“Thanksgiving” — Kenneth Koch

“Thanksgiving”

by

Kenneth Koch


What’s sweeter than at the end of a summer’s day
To suddenly drift away
From the green match-wrappers in an opened pocketbook
And be part of the boards in a tavern?

A tavern made of new wood.
There’s an orange-red sun in the sky
And a redskin is hunting for you underneath ladders of timber.
I will buy this tavern. Will you buy this tavern? I do.

In the Indian camp there’s an awful dismay.
Do they know us as we know they
Know us or will know us, I mean a—
I mean a hostile force, the month of May.

How whitely the springtime is blossoming,
Ugh! all around us!
It is the brilliant Indian time of year
When the sweetest Indians mate with the sweetest others.

But I fear the white men, I fear
The rent apple blossom and discarded feathers
And the scalp lying secretly on the ground
Like an unoffending nose!

But we’ve destroyed all that. With shocking guns.
Peter Stuyvesant, Johnny Appleseed, Aaron Copeland.
We’ve destroyed all that. Come,
Do you believe right was on either side?

How would you like to be living in an Indian America,
With feathers dressing every head? We’d eat buffalo hump
For Thanksgiving dinner. Everyone is in a tribe.
A girl from the Bep Tribe can’t marry a brave from the Bap tribe. Is that democracy?
And then those dreary evenings around the campfires
Listening to the Chief! If there were a New York
It would be a city of tents, and what do you suppose
Our art and poetry would be like? For the community! the tribe!
No beautiful modern abstract pictures, no mad incomprehensible
Free lovable poems! And our moral sense! tribal.
If you would like to be living in an Indian America
Why not subscribe to the newspaper, Indian America?

In Wisconsin, Ben, I stand, I walk up and down and try to decide.

Is this country getting any better or has it gotten?
If the Indian New York is bad, what about our white New York?
Dirty, unwholesome, the filthy appendage to a vast ammunition works, I hate it!
Disgusting rectangular garbage dump sending its fumes up to suffocate the sky—
Foo, what fumes! and the scaly white complexion of her citizens.
There’s hell in every firm handshake, and stifled rage in every look.
If you do find somewhere to lie down, it’s a dirty inspected corner,
And there are newspapers and forums and the stinking breath of Broadway
To investigate what it feels like to be a source of stench
And nothing else. And if one does go away,
It is always here, waiting, for one to come back. And one does come back,
As one does come back to the bathroom, and to a fine suffering.

Where else would I find such ardent and grateful spirits
Inspired and wasted and using and used by this horrible city,
New York, New York? Can the Pilgrims’ Thanksgiving dinner really compare to it?
And the Puritans? And the single-minded ankle-divided Indians?
No, nothing can compare to it! So it’s here we speak from the heart
And it’s rotting so fast that what we say
Fades like the last of a summer’s day.
Rot which makes us as prolific as the sun on white unfastened clouds.

“First Thanksgiving” — Sharon Olds

“First Thanksgiving”

by

Sharon Olds


When she comes back, from college, I will see
the skin of her upper arms, cool,
matte, glossy. She will hug me, my old
soupy chest against her breasts,
I will smell her hair! She will sleep in this apartment,
her sleep like an untamed, good object,
like a soul in a body. She came into my life the
second great arrival, after him, fresh
from the other world—which lay, from within him,
within me. Those nights, I fed her to sleep,
week after week, the moon rising,
and setting, and waxing—whirling, over the months,
in a slow blur, around our planet.
Now she doesn’t need love like that, she has
had it. She will walk in glowing, we will talk,
and then, when she’s fast asleep, I’ll exult
to have her in that room again,
behind that door! As a child, I caught
bees, by the wings, and held them, some seconds,
looked into their wild faces,
listened to them sing, then tossed them back
into the air—I remember the moment the
arc of my toss swerved, and they entered
the corrected curve of their departure.

“Variations on a Theme by William Carlos Williams” — Kenneth Koch

“Variations on a Theme by William Carlos Williams”

by

Kenneth Koch


1

I chopped down the house that you had been saving to live in next
summer.
I am sorry, but it was morning, and I had nothing to do
and its wooden beams were so inviting.

2

We laughed at the hollyhocks together
and then I sprayed them with lye.
Forgive me. I simply do not know what I am doing.

3

I gave away the money that you had been saving to live on for the next ten
years.
The man who asked for it was shabby
and the firm March wind on the porch was so juicy and cold.

4

Last evening we went dancing and I broke your leg.
Forgive me. I was clumsy, and
I wanted you here in the wards, where I am the doctor!

“The Ball Poem” — John Berryman

“The Ball Poem”

by

John Berryman


What is the boy now, who has lost his ball.
What, what is he to do? I saw it go
Merrily bouncing, down the street, and then
Merrily over—there it is in the water!
No use to say ‘O there are other balls’:
An ultimate shaking grief fixes the boy
As he stands rigid, trembling, staring down
All his young days into the harbour where
His ball went. I would not intrude on him,
A dime, another ball, is worthless. Now
He senses first responsibility
In a world of possessions. People will take balls,
Balls will be lost always, little boy,
And no one buys a ball back. Money is external.
He is learning, well behind his desperate eyes,
The epistemology of loss, how to stand up
Knowing what every man must one day know
And most know many days, how to stand up
And gradually light returns to the street,
A whistle blows, the ball is out of sight.
Soon part of me will explore the deep and dark
Floor of the harbour . . I am everywhere,
I suffer and move, my mind and my heart move
With all that move me, under the water
Or whistling, I am not a little boy.

“The Great Birds” — Kenneth Patchen

“hist whist” — e.e. cummings

“hist whist”

by

e.e. cummings


hist      whist
little ghostthings
tip-toe
twinkle-toe
little twitchy
witches and tingling
goblins
hob-a-nob     hob-a-nob
little hoppy happy
toad in tweeds
tweeds
little itchy mousies
with scuttling
eyes    rustle and run     and
hidehidehide
whisk
whisk     look out for the old woman
with the wart on her nose
what she’ll do to yer
nobody knows
for she knows the devil     ooch
the devil     ouch
the devil
ach     the great
green
dancing
devil
devil
devil
devil
        wheeEEE

“A Sort of Song” — William Carlos Williams

“Glass of Water Encounter” — Terese Svoboda

“Glass of Water Encounter”

by

Terese Svoboda


She dances only in her necklace,
scotch-lit surely. He touches his glasses.

Nightie-less, dugs whipping, hair sprung,
some music inside, out, wet tongue

tip at her lip, no mere palsied shuffle,
both bony feet lifted, elbows awful.

Shakespeare’s banshee of wailing parts,
a woman with hair, a woman with warts.

He’s fixed to the floor. Dear Heloise:
do other presumed-sane mothers do this—

wait in the dark after the ball
to strip for their sons at the end of the hall?

A dream, insists his sister
but his first wife knows better.

All the wolves in the wolf factory paused at noon, for a moment of silence | “Laughing Gravy,” John Ashbery

“Some Bright Paintings” — Gilbert Sorrentino

“Trust” — Susan Kinsolving

“Ovid on Climate Change” — Eliza Griswold

“Ovid on Climate Change”

by

Eliza Griswold


Bastard, the other boys teased him,
till Phaethon unleashed the steeds
of Armageddon. He couldn’t hold
their reins. Driving the sun too close
to earth, the boy withered rivers,
torched Eucalyptus groves, until the hills
burst into flame, and the people’s blood
boiled through the skin. Ethiopia,
land of   burnt faces. In a boy’s rage
for a name, the myth of race begins.

“Sumptuous Destitution” — Anne Carson

“Sumptuous Destitution”

by

Anne Carson


“Sumptuous destitution”

Your opinion gives me a serious feeling. I would like to be what you deem me.

(Emily Dickinson letter 319 to Thomas Higginson)

is a phrase

You see my position is benighted.

(Emily Dickinson letter 268 to Thomas Higginson)

scholars use

She was too enigmatical a being for me to solve in an hours interview.

(Thomas Higginson letter 342a to Emily Dickinson)

of female

God made me [Sir] Master—I didn’t be—myself.

(Emily Dickinson letter 233 to Thomas Higginson)

silence.

Rushing among my small heart—and pushing aside the blood—

(Emily Dickinson letter 248 to Thomas Higginson)

Save what you can, Emily.

And when I try to organize—my little Force explodes—and leaves me bare and charred.

(Emily Dickinson letter 271 to Thomas Higginson)

Save every bit of thread.

Have you a little chest to put the Alive in?

(Emily Dickinson letter 233 to Thomas Higginson)

One of them may be

By Cock, said Ophelia.

(Emily Dickinson letter 268 to Thomas Higginson)

the way out of here

“Poet’s work” — Lorine Niedecker

“Tavern” — Edna St. Vincent Millay

“Tavern”

by

Edna St. Vincent Millay


I’ll keep a little tavern
Below the high hill’s crest,
Wherein all grey-eyed people
May set them down and rest.

There shall be plates a-plenty,
And mugs to melt the chill
Of all the grey-eyed people
Who happen up the hill.

There sound will sleep the traveller,
And dream his journey’s end,
But I will rouse at midnight
The falling fire to tend.

Aye, ’tis a curious fancy—
But all the good I know
Was taught me out of two grey eyes
A long time ago.

“Classic Scene” — William Carlos Williams

“Classic Scene”

by

William Carlos Williams


A power-house
in the shape of
a red brick chair
90 feet high

on the seat of which
sit the figures
of two metal
stacks–aluminum–

commanding an area
of squalid shacks
side by side–
from one of which

buff smoke
streams while under
a grey sky
the other remains

passive today–

tumblr_ovntm8X5p21rz2lkvo1_1280

Classic Landscape, 1931 by Charles Sheeler (1883–1965)