marked by the flight of men,
lights stranger than stars.
The phoebes cross and re-cross
the openings, alert
for what may still be earned
from the light. The whippoorwills
begin, and the frogs. And the dark
falls, again, as it must.
The look of the world withdraws
into the vein of memory.
The mirrored tree, darkening, stirs
with the water’s inward life. What has
made it so?—a quietness in it
no question can be asked in.
BEFORE DARK
From the porch at dusk I watched
a kingfisher wild in flight
he could only have made for joy.
He came down the river, splashing
against the water’s dimming face
like a skipped rock, passing
on down out of sight. And still
I could hear the splashes
farther and farther away
as it grew darker. He came back
the same way, dusky as his shadow,
sudden beyond the willows.
The splashes went on out of hearing.
It was dark then. Somewhere
the night had accommodated him
—at the place he was headed for
or where, led by his delight,
he came.
THE DREAM
I dream an inescapable dream
in which I take away from the country
the bridges and roads, the fences, the strung wires,
ourselves, all we have built and dug and hollowed out,
our flocks and herds, our droves of machines.
I restore then the wide-branching trees.
I see growing over the land and shading it
the great trunks and crowns of the first forest.
I am aware of the rattling of their branches,
the lichened channels of their bark, the saps
of the ground flowing upward to their darkness.
Like the afterimage of a light that only by not
looking can be seen, I glimpse the country as it was.
All its beings belong wholly to it. They flourish
in dying as in being born. It is the life of its deaths.
I must end, always, by replacing
our beginning there, ourselves and our blades,
the flowing in of history, putting back what I took away,
trying always with the same pain of foreknowledge
to build all that we have built, but destroy nothing.
My hands weakening, I feel on all sides blindness
growing in the land on its peering bulbous stalks.
I see that my mind is not good enough.
I see that I am eager to own the earth and to own men.
I find in my mouth a bitter taste of money,
a gaping syllable I can neither swallow nor spit out.
I see all that we have ruined in order to have, all
that was owned for a lifetime to be destroyed forever.
Where are the sleeps that escape such dreams?
THE SYCAMORE
for Harry Caudill
In the place that is my own place, whose earth
I am shaped in and must bear, there is an old tree growing,
a great sycamore that is a wondrous healer of itself.
Fences have been tied to it, nails driven into it,
hacks and whittles cut in it, the lightning has burned it.
There is no year it has flourished in
that has not harmed it. There is a hollow in it
that is its death, though its living brims whitely
at the lip of the darkness and flows outward.
Over all its scars has come the seamless white
of the bark. It bears the gnarls of its history
healed over. It has risen to a strange perfection
in the warp and bending of its long growth.
It has gathered all accidents into its purpose.
It has become the intention and radiance of its dark fate.
It is a fact, sublime, mystical and unassailable.
In all the country there is no other like it.
I recognize in it a principle, an indwelling
the same as itself, and greater, that I would be ruled by.
I see that it stands in its place, and feeds upon it,
and is fed upon, and is native, and maker.
THE MEADOW
In the town’s graveyard the oldest plot now frees itself
of sorrow, the myrtle of the graves grown wild. The last
who knew the faces who had these names are dead,
and now the names fade, dumb on the stones, wild
as shadows in the grass, clear to the rabbit and the wren.
Ungrieved, the town’s ancestry fits the earth. They become
a meadow, their alien marble grown native as maple.
AGAINST THE WAR IN VIETNAM
Believe the automatic righteousness
of whoever holds an office. Believe
the officials who see without doubt
that peace is assured by war, freedom
by oppression. The truth preserved by lying
becomes a lie. Believe or die.
In the name of ourselves we ride
at the wheels of our engines,
in the name of Plenty devouring all,
the exhaust of our progress falling
deadly on villages and fields
we do not see. We are prepared
for millions of little deaths.
Where are the quiet plenteous dwellings
we were coming to, the neighborly holdings?
We see the American freedom defended
with lies, and the lies defended
with blood, the vision of Jefferson
served by the agony of children,
women cowering in holes.
DARK WITH POWER
Dark with power, we remain
the invaders of our land, leaving
deserts where forests were,
scars where there were hills.
On the mountains, on the rivers,
on the cities, on the farmlands
we lay weighted hands, our breath
potent with the death of all things.
Pray to us, farmers and villagers
of Vietnam. Pray to us, mothers
and children of helpless countries.
Ask for nothing.
We are carried in the belly
of what we have become
toward the shambles of our triumph,
far from the quiet houses.
Fed with dying, we gaze
on our might’s monuments of fire.
The world dangles from us
while we gaze.
IN MEMORY: STUART EGNAL
A high wooded hill near Florence, an April
afternoon. Below, the valley farms
were still and small, stall and field
hushed in brightness. Around us the woods
woke with sound, and shadows lived
in the air and on the dry leaves. You
were drawing what we saw. Its forms
and lights reached slowly to your page.
We talked, and laughed at what we said.
Fine hours. The sort men dream
of having, and of having had. Today
while I slept I saw it all
again, and words for you came to me
as though we sat there talking still
in the quick of April. A wakening
strangeness—here in another valley
you never lived to come to—half
a dialogue, keeping on.
THE WANT OF PEACE
All goes back to the earth,
and so I do not desire
pride of excess or power,
but the content
ments made
by men who have had little:
the fisherman’s silence
receiving the river’s grace,
the gardner’s musing on rows.
I lack the peace of simple things.
I am never wholly in place.
I find no peace or grace.
We sell the world to buy fire,
our way lighted by burning men,
and that has bent my mind
and made me think of darkness
and wish for the dumb life of roots.
THE PEACE OF WILD THINGS
When despair for the world grows in me
and I wake in the night at the least sound
in fear of what my life and my children’s lives may be,
I go and lie down where the wood drake
rests in his beauty on the water, and the great heron feeds.
I come into the peace of wild things
who do not tax their lives with forethought
of grief. I come into the presence of still water.
And I feel above me the day-blind stars
waiting with their light. For a time
I rest in the grace of the world, and am free.
GRACE
for Gurney Norman, quoting him
The woods is shining this morning.
Red, gold and green, the leaves
lie on the ground, or fall,
or hang full of light in the air still.
Perfect in its rise and in its fall, it takes
the place it has been coming to forever.
It has not hastened here, or lagged.
See how surely it has sought itself,
its roots passing lordly through the earth.
See how without confusion it is
all that it is, and how flawless
its grace is. Running or walking, the way
is the same. Be still. Be still.
“He moves your bones, and the way is clear.”
TO THINK OF THE LIFE OF A MAN
In a time that breaks
in cutting pieces all around,
when men, voiceless
against thing-ridden men,
set themselves on fire, it seems
too difficult and rare
to think of the life of a man
grown whole in the world,
at peace and in place.
But having thought of it
I am beyond the time
I might have sold my hands
or sold my voice and mind
to the arguments of power
that go blind against
what they would destroy.
MARRIAGE
to Tanya
How hard it is for me, who live
in the excitement of women
and have the desire for them
in my mouth like salt. Yet
you have taken me and quieted me.
You have been such light to me
that other women have been
your shadows. You come near me
with the nearness of sleep.
And yet I am not quiet.
It is to be broken. It is to be
torn open. It is not to be
reached and come to rest in
ever. I turn against you,
I break from you, I turn to you.
We hurt, and are hurt,
and have each other for healing.
It is healing. It is never whole.
DO NOT BE ASHAMED
You will be walking some night
in the comfortable dark of your yard
and suddenly a great light will shine
round about you, and behind you
will be a wall you never saw before.
It will be clear to you suddenly
that you were about to escape,
and that you are guilty: you misread
the complex instructions, you are not
a member, you lost your card
or never had one. And you will know
that they have been there all along,
their eyes on your letters and books,
their hands in your pockets,
their ears wired to your bed.
Though you have done nothing shameful,
they will want you to be ashamed.
They will want you to kneel and weep
and say you should have been like them.
And once you say you are ashamed,
reading the page they hold out to you,
then such light as you have made
in your history will leave you.
They will no longer need to pursue you.
You will pursue them, begging forgiveness.
They will not forgive you.
There is no power against them.
It is only candor that is aloof from them,
only an inward clarity, unashamed,
that they cannot reach. Be ready.
When their light has picked you out
and their questions are asked, say to them:
“I am not ashamed.” A sure horizon
will come around you. The heron will begin
his evening flight from the hilltop.
WINDOW POEMS
1.
Window. Window.
The wind’s eye
to see into the wind.
The eye in its hollow
looking out
through the black frame
at the waves the wind
drives up the river,
whitecaps, a wild day,
the white sky
traveled by snow squalls,
the trees thrashing,
the corn blades driven,
quivering, straight out.
2.
The foliage has dropped
below the window’s grave edge,
baring the sky, the distant
hills, the branches,
the year’s greenness
gone down from the high
light where it so fairly
defied falling.
The country opens to the sky,
the eye purified among hard facts:
the black grid of the window,
the wood of trees branching
outward and outward
to the nervousness of twigs,
buds asleep in the air.
3.
The window has forty
panes, forty clarities
variously wrinkled, streaked
with dried rain, smudged,
dusted. The frame
is a black grid
beyond which the world
flings up the wild
graph of its growth,
tree branch, river,
slope of land,
the river passing
downward, the clouds blowing,
usually, from the west,
the opposite way.
The window is a form
of consciousness, pattern
of formed sense
through which to look
into the wild
that is a pattern too,
but dark and flowing,
bearing along the little
shapes of the mind
as the river bears
a sash of some blinded house.
This windy day
on one of the panes
a blown seed, caught
in cobweb, beats and beats.
4.
This is the wind’s eye,
Wendell’s window
dedicated to purposes
dark to him, a seeing into
days to come, the winds
of the days as they approach
and go by. He has come
mornings of four years
to be thoughtful here
while day and night
cold and heat
beat upon the world.
In the low room
within the weathers,
he has shed himself
at times, and been renewed.
The spark at his wrist
flickers and dies, flickers
and dies. The life in him
grows and subsides
and grows again
like the icicle throbbing
winter after winter
at a wrinkle in the eave,
flowing over itself
as it comes and goes,
fluid as a branch.
5.
Look in
and see him looking out.
He is not always
quiet, but there have been times
when happiness has come
to him, unasked,
like the stillness on the water
that holds the evening clear
while it subsides
—and he let go
what he was not.
His ancestor is the hill
that rises in the winter wind
beyond the blind wall
at his back.
It wears a patched robe
of some history that he knows
and some that he
does not: healed fields
where the woods come back
after a time of crops,
human history
done with, a few
ragged fences surviving
among the trees;
and on the ridges still
there are open fields
where the cattle look up
to watch him on his walks
with eyes patient as time.
The hill has known
too many days and men
grown quiet behind him.
But there are mornings
when his soul emerges
from darkness
as out of a hollow in a tree
high on the crest
and takes flight
with savage joy and harsh
outcry down the long slope
of the leaves. And nights
when he sleeps sweating
under the burden of the hill.
At the window
he sits and looks out,
musing on the river,
a little brown hen duck
paddling upstream
among the windwaves
close to the far bank.
What he has understood
lies behind him
like a road in the woods. He is
a wilderness looking out
at the wild.
New Collected Poems Page 5