This post's purpose is to collect my common tags in one place, so readers (and I!) can easily access entries on several subjects.

As It Was Written

Earth, earth,
riding your merry-go-round
toward extinction,
right to the roots,
thickening the oceans like gravy,
festering in your caves,
you are becoming a latrine.
Your trees are twisted chairs.
Your flowers moan at their mirrors,
and cry for a sun that doesn't wear a mask.

Your clouds wear white,
trying to become nuns
and say novenas to the sky.
The sky is yellow with its jaundice,
and its veins spill into the rivers
where the fish kneel down
to swallow hair and goat's eyes.

All in all, I'd say,
the world is strangling.
And I, in my bed each night,
listen to my twenty shoes
converse about it.
And the moon,
under its dark hood,
falls out of the sky each night,
with its hungry red mouth
to suck at my scars.

--Anne Sexton

Imitations of Drowning

Fear
of drowning,
fear of being that alone,
kept me busy making a deal
as if I could buy
my way out of it
and it worked for two years
and all of July.

This August I began to dream of drowning. The dying
went on and on in water as white and clear
as the gin I drink each day at half-past five.
Going down for the last time, the last breath lying,
I grapple with eels like ropes – it's ether, it's queer
and then, at last, it's done. Now the scavengers arrive,
the hard crawlers who come to élan up the ocean floor.
And death, that old butcher, will bother me no more.

I
had never
had this dream before
except twice when my parents
clung to rafts
and sat together for death,
frozen
like lewd photographs.

Who listens to dreams? Only symbols for something –
like money for the analyst or your mother's wig,
the arm I almost lost in the washroom wringer,
following fear to its core, tugging the old string.
But real drowning is for someone else. It's too big
to put in your mouth on purpose, it puts hot stingers
in your tongue and vomit in your nose as your lungs break.
Tossed like a wet dog by that juggler, you die awake.

Fear,
a motor,
pumps me around and around
until I fade slowly
and the crowd laughs.
I fade out, and old bicycle rider
whose odds are measured
in actuary graphs.

This weekend the papers were black with the new highway
fatalities and in Boston the strangler found another victim
and we were all in Truro drinking beer and writing checks.
The other rode the surf, commanding rafts like sleighs.
I swam – but the tide came in like ten thousand orgasms.
I swam – but the waves were higher than horses' necks.
I was shut up in that closet, until, biting the door,
they dragged me out, dribbling urine on the gritty shore.

Breathe!
And you'll know...
an ant in a pot of chocolate,
it boils
and surrounds you.
There is no news in fear
but in the end it's fear
that drowns you.

--Anne Sexton, September 1962

All My Pretty Ones

Father, this year's jinx rides us apart
where you followed our mother to her cold slumber;
a second shock boiling its stone to your heart,
leaving me here to shuffle and disencumber
you from the residence you could not afford:
a gold key, your half of a woolen mill,
twenty suits from Dunne's, an English Ford,
the love and legal verbiage of another will,
boxes of pictures of people I do not know.
I touch their cardboard faces. They must go.

But the eyes, as thick as wood in this album,
hold me. I stop here, where a small boy
waits in a ruffled dress for someone to come...
for this soldier who holds his bugle like a toy
or for this velvet lady who cannot smile.
Is this your father's father, this Commodore
in a mailman suit? My father, time meanwhile
has made it unimportant who you are looking for.
I'll never know what these faces are all about.
I lock them into their book and throw them out.

Tlis is the yellow scrapbook that you began
the year I was born; as crackling now and wrinkly
as tobacco leaves: clippings where Hoover outran
the Democrats, wiggling his dry finger at me
and Prohibition; news where the Hindenburg went
down and recent years where you went flush
on war. This year, solvent but sick, you meant
to marry that pretty widow in a one-month rush.
But before you had that second chance, I cried
on your fat shoulder. Three days later you died.

These are the snapshots of marriage, stopped in places.
Side by side at the rail toward Nassau now;
here, with the winner's cup at the speedboat races,
here, in tails at the Cotillion, you take a bow,
here, by our kennel of dogs with their pink eyes,
running like show-bred pigs in their chain-link pen;
here, at the horseshow where my sister wins a prize;
Now I fold you down, my drunkard, my navigator,
my first lost keeper, to love or look at later.

I hold a five-year diary that my mother kept
for three years, telling all she does not say
of your alcoholic tendency. You overslept,
she writes. My God, father, each Christmas Day
with your blood, will I drink down your glass
of wine? The diary of your hurly-burly years
goes to my shelf to wait for my age to pass.
Only in this hoarded span will love persevere.
Whether you are pretty or not, I outlive you,
bend down my strange face to yours and forgive you.

--Anne Sexton

Lovers

You were glad to-night: and now you've gone away.
Flushed in the dark, you put your dreams to bed;
But as you fall asleep I hear you say
Those tired sweet drowsy words we left unsaid.

Sleep well: for I can follow you, to bless
And lull your distant beauty where you roam;
And with wild songs of hoarded loveliness
Recall you to these arms that were your home.

--Siegfried Sassoon, Picture-Show, 1920

After The Bombing

My hesitant design it was, in a time when no man feared,
To make a poem on the last poor flower to have grown on the patch of land
Where since a gray enormous stack of shops and offices reared
Its bulk as though to eternity there to stand.

Moreover I dreamed of a lyrical verse to welcome another flower,
The first to blow on that hidden sites when the concrete block should cease
Gorging the space; it could not be mine to foretell the means, the hour.
But nature whispered something of a longer lease.

We look from the street now over a breezy wilderness of bloom,
Now crowding its colours between the sills and cellars,
hosts of flames
And foam, pearl-pink and thunder-red, befriending the makeshift tomb
Of a most ingenious but impermanent claim.

--Edmund Blunden

Elegy
to Robert Ross

Your dextrous wit will haunt us long
Wounding our grief with yesterday.
Your laughter is a broken song;
And death has found you, kind and gay.

We may forget those transient things
That made your charm and our delight:
But loyal love has deathless wings
That rise and triumph out of night.

So, in the days to come, your name
Shall be as music that ascends
When honour turns a heart from shame...
O heart of hearts! ... O friend of friends!

--Siegfried Sassoon

Prelude to an Unwritten Masterpiece

You like my bird-sung gardens: wings and flowers;
Calm landscapes for emotion; star-lit lawns;
And Youth against the sun-rise ... 'Not profound;
'But such a haunting music in the sound:
'Do it once more; it helps us to forget'.

Last night I dreamt an old recurring scene--
Some complex out of childhood; (sex, of course!)
I can't remember how the trouble starts;
And then I'm running blindly in the sun
Down the old orchard, and there's something cruel
Chasing me; someone roused to a grim pursuit
Of clumsy anger ... Crash! I'm through the fence
And thrusting wildly down the wood that's dense
With woven green of safety; paths that wind
Moss-grown from glade to glade; and far behind,
One thwarted yell; then silence. I've escaped.

That's where it used to stop. Last night I went
Onward until the trees were dark and huge,
And I was lost, cut off from all return
By swamps and birdless jungles. I'd no chance
Of getting home for tea. I woke with shivers,
And thought of crocodiles in crawling rivers.

Some day I'll build (more ruggedly than Doughty)
A dark tremendous song you'll never hear.
My beard will be a snow-storm, drifting whiter
On bowed, prophetic shoulders, year by year.
And some will say, 'His work has grown so dreary.'
Others, 'He used to be a charming writer'.
And you, my friend, will query--
'Why can't you cut it short, you pompous blighter?'

--Siegfried Sassoon

October

Across the land a faint blue veil of mist
Seems hung; the woods wear yet arrayment sober
Till frost shall make them flame; silent and whist
The drooping cherry orchards of October
Like mournful pennons hang their shrivelling leaves
Russet and orange: all things now decay;
Long since ye garnered in your autumn sheaves,
And sad the robins pipe at set of day.

Now do ye dream of Spring when greening shaws
Confer with the shrewd breezes, and of slopes
Flower-kirtled, and of April, virgin guest;
Days that ye love, despite their windy flaws,
Since they are woven with all joys and hopes
Whereof ye nevermore shall be possessed.

--Siegfried Sassoon

Picture-Show

And still they come and go: and this is all I know--
That from the gloom I watch an endless picture-show,
Where wild or listless faces flicker on their way,
With glad or grievous hearts I'll never understand
Because Time spins so fast, and they've no time to stay
Beyond the moment's gesture of a lifted hand.

And still, between the shadow and the blinding flame,
The brave despair of men flings onward, ever the same
As in those doom-lit years that wait them, and have been...
And life is just the picture dancing on a screen.

--Siegfried Sassoon

Vision

I love all things that pass: their briefness is
Music that fades on transient silences.
Winds, birds, and glittering leaves that flare and fall--
They fling delight across the world; they call
To rhythmic-flashing limbs that rove and race...
A moment in the dawn for Youth's lit face;
A moment's passion, closing on the cry--
'O Beauty, born of lovely things that die!'

--Siegfried Sassoon

Everyone Sang

Everyone suddenly burst out singing;
And I was filled with such delight
As prisoned birds must find in freedom,
Winging wildly across the white
Orchards and dark-green fields; on--on--and out of sight.

Everyone's voice was suddenly lifted;
And beauty came like the setting sun:
My heart was shaken with tears; and horror
Drifted away...O, but Everyone
Was a bird; and the song was wordless; the singing will never be done.

--Siegfried Sassoon

To a Very Wise Man

I

Fires in the dark you build; tall quivering flames
In the huge midnight forest of the unknown.
Your soul is full of cities with dead names,
And blind-faced, earth-bound gods of bronze and stone
Whose priests and kings and lust-begotten lords
Watch the procession of their thundering hosts,
Or guard relentless fanes with flickering swords
And wizardry of ghosts.

II

In a strange house I woke; heard overhead
Hastily-thudding feet and a muffled scream...
(Is death like that?) ... I quaked uncomforted,
Striving to frame to-morrow in a dream
Of woods and sliding pools and cloudless day.
(You know how bees come into a twilight room
From dazzling afternoon, then sail away
Out of the curtained gloom.)

III

You understand my thoughts; though, when you think,
You're out beyond the boundaries of my brain.
I'm but a bird at dawn that cries 'chink, chink'—
A garden-bird that warbles in the rain.
And you're the flying-man, the speck that steers
A careful course far down the verge of day,
Half-way across the world. Above the years
You soar ... Is death so bad? ... I wish you'd say.

--Siegfried Sassoon

Idyll

In the grey summer garden I shall find you
With day-break and the morning hills behind you.
There will be rain-wet roses; stir of wings;
And down the wood a thrush that wakes and sings.
Not from the past you'll come, but from that deep
Where beauty murmurs to the soul asleep:
And I shall know the sense of life re-born
From dreams into the mystery of morn
Where gloom and brightness meet. And standing there
Till that calm song is done, at last we'll share
The league-spread, quiring symphonies that are
Joy in the world, and peace, and dawn's one star.

--Siegfried Sassoon

The Goldsmith

'This job's the best I've done.' He bent his head
Over the golden vessel that he'd wrought.
A bird was singing. But the craftsman's thought
Is a forgotten language, lost and dead.

He sighed and stretch'd brown arms. His friend came in
And stood beside him in the morning sun.
The goldwork glitter'd.... 'That's the best I've done.
'And now I've got a necklace to begin.'

This was at Gnossos, in the isle of Crete...
A girl was selling flowers along the street.

--Siegfried Sassoon

When First I Came Here

When first I came here I had hope,
Hope for I knew not what. Fast beat
My heart at the sight of the tall slope
Or grass and yews, as if my feet

Only by scaling its steps of chalk
Would see something no other hill
Ever disclosed. And now I walk
Down it the last time. Never will

My heart beat so again at sight
Of any hill although as fair
And loftier. For infinite
The change, late unperceived, this year,

The twelfth, suddenly, shows me plain.
Hope now,--not health nor cheerfulness,
Since they can come and go again,
As often one brief hour witnesses,--

Just hope has gone forever. Perhaps
I may love other hills yet more
Than this: the future and the maps
Hide something I was waiting for.

One thing I know, that love with chance
And use and time and necessity
Will grow, and louder the heart's dance
At parting than at meeting be.

--Edward Thomas

Old Man

Old Man, or Lads-Love, - in the name there’s nothing
To one that knows not Lads-Love, or Old Man,
The hoar green feathery herb, almost a tree,
Growing with rosemary and lavender.
Even to one that knows it well, the names
Half decorate, half perplex, the thing it is:
At least, what that is clings not to the names
In spite of time. And yet I like the names.

The herb itself I like not, but for certain
I love it, as someday the child will love it
Who plucks a feather from the door-side bush
Whenever she goes in or out of the house.
Often she waits there, snipping the tips and shrivelling
The shreds at last on to the path,
Thinking perhaps of nothing, till she sniffs
Her fingers and runs off. The bush is still
But half as tall as she, though it is not old;
So well she clips it. Not a word she says;
And I ca only wonder how much hereafter
She will remember, with that bitter scent,
Of garden rows, and ancient damson trees
Topping a hedge, a bent path to a door
A low thick bush beside the door, and me
Forbidding her to pick.
As for myself,
Where first I met the bitter scent is lost.
I, too, often shrivel the grey shreds,
Sniff them and think and sniff again and try
Once more to think what it is I am remembering,
Always in vain. I cannot like the scent,
Yet I would rather give up others more sweet,
With no meaning, than this bitter one.
I have mislaid the key. I sniff the spray
And think of nothing; I see and I hear nothing;
Yet seem, too, to be listening, lying in wait
For what I should, yet never can, remember;
No garden appears, no path, no hoar-green bush
Of Lad’s-love, or Old Man, no child beside,
Neither father nor mother, nor any playmate;
Only an avenue, dark, nameless, without end.

--Edward Thomas

October

The green elm with the one great bough of gold
Lets leaves into the grass slip, one by one, --
The short hill grass, the mushrooms small milk-white,
Harebell and scabious and tormentil,
That blackberry and gorse, in dew and sun,
Bow down to; and the wind travels too light
To shake the fallen birch leaves from the fern;
The gossamers wander at their own will.
At heavier steps than birds' the squirrels scold.
The rich scene has grown fresh again and new
As Spring and to the touch is not more cool
Than it is warm to the gaze; and now I might
As happy be as earth is beautiful,
Were I some other or with earth could turn
In alternation of violet and rose,
Harebell and snowdrop, at their season due,
And gorse that has no time not to be gay.
But if this be not happiness, -- who knows?
Some day I shall think this a happy day,
And this mood by the name of melancholy
Shall no more blackened and obscured be.

--Edward Thomas

Preparations For Victory

My soul, dread not the pestilence that hags
The valley; flinch not you, my body young.
At these great shouting smokes and snarling jags
Of fiery iron; as yet may not be flung
The dice that claims you. Manly move among
These ruins, and what you must do, do well;
Look, here are gardens, there mossed boughs are hung
With apples who bright cheeks none might excel,
And there's a house as yet unshattered by a shell.

"I'll do my best," the soul makes sad reply,
"And I will mark the yet unmurdered tree,
The tokens of dear homes that court the eye,
And yet I see them not as I would see.
Hovering between, a ghostly enemy.
Sickens the light, and poisoned, withered, wan,
The least defiled turns desperate to me."
The body, poor unpitied Caliban,
Parches and sweats and grunts to win the name of Man.

Days or eternities like swelling waves
Surge on, and still we drudge in this dark maze;
The bombs and coils and cans by strings of slaves
Are borne to serve the coming day of days;
Pale sleep in slimy cellars scarce allays
With its brief blank the burden. Look, we lose;
The sky is gone, the lightless, drenching haze
Of rainstorms chills the bone; earth, air are foes,
The black fiend leaps brick-red as life's last picture goes.

--Edmund Blunden, 1918

Rendezvous

I have a rendezvous with Death
At some disputed barricade,
I have a rendezvous with Death
At some disputed barricade,
When Spring comes back with rustling shade
And apple-blossoms fill the air--
I have a rendezvous with Death
When Spring brings back blue days and fair.

It may be he shall take my hand
And lead me into his dark land
And close my eyes and quench my breath--
It may be I shall pass him still.
I have a rendezvous with Death
On some scarred slope of battered hill,
When Spring comes round again this year
And the first meadow-flowers appear.

God knows 'twere better to be deep
Pillowed in silk and scented down,
Where love throbs out in blissful sleep,
Pulse nigh to pulse, and breath to breath,
Where hushed awakenings are dear . . .
But I've a rendezvous with Death
At midnight in some flaming town,
When Spring trips north again this year,
And I to my pledged word am true,
I shall not fail that rendezvous.

--Alan Seeger