by Neil Astley
In Madras a long time since,
I saw a sugary pyramid,
a tower of confectionery –
one level after another,
and in the construction, rubies,
and other blushing delights,
medieval and yellow.
Someone dirtied his hands
to cook up so much sweetness.
Brother poets from here
and there, from earth and sky,
from Medellín, from Veracruz,
Abyssinia, Antofagasta,
do you know the recipe for honeycombs?
Let’s forget all about that stone.
Let your poetry fill up
the equinoctial pastry shop
our mouths long to devour –
all the children’s mouths
and the poor adults’ also.
Don’t go on without seeing,
relishing, understanding
all these hearts of sugar.
Don’t be afraid of sweetness.
With us or without us,
sweetness will go on living
and is infinitely alive,
forever being revived,
for it’s in a man’s mouth,
whether he’s eating or singing,
that sweetness has its place.
PABLO NERUDA
translated from the Spanish by Alastair Reid
Happiness
There’s just no accounting for happiness,
or the way it turns up like a prodigal
who comes back to the dust at your feet
having squandered a fortune far away.
And how can you not forgive?
You make a feast in honor of what
was lost, and take from its place the finest
garment, which you saved for an occasion
you could not imagine, and you weep night and day
to know that you were not abandoned,
that happiness saved its most extreme form
for you alone.
No, happiness is the uncle you never
knew about, who flies a single-engine plane
onto the grassy landing strip, hitchhikes
into town, and inquires at every door
until he finds you asleep midafternoon
as you so often are during the unmerciful
hours of your despair.
It comes to the monk in his cell.
It comes to the woman sweeping the street
with a birch broom, to the child
whose mother has passed out from drink.
It comes to the lover, to the dog chewing
a sock, to the pusher, to the basket maker,
and to the clerk stacking cans of carrots
in the night.
It even comes to the boulder
in the perpetual shade of pine barrens,
to rain falling on the open sea,
to the wineglass, weary of holding wine.
JANE KENYON
Trio
Coming up Buchanan Street, quickly, on a sharp winter evening
a young man and two girls, under the Christmas lights –
The young man carries a new guitar in his arms,
the girl on the inside carries a very young baby,
and the girl on the outside carries a chihuahua.
And the three of them are laughing, their breath rises
in a cloud of happiness, and as they pass
the boy says, ‘Wait till he sees this but!’
The chihuahua has a tiny Royal Stewart tartan coat like a teapot-holder,
the baby in its white shawl is all bright eyes and mouth like favours in a fresh sweet cake,
the guitar swells out under its milky plastic cover, tied at the neck with silver tinsel tape and a brisk sprig of mistletoe.
Orphean sprig! Melting baby! Warm chihuahua!
The vale of tears is powerless before you.
Whether Christ is born, or is not born, you
put paid to fate, it abdicates
under the Christmas lights.
Monsters of the year
go blank, are scattered back,
can’t bear this march of three.
– And the three have passed, vanished in the crowd
(yet not vanished, for in their arms they wind
the life of men and beasts, and music,
laughter ringing them round like a guard)
at the end of this winter’s day.
EDWIN MORGAN
The Present
For the present there is just one moon,
though every level pond gives back another.
But the bright disc shining in the black lagoon,
perceived by astrophysicist and lover,
is milliseconds old. And even that light’s
seven minutes older than its source.
And the stars we think we see on moonless nights
are long extinguished. And, of course,
this very moment, as you read this line,
is literally gone before you know it.
Forget the here-and-now. We have no time
but this device of wantoness and wit.
Make me this present then: your hand in mine,
and we’ll live out our lives in it.
MICHAEL DONAGHY
‘The washing never gets done…’
The washing never gets done.
The furnace never gets heated.
Books never get read.
Life is never completed.
Life is like a ball which one must continually
catch and hit so that it won’t fall.
When the fence is repaired at one end,
it collapses at the other. The roof leaks,
the kitchen door won’t close, there are cracks in the foundation,
the torn knees of children’s pants…
One can’t keep everything in mind. The wonder is
that beside all this one can notice
the spring which is so full of everything
continuing in all directions – into evening clouds,
into the redwing’s song and into every
drop of dew on every blade of grass in the meadow,
as far as the eye can see, into the dusk.
JAAN KAPLINSKI
translated from the Estonian by Jaan Kaplinski with Sam Hamill & Riina Tamm
A Man in His Life
A man doesn’t have time in his life
to have time for everything.
He doesn’t have seasons enough to have
a season for every purpose. Ecclesiastes
was wrong about that.
A man needs to love and to hate at the same moment,
to laugh and cry with the same eyes,
with the same hands to throw stones and to gather them,
to make love in war and war in love.
And to hate and forgive and remember and forget,
to arrange and confuse, to eat and to digest
what history
takes years and years to do.
A man doesn’t have time.
When he loses he seeks, when he finds
he forgets, when he forgets he loves, when he loves
he begins to forget.
And his soul is seasoned, his soul
is very professional.
Only his body remains forever
an amateur. It tries and it misses,
gets muddled, doesn’t learn a thing,
drunk and blind in its pleasures
and its pains.
He will die as figs die in autumn,
shrivelled and full of himself and sweet,
the leaves growing dry on the ground,
the bare branches pointing to the place
where there’s time for everything.
YEHUDA AMICHAI
translated from the Hebrew by Chana Bloch
Entirely
If we could get the hang of it entirely
It would take too long;
All we know is the splash of words in passing
and falling twigs of song,
And when we try to eavesdrop on the great
Presences it is rarely
That by a stroke of luck we can appropriate
Even a phrase entirely.
If we could find our happiness entirely
In somebody else’s arms
We should not fear the spears of the spring nor the city’s
Yammering fire alarms
But, as it is, the spears each year go through
Our flesh and almost hourly
Bell or siren banishes the blue
Eyes of Love entirely.
And if the world were black or white entirely
And all the charts were plain
Instead of a mad weir of tigerish waters,
A prism of delight and pain,
We might be surer where we wished to go
Or again we might be merely
Bored but in brute reality there is no
Road that is right entirely.
LOUIS MACNEICE
An Absolutely Ordinary Rainbow
The word goes round Repins,
the murmur goes round Lorenzinis,
at Tattersalls, men look up from sheets of numbers,
the Stock Exchange scribblers forget the chalk in their hands
and men with bread in their pockets leave the Greek Club:
There’s a fellow crying in Martin Place. They can’t stop him.
The traffic in George Street is banked up for half a mile
and drained of motion. The crowds are edgy with talk
and more crowds come hurrying. Many run in the back streets
which minutes ago were busy main streets, pointing:
There’s a fellow weeping down there. No one can stop him.
The man we surround, the man no one approaches
simply weeps, and does not cover it, weeps
not like a child, not like the wind, like a man
and does not declaim it, nor beat his breast, nor even
sob very loudly – yet the dignity of his weeping
holds us back from his space, the hollow he makes about him
in the midday light, in his pentagram of sorrow,
and uniforms back in the crowd who tried to seize him
stare out at him, and feel, with amazement, their minds
longing for tears as children for a rainbow.
Some will say, in the years to come, a halo
or force stood around him. There is no such thing.
Some will say they were shocked and would have stopped him
but they will not have been there. The fiercest manhood,
the toughest reserve, the slickest wit amongst us
trembles with silence, and burns with unexpected
judgements of peace. Some in the concourse scream
who thought themselves happy. Only the smallest children
and such as look out of Paradise come near him
and sit at his feet, with dogs and dusty pigeons.
Ridiculous, says a man near me, and stops
his mouth with his hands, as if it uttered vomit –
and I see a woman, shining, stretch her hand
and shake as she receives the gift of weeping;
as many as follow her also receive it
and many weep for sheer acceptance, and more
refuse to weep for fear of all acceptance,
but the weeping man, like the earth, requires nothing,
the man who weeps ignores us, and cries out
of his writhen face and ordinary body
not words, but grief, not messages, but sorrow,
hard as the earth, sheer, present as the sea –
and when he stops, he simply walks between us
mopping his face with the dignity of one
man who has wept, and now has finished weeping.
Evading believers, he hurries off down Pitt Street.
LES MURRAY
Kindness
Before you know what kindness really is
you must lose things,
feel the future dissolve in a moment
like salt in a weakened broth.
What you held in your hand,
what you counted and carefully saved,
all this must go so you know
how desolate the landscape can be
between the regions of kindness.
How you ride and ride
thinking the bus will never stop,
the passengers eating maize and chicken
will stare out the window forever.
Before you learn the tender gravity of kindness,
you must travel where the Indian in a white poncho
lies dead by the side of the road.
You must see how this could be you,
how he too was someone
who journeyed through the night with plans
and the simple breath that kept him alive.
Before you know kindness as the deepest thing inside,
you must know sorrow as the other deepest thing.
You must wake up with sorrow.
You must speak to it till your voice
catches the thread of all sorrows
and you see the size of the cloth.
Then it is only kindness that makes sense anymore,
only kindness that ties your shoes
and sends you out into the day to mail letters and purchase bread,
only kindness that raises its head
from the crowd of the world to say
It is I you have been looking for,
and then goes with you everywhere
like a shadow or a friend.
NAOMI SHIHAB NYE
One Art
The art of losing isn’t hard to master;
so many things seem filled with the intent
to be lost that their loss is no disaster.
Lose something every day. Accept the fluster
of lost door keys, the hour badly spent.
The art of losing isn’t hard to master.
Then practice losing farther, losing faster:
places, and names, and where it was you meant
to travel. None of these will bring disaster.
I lost my mother’s watch. And look! my last, or
next-to-last, of three loved houses went.
The art of losing isn’t hard to master.
I lost two cities, lovely ones. And, vaster,
some realms I owned, two rivers, a continent.
I miss them, but it wasn’t a disaster.
– Even losing you (the joking voice, a gesture
I love) I shan’t have lied. It’s evident
the art of losing’s not too hard to master
though it may look like (Write it!) like disaster.
ELIZABETH BISHOP
Nothing Is Lost
Nothing is lost. Nothing is so small
that it does not return.
Imagine
that as a child on a day like this
you held a newly minted coin and had
the choice of spending it in any way
you wished.
Today the coin comes back to you,
the date rubbed out, the ancient mottoes vague,
the portrait covered with the dull shellac
of anything used up, passed on, disposed of
with something else in view, and always worth
a little less each time.
Now it returns,
and you will think it unimportant, lose
it in your pocket change as one more thing
that’s not worth counting, not worth singling out.
That is the mistake you must avoid today.
You sent it on a journey to yourself.
Now hold it in your hand. Accept it as
the little you have earned today.
And realise
that you must choose again but over less.
DANA GIOIA
The Weighing
The heart’s reasons
seen clearly,
even the hardest
will carry
its whip-marks and sadness
and must be forgiven.
As the drought-starved
eland forgives
the drought-starved lion
who finally takes her,
enters willingly then
the life she cannot refuse,
and is lion, is fed,
and does not remember the other.
So few grains of happiness
measured against all the dark
and still the scales balance.
The world asks of us
only the strength we have and we give it.
Then it asks more, and we give it.
JANE HIRSHFIELD
Burlap Sack
A person is full of sorrow
the way a burlap sack is full of stones or sand.
We say, ‘Hand me the sack,’
but we get the weight.
Heavier if left out in the rain.
To think that the sand or stones are the self is an error.
To think that grief is the self is an error.
Self carries grief as a pack mule carries the side bags,
being careful between the trees to leave extra room.
The mule is not the load of ropes and nails and axes.
The self is not the miner nor builder nor driver.