by Maggie Smith
Life is short, though I keep this from my children.
Life is short, and I’ve shortened mine
in a thousand delicious, ill-advised ways,
a thousand deliciously ill-advised ways
I’ll keep from my children. The world is at least
fifty percent terrible, and that’s a conservative
estimate, though I keep this from my children.
For every bird there is a stone thrown at a bird.
For every loved child, a child broken, bagged,
sunk in a lake. Life is short and the world
is at least half terrible, and for every kind
stranger, there is one who would break you,
though I keep this from my children. I am trying
to sell them the world. Any decent realtor,
walking you through a real shithole, chirps on
about good bones: This place could be beautiful,
right? You could make this place beautiful.
The Death of a Naturalist
by Seamus Heaney
All year the flax-dam festered in the heart
Of the townland; green and heavy headed
Flax had rotted there, weighted down by huge sods.
Daily it sweltered in the punishing sun.
Bubbles gargled delicately, bluebottles
Wove a strong gauze of sound around the smell.
There were dragonflies, spotted butterflies,
But best of all was the warm thick slobber
Of frogspawn that grew like clotted water
In the shade of the banks. Here, every spring
I would fill jampotfuls of the jellied
Specks to range on window sills at home,
On shelves at school, and wait and watch until
The fattening dots burst, into nimble
Swimming tadpoles. Miss Walls would tell us how
The daddy frog was called a bullfrog
And how he croaked and how the mammy frog
Laid hundreds of little eggs and this was
Frogspawn. You could tell the weather by frogs too
For they were yellow in the sun and brown
Then one hot day when fields were rank
With cowdung in the grass the angry frogs
Invaded the flax-dam; I ducked through hedges
To a coarse croaking that I had not heard
Before. The air was thick with a bass chorus.
Right down the dam gross bellied frogs were cocked
On sods; their loose necks pulsed like sails. Some hopped:
The slap and plop were obscene threats. Some sat
Poised like mud grenades, their blunt heads farting.
I sickened, turned, and ran. The great slime kings
Were gathered there for vengeance and I knew
That if I dipped my hand the spawn would clutch it.
by Albrecht Dürer
The Cleveland Museum of Art
by Jane Yeh
We meet under the stars, touch noses
In the dark. Our secret greeting.
Our nocturnal meetings are brief, but friendly.
Sometimes I pretend to be asleep.
We really aren’t
The loners you think. We snort and cluck
When we’re together. Our private conversation.
The enchilada of Africa—the whole
Kalahari—is our kitchen.
I’m only interesting to smaller males.
We’re not in a hurry
To copulate. I swing my head from side to side,
Then run away. It’s called flirting.
Our dusty hides are thick, but sensitive.
I capture bugs by accident in my teeth.
By day we don’t gather,
Just do our own thing. I poke my nose
In a mud hole, splash around in my piss.
I’d rather not have a bath
If I can help it. My powerful smell.
As I speak. One by one, we go missing
From the bare savannah.
Above, the high sky.
Our canopy, our heaven.
The New York Review of Books, May 26, 2016
Filed under Images, Love, Poems
Having a Coke with You
by Frank O’Hara
is even more fun than going to San Sebastian, Irún, Hendaye, Biarritz, Bayonne
or being sick to my stomach on the Travesera de Gracia in Barcelona
partly because in your orange shirt you look like a better happier St. Sebastian
partly because of my love for you, partly because of your love for yoghurt
partly because of the fluorescent orange tulips around the birches
partly because of the secrecy our smiles take on before people and statuary
it is hard to believe when I’m with you that there can be anything as still
as solemn as unpleasantly definitive as statuary when right in front of it
in the warm New York 4 o’clock light we are drifting back and forth
between each other like a tree breathing through its spectacles
and the portrait show seems to have no faces in it at all, just paint
you suddenly wonder why in the world anyone ever did them
at you and I would rather look at you than all the portraits in the world
except possibly for the Polish Rider occasionally and anyway it’s in the Frick
which thank heavens you haven’t gone to yet so we can go together the first time
and the fact that you move so beautifully more or less takes care of Futurism
just as at home I never think of the Nude Descending a Staircase or
at a rehearsal a single drawing of Leonardo or Michelangelo that used to wow me
and what good does all the research of the Impressionists do them
when they never got the right person to stand near the tree when the sun sank
or for that matter Marino Marini when he didn’t pick the rider as carefully
as the horse
it seems they were all cheated of some marvelous experience
which is not going to go wasted on me which is why I am telling you about it
[Nicely illustrated here by Nathan Gelgud.]
by Davis McCombs
The bees were working the contents
of the fenced-in metal trash bin,
zigging and scribbling past the goo
of candy wrappers and the sticky rims
of dented cans, entering, as they might
a blossom, the ketchup-smeared burger
boxes and the mold-fuzzed, half-eaten
fruity snack packs, those food-grade waxes
mingling with Band-Aids and a limp
“We’re #1” foam finger while on top
of the disposable wet mop redolent of solvents
and fresheners the F.D.&C. Red No. 40
nontoxic food pigment leaked
from a bloated dip packet where the bees
were buzzing and collecting the high-fructose
corn nectars of that uncompacted jumble
and returning, smudged with the dust
of industrial pollens, to, perhaps, some
rusted tailpipe hive where their queen
grew fat on the froth of artificial sweeteners
out back of the little oily gas station
in the middle of Arkansas where we pulled off
to change the baby’s diaper and had to ask
for the key they kept on a giant ring.
August 3, 2015, The New Yorker
Filed under Bagatelle, Poems
by Elizabeth Bishop
I caught a tremendous fish
and held him beside the boat
half out of water, with my hook
fast in a corner of his mouth.
He didn’t fight.
He hadn’t fought at all.
He hung a grunting weight,
battered and venerable
and homely. Here and there
his brown skin hung in strips
like ancient wallpaper,
and its pattern of darker brown
was like wallpaper:
shapes like full-blown roses
stained and lost through age.
He was speckled with barnacles,
fine rosettes of lime,
with tiny white sea-lice,
and underneath two or three
rags of green weed hung down.
While his gills were breathing in
the terrible oxygen
—the frightening gills,
fresh and crisp with blood,
that can cut so badly—
I thought of the coarse white flesh
packed in like feathers,
the big bones and the little bones,
the dramatic reds and blacks
of his shiny entrails,
and the pink swim-bladder
like a big peony.
I looked into his eyes
which were far larger than mine
but shallower, and yellowed,
the irises backed and packed
with tarnished tinfoil
seen through the lenses
of old scratched isinglass.
They shifted a little, but not
to return my stare.
—It was more like the tipping
of an object toward the light.
I admired his sullen face,
the mechanism of his jaw,
and then I saw
that from his lower lip
—if you could call it a lip—
grim, wet, and weaponlike,
hung five old pieces of fish-line,
or four and a wire leader
with the swivel still attached,
with all their five big hooks
grown firmly in his mouth.
A green line, frayed at the end
where he broke it, two heavier lines,
and a fine black thread
still crimped from the strain and snap
when it broke and he got away.
Like medals with their ribbons
frayed and wavering,
a five-haired beard of wisdom
trailing from his aching jaw.
I stared and stared
and victory filled up
the little rented boat,
from the pool of bilge
where oil had spread a rainbow
around the rusted engine
to the bailer rusted orange,
the sun-cracked thwarts,
the oarlocks on their strings,
the gunnels—until everything
was rainbow, rainbow, rainbow!
And I let the fish go.
by Ellen Bass
Who would believe in reincarnation
if she thought she would return as
an oyster? Eagles and wolves
are popular. Even domesticated cats
have their appeal. It’s not terribly distressing
to imagine being Missy, nibbling
kibble and lounging on the windowsill.
But I doubt the toothsome oyster has ever
been the totem of any shaman
fanning the Motherpeace Tarot
or smudging with sage.
Yet perhaps we could do worse
than aspire to be a plump bivalve. Humbly,
the oyster persists in filtering
seawater and fashioning the daily
irritations into lustre.
Dash a dot of Tabasco, pair it
with a dry Martini, not only
will this tender button inspire
an erotic fire in tuxedoed men
and women whose shoulders gleam
in candlelight, this hermit praying
in its rocky cave, this anchorite of iron,
calcium, and protein, is practically
a molluskan saint. Revered and sacrificed,
body and salty liquor of the soul,
the oyster is devoured, surrendering
all—again and again—for love.
January 19, 2015, The New Yorker