On PleasurePleasure is a freedom-song,But it is not freedom.It is the blossoming of your desires,But it is not their fruit.It is a depth calling unto a height,But it is not the deep nor the high.It is the caged taking wing,But it is not space encompassed.Aye, in very truth, pleasure is a freedom-song.And I fain would have you sing it with fullness of heart; yet I would not have you lose your hearts in the singing.Some of your youth seek pleasure as if it were all, and they are judgedand rebuked.I would not judge nor rebuke them. I would have them seek.For they shall find pleasure, but not her alone;Seven are her sisters, and the least of them is more beautiful thanpleasure.Have you not heard of the man who was digging in the earth for rootsand found a treasure?And some of your elders remember pleasures with regret like wrongscommitted in drunkenness.But regret is the beclouding of the mind and not its chastisement.They should remember their pleasures with gratitude, as they wouldthe harvest of a summer.Yet if it comforts them to regret, let them be comforted.And there are among you those who are neither young to seek nor oldto remember;And in their fear of seeking and remembering they shun all pleasures,lest they neglect the spirit or offend against it.But even in their foregoing is their pleasure.And thus they too find a treasure though they dig for roots with quiveringhands.But tell me, who is he that can offend the spirit?Shall the nightingale offend the stillness of the night, or the firefly thestars?And shall your flame or your smoke burden the wind?Think you the spirit is a still pool which you can trouble with a staff?Oftentimes in denying yourself pleasure you do but store the desire inthe recesses of your being.Who knows but that which seems omitted today, waits for tomorrow?Even your body knows its heritage and its rightful need and will notbe deceived.And your body is the harp of your soul,And it is yours to bring forth sweet music from it or confused sounds.And now you ask in your heart, “How shall we distinguish that whichis good in pleasure from that which is not good?”Go to your fields and your gardens, and you shall learn that it is thepleasure of the bee to gather honey of the flower,But it is also the pleasure of the flower to yield its honey to the bee.For to the bee a flower is a fountain of life,And to the flower a bee is a messenger of love,And to both, bee and flower, the giving and the receiving of pleasureis a need and an ecstasy.

SEPTEMBER 1, 1939I sit in one of the divesOn Fifty-second StreetUncertain and afraidAs the clever hopes expireOf a low dishonest decade:Waves of anger and fearCirculate over the brightAnd darkened lands of the earth,Obsessing our private lives;The unmentionable odour of deathOffends the September night.Accurate scholarship canUnearth the whole offenceFrom Luther until nowThat has driven a culture mad,Find what occurred at Linz,What huge imago madeA psychopathic god:I and the public knowWhat all schoolchildren learn,Those to whom evil is doneDo evil in return.Exiled Thucydides knewAll that a speech can sayAbout Democracy,And what dictators do,The elderly rubbish they talkTo an apathetic grave;Analysed all in his book,The enlightenment driven away,The habit-forming pain,Mismanagement and grief:We must suffer them all again.Into this neutral airWhere blind skyscrapers useTheir full height to proclaimThe strength of Collective Man,Each language pours its vainCompetitive excuse:But who can live for longIn an euphoric dream;Out of the mirror they stare,Imperialism's faceAnd the international wrong.Faces along the barCling to their average day:The lights must never go out,The music must always play,All the conventions conspireTo make this fort assumeThe furniture of home;Lest we should see where we are,Lost in a haunted wood,Children afraid of the nightWho have never been happy or good.The windiest militant trashImportant Persons shoutIs not so crude as our wish:What mad Nijinsky wroteAbout DiaghilevIs true of the normal heart;For the error bred in the boneOf each woman and each manCraves what it cannot have,Not universal loveBut to be loved alone.From the conservative darkInto the ethical lifeThe dense commuters come,Repeating their morning vow;'I will be true to the wife,I'll concentrate more on my work,'And helpless governors wakeTo resume their compulsory game:Who can release them now,Who can reach the dead,Who can speak for the dumb?All I have is a voiceTo undo the folded lie,The romantic lie in the brainOf the sensual man-in-the-streetAnd the lie of AuthorityWhose buildings grope the sky:There is no such thing as the StateAnd no one exists alone;Hunger allows no choiceTo the citizen or the police;We must love one another or die.Defenseless under the nightOur world in stupor lies;Yet, dotted everywhere,Ironic points of lightFlash out wherever the JustExchange their messages:May I, composed like themOf Eros and of dust,Beleaguered by the sameNegation and despair,Show an affirming flame.

ليسَ من أجلي أنهضُ كلَّ صباحٍ بصوتٍ يتكسرُوحلمٍ يصدأُ.ليسَ من أجلي أجولُ كلَّ يومٍ الأرصفةَ ذاتَها.ضاحكاً من كتابةِ ذكرى، مؤجلاً غَدِي برعبِ يومي.متوثِّبٌ للنسيان. مخلصٌ للسهوأسهو عن مخاذلِ العيشعن الأصدقاءِ وهم يكذبونعن جثةٍ -هي الحقيقةُ- تبلغُها فتموتُ بين يديكَعن رِعدَةٍ تجيءُ وتنسلُّ دونَ اكتراثِ أحدعن ظلٍّ زائفٍ وشعوبٍ بآجالٍ ورقيةعن الخياناتعن أطفالٍ يموتونَ قبلَ أن يُدركوا الرمقوعن شتلةِ المطاطِ تموتُ في الزاويةِ رغماً عني

1.I told you that I was a roadway of potholes, not safe to cross. You said nothing, showed up in my driveway wearing roller-skates.2.The first time I asked you on a date, after you hung up, I held the air between our phones against my ear and whispered, “You will fall in love with me. Then, just months later, you will fall out. I will pretend the entire time that I don’t know it’s coming.”3.Once, I got naked and danced around your bedroom, awkward and safe. You did the same. We held each other without hesitation and flailed lovely. This was vulnerability foreplay.4.The last eight times I told you I loved you, they sounded like apologies.5.You recorded me a CD of you repeating, “You are beautiful.” I listened to it until I no longer thought in my own voice.6.Into the half-empty phone line, I whispered, “We will wake up believing the worst in each other. We will spit shrapnel at each other’s hearts. The bruises will lodge somewhere we don’t know how to look for and I will still pretend I don’t know its coming.”7.You photographed my eyebrow shapes and turned them into flashcards: mood on one side, correct response on the other. You studied them until you knew when to stay silent.8.I bought you an entire bakery so that we could eat nothing but breakfast for a week. Breakfast, untainted by the day ahead, was when we still smiled at each other as if we meant it.9.I whispered, “I will latch on like a deadbolt to a door and tell you it is only because I want to protect you. Really, I’m afraid that without you I mean nothing.”10.I gave you a bouquet of plane tickets so I could practice the feeling of watching you leave.11.I picked you up from the airport limping. In your absence, I’d forgotten how to walk. When I collapsed at your feet, you refused to look at me until I learned to stand up without your help.12.Too scared to move, I stared while you set fire to your apartment – its walls decaying beyond repair, roaches invading the corpse of your bedroom. You tossed all the faulty appliances through the smoke out your window, screaming that you couldn’t handle choking on one more thing that wouldn’t just fix himself.13.I whispered, “We will each weed through the last year and try to spot the moment we began breaking. We will repel sprint away from each other. Your voice will take months to drain out from my ears. You will throw away your notebook of tally marks from each time you wondered if I was worth the work. The invisible bruises will finally surface and I will still pretend that I didn’t know it was coming.”14.The entire time, I was only pretending that I knew it was coming.

When he was in college, a famous poet made a useful distinction for him. He had drunk enough in the poet's company to be compelled to describe to him a poem he was thinking of. It would be a monologue of sorts, the self-contemplation of a student on a summer afternoon who is reading Euphues. The poem itself would be a subtle series of euphuisms, translating the heat, the day, the student's concerns, into symmetrical posies; translating even his contempt and boredom with that famously foolish book into a euphuism.The poet nodded his big head in a sympathetic, rhythmic way as this was explained to him, then told him that there are two kinds of poems. There is the kind you write; there is the kind you talk about in bars. Both kinds have value and both are poems; but it's fatal to confuse them.In the Seventh Saint, many years later, it had struck him that the difference between himself and Shakespeare wasn't talent - not especially - but nerve. The capacity not to be frightened by his largest and most potent conceptions, to simply (simply!) sit down and execute them. The dreadful lassitude he felt when something really large and multifarious came suddenly clear to him, something Lear-sized yet sonnet-precise. If only they didn't rush on him whole, all at once, massive and perfect, leaving him frightened and nerveless at the prospect of articulating them word by scene by page. He would try to believe they were of the kind told in bars, not the kind to be written, though there was no way to be sure of this except to attempt the writing; he would raise a finger (the novelist in the bar mirror raising the obverse finger) and push forward his change. Wailing like a neglected ghost, the vast notion would beat its wings into the void.Sometimes it would pursue him for days and years as he fled desperately. Sometimes he would turn to face it, and do battle. Once, twice, he had been victorious, objectively at least. Out of an immense concatenation of feeling, thought, word, transcendent meaning had come his first novel, a slim, pageant of a book, tombstone for his slain conception. A publisher had taken it, gingerly; had slipped it quietly into the deep pool of spring releases, where it sank without a ripple, and where he supposes it lies still, its calm Bodoni gone long since green. A second, just as slim but more lurid, nightmarish even, about imaginary murders in an imaginary exotic locale, had been sold for a movie, though the movie had never been made. He felt guilt for the producer's failure (which perhaps the producer didn't feel), having known the book could not be filmed; he had made a large sum, enough to finance years of this kind of thing, on a book whose first printing was largely returned.

I saw thee once - only once - years ago:I must not say how many - but not many.It was a July midnight; and from outA full-orbed moon, that, like thine own soul, soaring,Sought a precipitate pathway up through heaven,There fell a silvery-silken veil of light,With quietude, and sultriness, and slumber,Upon the upturn'd faces of a thousandRoses that grew in an enchanted garden,Where no wind dared stir, unless on tiptoe -Fell on the upturn'd faces of these rosesThat gave out, in return for the love-light,Their odorous souls in an ecstatic death -Fell on the upturn'd faces of these rosesThat smiled and died in the parterre, enchantedBy thee, and by the poetry of thy presence.Clad all in white, upon a violet bankI saw thee half reclining; while the moonFell upon the upturn'd faces of the roses,And on thine own, upturn'd - alas, in sorrow!Was it not Fate, that, on this July midnight -Was it not Fate, (whose name is also Sorrow,)That bade me pause before that garden-gate,To breathe the incense of those slumbering roses?No footsteps stirred: the hated world all slept,Save only thee and me. (Oh, Heaven! - oh, G**!How my heart beats in coupling those two words!)Save only thee and me. I paused - I looked -And in an instant all things disappeared.(Ah, bear in mind the garden was enchanted!)The pearly lustre of the moon went out:The mossy banks and the meandering paths,The happy flowers and the repining trees,Were seen no more: the very roses' odorsDied in the arms of the adoring airs.All - all expired save thee - save less than thou:Save only divine light in thine eyes -Save but the soul in thine uplifted eyes.I saw but them - they were the world to me.I saw but them - saw only them for hours -Saw only them until the moon went down.What wild heart-histories seemed to lie enwrittenUpon those crystalline, celestial spheres!How dark a wo! yet how sublime a hope!How silently serene a sea of pride!How daring an ambition! yet how deep -How fathomless a capacity for love!But now, at length, dear Dian sank from sight,Into a western couch of thunder-cloud;And thou, a ghost, amid the entombing treesDidst glide away. Only thine eyes remained.They would not go - they never yet have gone.Lighting my lonely pathway home that night,They have not left me (as my hopes have) since.They follow me - they lead me through the years.They are my ministers - yet I their slave.Their office is to illumine and enkindle -My duty, to be saved by their bright fire,And purified in their electric fire,And sanctified in their elysian fire.They fill my soul with Beauty (which is Hope,)And are far up in Heaven - the stars I kneel toIn the sad, silent watches of my night;While even in the meridian glare of dayI see them still - two sweetly scintillantVenuses, unextinguished by the sun!

الفارسلا تنتظري أن يبتسم العابس فالفارس ليس الفارسمدي بإنائكعبر السلك الشائكوأسقيه من مائكمدي طرف ردائكحتي يصنع منه للقلب ضماداوبسد شقوق البرد القارسويرد البرد القارستتوالي كل فصول العام علي القلب الباكيلم يستروح عبر الأشواك سوي رؤياكفعيناك ، الفردوسان : هما الفصل الخامسعيناك هما أخر نهر يسقيهأخر بيت يؤويهأخر زاد في التيهأخر عراف يستفتيهأريحيهأريحيه علي الحجر الباردكي يرتاح قليلا فلقد سار طويلاوقفي كملاك الحب الحارسوقفي حتي لا يفجئه الموتقفي كملاك الحب الحارس

It was many and many a year ago,In a kingdom by the sea,That a maiden there lived whom you may knowBy the name of ANNABEL LEE;And this maiden she lived with no other thoughtThan to love and be loved by me.I was a child and she was a child,In this kingdom by the sea;But we loved with a love that was more than love-I and my Annabel Lee;With a love that the winged seraphs of heavenCoveted her and me.And this was the reason that, long ago,In this kingdom by the sea,A wind blew out of a cloud, chillingMy beautiful Annabel Lee;So that her highborn kinsman cameAnd bore her away from me,To shut her up in a sepulchreIn this kingdom by the sea.The angels, not half so happy in heaven,Went envying her and me-Yes!- that was the reason (as all men know,In this kingdom by the sea)That the wind came out of the cloud by night,Chilling and killing my Annabel Lee.But our love it was stronger by far than the loveOf those who were older than we-Of many far wiser than we-And neither the angels in heaven above,Nor the demons down under the sea,Can ever dissever my soul from the soulOf the beautiful Annabel Lee.For the moon never beams without bringing me dreamsOf the beautiful Annabel Lee;And the stars never rise but I feel the bright eyesOf the beautiful Annabel Lee;And so, all the night-tide, I lie down by the sideOf my darling- my darling- my life and my bride,In the sepulchre there by the sea,In her tomb by the sounding sea." "It was many and many a year ago,In a kingdom by the sea,That a maiden there lived whom you may knowBy the name of ANNABEL LEE;And this maiden she lived with no other thoughtThan to love and be loved by me.I was a child and she was a child,In this kingdom by the sea;But we loved with a love that was more than love-I and my Annabel Lee;With a love that the winged seraphs of heavenCoveted her and me.And this was the reason that, long ago,In this kingdom by the sea,A wind blew out of a cloud, chillingMy beautiful Annabel Lee;So that her highborn kinsman cameAnd bore her away from me,To shut her up in a sepulchreIn this kingdom by the sea.The angels, not half so happy in heaven,Went envying her and me-Yes!- that was the reason (as all men know,In this kingdom by the sea)That the wind came out of the cloud by night,Chilling and killing my Annabel Lee.But our love it was stronger by far than the loveOf those who were older than we-Of many far wiser than we-And neither the angels in heaven above,Nor the demons down under the sea,Can ever dissever my soul from the soulOf the beautiful Annabel Lee.For the moon never beams without bringing me dreamsOf the beautiful Annabel Lee;And the stars never rise but I feel the bright eyesOf the beautiful Annabel Lee;And so, all the night-tide, I lie down by the sideOf my darling- my darling- my life and my bride,In the sepulchre there by the sea,In her tomb by the sounding sea.

Live or die, but don't poison everything...Well, death's been herefor a long time --it has a hell of a lotto do with helland suspicion of the eyeand the religious objectsand how I mourned themwhen they were made obsceneby my dwarf-heart's doodle.The chief ingredientis mutilation.And mud, day after day,mud like a ritual,and the baby on the platter,cooked but still human,cooked also with little maggots,sewn onto it maybe by somebody's mother,the damn bitch!Even so,I kept right on going on,a sort of human statement,lugging myself as ifI were a sawed-off bodyin the trunk, the steamer trunk.This became perjury of the soul.It became an outright lieand even though I dressed the bodyit was still naked, still killed.It was caughtin the first place at birth,like a fish.But I play it, dressed it up,dressed it up like somebody's doll.Is life something you play?And all the time wanting to get rid of it?And further, everyone yelling at youto shut up. And no wonder!People don't like to be toldthat you're sickand then be forcedto watchyoucomedown with the hammer.Today life opened inside me like an eggand there insideafter considerable diggingI found the answer.What a bargain!There was the sun,her yolk moving feverishly,tumbling her prize --and you realize she does this daily!I'd known she was a purifierbut I hadn't thoughtshe was solid,hadn't known she was an answer.God! It's a dream,lovers sprouting in the yardlike celery stalksand better,a husband straight as a redwood,two daughters, two sea urchings,picking roses off my hackles.If I'm on fire they dance around itand cook marshmallows.And if I'm icethey simply skate on mein little ballet costumes.Here,all along,thinking I was a killer,anointing myself dailywith my little poisons.But no.I'm an empress.I wear an apron.My typewriter writes.It didn't break the way it warned.Even crazy, I'm as niceas a chocolate bar.Even with the witches' gymnasticsthey trust my incalculable city,my corruptible bed.O dearest three,I make a soft reply.The witch comes onand you paint her pink.I come with kisses in my hoodand the sun, the smart one,rolling in my arms.So I say Liveand turn my shadow three times roundto feed our puppies as they come,the eight Dalmatians we didn't drown,despite the warnings: The abort! The destroy!Despite the pails of water that waited,to drown them, to pull them down like stones,they came, each one headfirst, blowing bubbles the color of cataract-blueand fumbling for the tiny tits.Just last week, eight Dalmatians,3/4 of a lb., lined up like cord woodeachlike abirch tree.I promise to love more if they come,because in spite of crueltyand the stuffed railroad cars for the ovens,I am not what I expected. Not an Eichmann.The poison just didn't take.So I won't hang around in my hospital shift,repeating The Black Mass and all of it.I say Live, Live because of the sun,the dream, the excitable gift.

Приспособяваме се тихо към живота,доволни и от бледите утехи,които вятърът довяваи пуска в празните ни джобове.Но още храним обич към светащом спираме пред гладно котенце на прага,готови да го приютим в протрития ръкав,да го спасим от улицата - шумна и жестока.(...)Играта е такава - кара ни да се усмихваме насила.И все пак виждаме луната, спряла над самотна уличка,да преобръща празна кофа в искряща чаша на смеха,и все пак чуваме през веселия шум и нашите стремежигласа на котенце, което вика сред пустинята.

وكورقةٍ خضراءَ في حديقةٍ، قريبةٍ، وبعيدةٍ كسحابة. صرتُ مجذافاً كلّما صارتْ زورقاً، وشارعاً كلما ازدحمتْ بالآخرين.وليس كأيّة امرأة، كانت تجيد القول:- الأمنيةُ.. عذابُ الروح.- الألَمُ أخرسُ ولا يحُسِنُ النطق.كنتُ أُدوِّنُ ما تهمسُ... ، تدوينَ ملاكٍ يُصارعُ جَحيمَهُ الخاصّ، مثقلاً بذنوبِ غفلتِهِ، كنتُ أرقبُها تنوءُ بجرحها القديم، مخُفيةً -ما استطاعت- حبّاتٍ من دمعها الأسود، ينزلُ سريعاً، فتخذلُها المناديل.لم أخبرها أنها المرّة الأخيرة التي ستراني فيها، ما تجرأتُ أن أطعنَها برحيلي إلا وأنا محتدمٌ فيه

I used to think love was two people suckingon the same straw to see whose thirst was stronger,but then I whiffed the crushed walnuts of your nape,traced jackals in the snow-covered tombstones of your teeth.I used to think love was a non-stop saxophone soloin the lungs, till I hung with you like a pair of sneakersfrom a phone line, and you promised to always smellthe rose in my kerosene. I used to think love was terminalpelvic ballet, till you let me jog beside while you pedaledall over hell on the menstrual bicycle, your tongueripping through my prairie like a tornado of paper cuts.I used to think love was an old man smashing a mirrorover his knee, till you helped me carry the barbellof my spirit back up the stairs after my car pirouettedin the desert. You are my history book. I used to not believein fairy tales till I played the dunce in sheep’s clothingand felt how perfectly your foot fit in the glass slipperof my ass. But then duty wrapped its phone cordaround my ankle and yanked me across the continent.And now there are three thousand miles between the uand s in esophagus. And being without you is like standingat a cement-filled wall with a roll of Yugoslavian nickelsand making a wish. Some days I miss you so muchI’d jump off the roof of your office buildingjust to catch a glimpse of you on the way down. I wishwe could trade left eyeballs, so we could always seewhat the other sees. But you’re here, I’m there,and we have only words, a nightly phone call - one chanceto mix feelings into syllables and pour into the receiver,hope they don’t disassemble in that calculus of wire.And lately - with this whole war thing - the language machinesupporting it - I feel betrayed by the alphabet, like they’reinjecting strychnine into my vowels, infecting my consonants,naming attack helicopters after shattered Indian tribes:Apache, Blackhawk; and West Bank colonizers are settlers,so Sharon is Davey Crockett, and Arafat: Geronimo,and it’s the Wild West all over again. And I imagine Picassolooking in a mirror, decorating his face in war paint,washing his brushes in venom. And I think of Jeninin all that rubble, and I feel like a Cyclops with two eyes,like an anorexic with three mouths, like a scuba diverin quicksand, like a shark with plastic vampire teeth,like I’m the executioner’s fingernail trying to reasonwith the hand. And I don’t know how to speak lovewhen the heart is a busted cup filling with spit and paste,and the only sexual fantasy I have is bustinginto the Pentagon with a bazooka-sized pen and blowingopen the minds of generals. And I comfort myselfwith the thought that we’ll name our first child Jenin,and her middle name will be Terezin, and we’ll teach herhow to glow in the dark, and how to swallow firecrackers,and to never neglect the first straw; because no oneever talks about the first straw, it’s always the last strawthat gets all the attention, but by then it’s way too late.

أما العمل الأخطر فهو أن تحضر مهرجانًا شعريًّا يؤمّه هذا الطّراز من الشّعراء، عامّة هناك نوعان من الشّعر حاليًّا... شعر (أتدحرج عبر الطّرقات الشّتويّة... تختفي أزمنة اللّاجدوى...) [...] النّوع الثّاني من الشّعر السّائد حاليًّا هو (مات الّذي قد كان نبراسًا... من بعده ساد الأسى النّاسا)... سوف تسمع الكثير جدًّا من هذا الكلام حتّى ينفجر رأسك، ثمّ يظهر ناقد يمطّ شفته السّفلى في قرف ويتكلّم عن: "البنية الإبداعيّة الكوزموبوليتانيّة في إرهاصات ما بعد الحداثة. هذه هي الممارسة المنهجيّة القوليّة الّقديّة تشكف عن نفسها داخل الطّرح البنيويّ".

A man walks into a bar and says: Take my wife–please. So you do. You take her out into the rain and you fall in love with her and she leaves you and you’re desolate.You’re on your back in your undershirt, a broken man on an ugly bedspread, staring at the water stains on the ceiling. And you can hear the man in the apartment above you taking off his shoes.You hear the first boot hit the floor and you’re looking up, you’re waiting because you thought it would follow, you thought there would be some logic, perhaps, something to pull it all together but here we are in the weeds again, here we arein the bowels of the thing: your world doesn’t make sense. And then the second boot falls. And then a third, a fourth, a fifth. A man walks into a bar and says: Take my wife–please. But you take him instead.You take him home, and you make him a cheese sandwich, and you try to get his shoes off, but he kicks you and he keeps kicking you. You swallow a bottle of sleeping pills but they don’t work. Boots continue to fall to the floor in the apartment above you.You go to work the next day pretending nothing happened. Your co-workers ask if everything’s okay and you tell them you’re just tired. And you’re trying to smile. And they’re trying to smile.A man walks into a bar, you this time, and says: Make it a double. A man walks into a bar, you this time, and says: Walk a mile in my shoes.A man walks into a convenience store, still you, saying: I only wanted something simple, something generic… But the clerk tells you to buy something or get out.A man takes his sadness down to the river and throws it in the river but then he’s still leftwith the river. A man takes his sadness and throws it away but then he’s still left with his hands.

Лотова ЖенаИ праведник шел за посланником Бога,Огромный и светлый, по черной горе.Но громко жене говорила тревога:Не поздно, ты можешь еще посмотретьНа красные башни родного Содома,На площадь, где пела, на двор, где пряла,На окна пустые высокого дома,Где милому мужу детей родила.Взглянула - и, скованы смертною болью,Глаза ее больше смотреть не могли;И сделалось тело прозрачною солью,И быстрые ноги к земле приросли.Кто женщину эту оплакивать будет?Не меньшей ли мнится она из утрат?Лишь сердце мое никогда не забудетОтдавшую жизнь за единственный взгляд.