,
The haze changes from sunset to star.
The pour of a thin silver struggles against the dark.
A star might call: It's a long way across.

SNOW took us away from the smoke valleys into white mountains, we saw velvet blue cows eating a vermillion grass and they gave us a pink milk.
  
Snow changes our bones into fog streamers caught by the wind and spelled into many dances.
  
Six bits for a sniff of snow in the old days bought us bubbles beautiful to forget floating long arm women across sunny autumn hills.
  
Our bones cry and cry, no let-up, cry their telegrams:
More, more-a yen is on, a long yen and God only knows when it will end.
  
In the old days six bits got us snow and stopped the yen-now the government says: No, no, when our bones cry their telegrams: More, more.
  
The blue cows are dying, no more pink milk, no more floating long arm women, the hills are empty-us for the smoke valleys-sneeze and shiver and croak, you dopes-the government says: No, no.

Let us be honest; the lady was not a harlot until she
     married a corporation lawyer who picked her from
     a Ziegfeld chorus.
Before then she never took anybody's money and paid
     for her silk stockings out of what she earned singing
     and dancing.
She loved one man and he loved six women and the
     game was changing her looks, calling for more and
     more massage money and high coin for the beauty
     doctors.
Now she drives a long, underslung motor car all by herself,
     reads in the day's papers what her husband is
     doing to the inter-state commerce commission, requires
     a larger corsage from year to year, and wonders
     sometimes how one man is coming along with
     six women.

I saw a famous man eating soup.
I say he was lifting a fat broth
Into his mouth with a spoon.
His name was in the newspapers that day
Spelled out in tall black headlines
And thousands of people were talking about him.

    When I saw him,
He sat bending his head over a plate
Putting soup in his mouth with a spoon.

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.

FASTEN black eyes on me.
I ask nothing of you under the peach trees,
Fasten your black eyes in my gray with the spear of a storm.
The air under the peach blossoms is a haze of pink.

GATHER the stars if you wish it so.
Gather the songs and keep them.
Gather the faces of women.
Gather for keeping years and years.
  
  And then ...
Loosen your hands, let go and say good-by.
  Let the stars and songs go.
  Let the faces and years go.
  Loosen your hands and say good-by.

Napoleon shifted,
Restless in the old sarcophagus
And murmured to a watchguard:
"Who goes there?"
"Twenty-one million men,
Soldiers, armies, guns,
Twenty-one million
Afoot, horseback,
In the air,
Under the sea."
And Napoleon turned to his sleep:
"It is not my world answering;
It is some dreamer who knows not
The world I marched in
From Calais to Moscow."
And he slept on
In the old sarcophagus
While the aeroplanes
Droned their motors
Between Napoleon's mausoleum
And the cool night stars.

COOL your heels on the rail of an observation car.
Let the engineer open her up for ninety miles an hour.
Take in the prairie right and left, rolling land and new hay crops, swaths of new hay laid in the sun.
A gray village flecks by and the horses hitched in front of the post-office never blink an eye.
A barnyard and fifteen Holstein cows, dabs of white on a black wall map, never blink an eye.
A signalman in a tower, the outpost of Kansas City, keeps his place at a window with the serenity of a bronze statue on a dark night when lovers pass whispering.

I WALKED among the streets of an old city and the streets were lean as the throats of hard seafish soaked in salt and kept in barrels many years.
How old, how old, how old, we are:-the walls went on saying, street walls leaning toward each other like old women of the people, like old midwives tired and only doing what must be done.
The greatest the city could offer me, a stranger, was statues of the kings, on all corners bronzes of kings-ancient bearded kings who wrote books and spoke of God's love for all people-and young kings who took forth armies out across the frontiers splitting the heads of their opponents and enlarging their kingdoms.
Strangest of all to me, a stranger in this old city, was the murmur always whistling on the winds twisting out of the armpits and fingertips of the kings in bronze:-Is there no loosening? Is this for always?
In an early snowflurry one cried:-Pull me down where the tired old midwives no longer look at me, throw the bronze of me to a fierce fire and make me into neckchains for dancing children.

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.

POLICEMAN in front of a bank 3 A.M. ... lonely.
Policeman State and Madison ... high noon ... mobs ... cars ... parcels ... lonely.
  
Woman in suburbs ... keeping night watch on a sleeping typhoid patient ... only a clock to talk to ... lonesome.
Woman selling gloves ... bargain day department store ... furious crazy-work of many hands slipping in and out of gloves ... lonesome.