 | Chicago Poems |  |
157
OTHER DAYS
(1900-1910)
158
159
DREAMS IN THE DUSK
DREAMS in the dusk,
Only dreams closing the day
And with the day's close going back
To the gray things, the dark things,
The far, deep things of dreamland.
Only dreams closing the day
And with the day's close going back
To the gray things, the dark things,
The far, deep things of dreamland.
Dreams, only dreams in the dusk,
Only the old remembered pictures
Of lost days when the day's loss
Wrote in tears the heart's loss.
Only the old remembered pictures
Of lost days when the day's loss
Wrote in tears the heart's loss.
Tears and loss and broken dreams
May find your heart at dusk.
May find your heart at dusk.
160
DOCKS
STROLLING along
By the teeming docks,
I watch the ships put out.
Black ships that heave and lunge
And move like mastodons
Arising from lethargic sleep.
By the teeming docks,
I watch the ships put out.
Black ships that heave and lunge
And move like mastodons
Arising from lethargic sleep.
The fathomed harbor
Calls them not nor dares
Them to a strain of action,
But outward, on and outward,
Sounding low-reverberating calls,
Shaggy in the half-lit distance,
They pass the pointed headland,
View the wide, far-lifting wilderness
And leap with cumulative speed
To test the challenge of the sea.
Calls them not nor dares
Them to a strain of action,
But outward, on and outward,
Sounding low-reverberating calls,
Shaggy in the half-lit distance,
They pass the pointed headland,
View the wide, far-lifting wilderness
And leap with cumulative speed
To test the challenge of the sea.
Plunging,
Doggedly onward plunging,
Into salt and mist and foam and sun.
Doggedly onward plunging,
Into salt and mist and foam and sun.
161
ALL DAY LONG
ALL day long in fog and wind,
The waves have flung their beating crests
Against the palisades of adamant.
My boy, he went to sea, long and long ago,
Curls of brown were slipping underneath his cap,
He looked at me from blue and steely eyes;
Natty, straight and true, he stepped away,
My boy, he went to sea.
All day long in fog and wind,
The waves have flung their beating crests
Against the palisades of adamant.
The waves have flung their beating crests
Against the palisades of adamant.
My boy, he went to sea, long and long ago,
Curls of brown were slipping underneath his cap,
He looked at me from blue and steely eyes;
Natty, straight and true, he stepped away,
My boy, he went to sea.
All day long in fog and wind,
The waves have flung their beating crests
Against the palisades of adamant.
162
WAITING
TODAY I will let the old boat stand
Where the sweep of the harbor tide comes in
To the pulse of a far, deep-steady sway.
And I will rest and dream and sit on the deck
Watching the world go by
And take my pay for many hard days gone I remember.
Where the sweep of the harbor tide comes in
To the pulse of a far, deep-steady sway.
And I will rest and dream and sit on the deck
Watching the world go by
And take my pay for many hard days gone I remember.
I will choose what clouds I like
In the great white fleets that wander the blue
As I lie on my back or loaf at the rail.
And I will listen as the veering winds kiss me and fold me
And put on my brow the touch of the world's great will.
In the great white fleets that wander the blue
As I lie on my back or loaf at the rail.
And I will listen as the veering winds kiss me and fold me
And put on my brow the touch of the world's great will.
Daybreak will hear the heart of the boat beat,
Engine throb and piston play
In the quiver and leap at call of life.
To-morrow we move in the gaps and heights
On changing floors of unlevel seas
And no man shall stop us and no man follow
For ours is the quest of an unknown shore
And we are husky and lusty and shouting-gay.
Engine throb and piston play
In the quiver and leap at call of life.
To-morrow we move in the gaps and heights
On changing floors of unlevel seas
And no man shall stop us and no man follow
For ours is the quest of an unknown shore
And we are husky and lusty and shouting-gay.
163
FROM THE SHORE
A LONE gray bird,
Dim-dipping, far-flying,
Alone in the shadows and grandeurs and tumults
Of night and the sea
And the stars and storms.
Dim-dipping, far-flying,
Alone in the shadows and grandeurs and tumults
Of night and the sea
And the stars and storms.
Out over the darkness it wavers and hovers,
Out into the gloom it swings and batters,
Out into the wind and the rain and the vast,
Out into the pit of a great black world,
Where fogs are at battle, sky-driven, sea-blown,
Love of mist and rapture of flight,
Glories of chance and hazards of death
On its eager and palpitant wings.
Out into the gloom it swings and batters,
Out into the wind and the rain and the vast,
Out into the pit of a great black world,
Where fogs are at battle, sky-driven, sea-blown,
Love of mist and rapture of flight,
Glories of chance and hazards of death
On its eager and palpitant wings.
Out into the deep of the great dark world,
Beyond the long borders where foam and drift
Of the sundering waves are lost and gone
On the tides that plunge and rear and crumble.
Beyond the long borders where foam and drift
Of the sundering waves are lost and gone
On the tides that plunge and rear and crumble.
164
UPLANDS IN MAY
WONDER as of old things
Fresh and fair come back
Hangs over pasture and road.
Lush in the lowland grasses rise
And upland beckons to upland.
The great strong hills are humble.
Fresh and fair come back
Hangs over pasture and road.
Lush in the lowland grasses rise
And upland beckons to upland.
The great strong hills are humble.
165
DREAM GIRL
YOU will come one day in a waver of love,
Tender as dew, impetuous as rain,
The tan of the sun will be on your skin,
The purr of the breeze in your murmuring speech,
You will pose with a hill-flower grace.
Tender as dew, impetuous as rain,
The tan of the sun will be on your skin,
The purr of the breeze in your murmuring speech,
You will pose with a hill-flower grace.
You will come, with your slim, expressive arms,
A poise of the head no sculptor has caught
And nuances spoken with shoulder and neck,
Your face in a pass-and-repass of moods
As many as skies in delicate change
Of cloud and blue and flimmering sun.
A poise of the head no sculptor has caught
And nuances spoken with shoulder and neck,
Your face in a pass-and-repass of moods
As many as skies in delicate change
Of cloud and blue and flimmering sun.
Yet,
You may not come, O girl of a dream,
We may but pass as the world goes by
And take from a look of eyes into eyes,
A film of hope and a memoried day.
You may not come, O girl of a dream,
We may but pass as the world goes by
And take from a look of eyes into eyes,
A film of hope and a memoried day.
166
PLOWBOY
AFTER the last red sunset glimmer,
Black on the line of a low hill rise,
Formed into moving shadows, I saw
A plowboy and two horses lined against the gray,
Plowing in the dusk the last furrow.
The turf had a gleam of brown,
And smell of soil was in the air,
And, cool and moist, a haze of April.
Black on the line of a low hill rise,
Formed into moving shadows, I saw
A plowboy and two horses lined against the gray,
Plowing in the dusk the last furrow.
The turf had a gleam of brown,
And smell of soil was in the air,
And, cool and moist, a haze of April.
I shall remember you long,
Plowboy and horses against the sky in shadow.
I shall remember you and the picture
You made for me,
Turning the turf in the dusk
And haze of an April gloaming.
Plowboy and horses against the sky in shadow.
I shall remember you and the picture
You made for me,
Turning the turf in the dusk
And haze of an April gloaming.
167
BROADWAY
I SHALL never forget you, Broadway
Your golden and calling lights.
Your golden and calling lights.
I'll remember you long,
Tall-walled river of rush and play.
Tall-walled river of rush and play.
Hearts that know you hate you
And lips that have given you laughter
Have gone to their ashes of life and its roses,
Cursing the dreams that were lost
In the dust of your harsh and trampled stones.
And lips that have given you laughter
Have gone to their ashes of life and its roses,
Cursing the dreams that were lost
In the dust of your harsh and trampled stones.
168
OLD WOMAN
THE owl-car clatters along, dogged by the echo
From building and battered paving-stone.
The headlight scoffs at the mist,
And fixes its yellow rays in the cold slow rain;
Against a pane I press my forehead
And drowsily look on the walls and sidewalks.
From building and battered paving-stone.
The headlight scoffs at the mist,
And fixes its yellow rays in the cold slow rain;
Against a pane I press my forehead
And drowsily look on the walls and sidewalks.
The headlight finds the way
And life is gone from the wet and the welter—
Only an old woman, bloated, disheveled and bleared.
Far-wandered waif of other days,
Huddles for sleep in a doorway,
Homeless.
And life is gone from the wet and the welter—
Only an old woman, bloated, disheveled and bleared.
Far-wandered waif of other days,
Huddles for sleep in a doorway,
Homeless.
169
NOON HOUR
SHE sits in the dust at the walls
And makes cigars,
Bending at the bench
With fingers wage-anxious,
Changing her sweat for the day's pay.
And makes cigars,
Bending at the bench
With fingers wage-anxious,
Changing her sweat for the day's pay.
Now the noon hour has come,
And she leans with her bare arms
On the window-sill over the river,
Leans and feels at her throat
Cool-moving things out of the free open ways:
And she leans with her bare arms
On the window-sill over the river,
Leans and feels at her throat
Cool-moving things out of the free open ways:
At her throat and eyes and nostrils
The touch and the blowing cool
Of great free ways beyond the walls.
The touch and the blowing cool
Of great free ways beyond the walls.
170
'BOES
I WAITED today for a freight train to pass.
Cattle cars with steers butting their horns against the
bars, went by.
And a half a dozen hoboes stood on bumpers between
cars.
Well, the cattle are respectable, I thought.
Every steer has its transportation paid for by the farmer
sending it to market,
While the hoboes are law-breakers in riding a railroad
train without a ticket.
It reminded me of ten days I spent in the Allegheny
County jail in Pittsburgh.
I got ten days even though I was a veteran of the
Spanish-American war.
Cooped in the same cell with me was an old man, a
bricklayer and a booze-fighter.
But it just happened he, too, was a veteran soldier, and
he had fought to preserve the Union and free the
niggers.
We were three in all, the other being a Lithuanian who
got drunk on pay day at the steel works and got to
fighting a policeman;
All the clothes he had was a shirt, pants and shoes—
somebody got his hat and coat and what money he
had left over when he got drunk.
Cattle cars with steers butting their horns against the
bars, went by.
And a half a dozen hoboes stood on bumpers between
cars.
Well, the cattle are respectable, I thought.
Every steer has its transportation paid for by the farmer
sending it to market,
While the hoboes are law-breakers in riding a railroad
train without a ticket.
It reminded me of ten days I spent in the Allegheny
County jail in Pittsburgh.
I got ten days even though I was a veteran of the
Spanish-American war.
Cooped in the same cell with me was an old man, a
bricklayer and a booze-fighter.
But it just happened he, too, was a veteran soldier, and
he had fought to preserve the Union and free the
niggers.
We were three in all, the other being a Lithuanian who
got drunk on pay day at the steel works and got to
fighting a policeman;
All the clothes he had was a shirt, pants and shoes—
somebody got his hat and coat and what money he
had left over when he got drunk.
171
UNDER A TELEPHONE POLE
I AM a copper wire slung in the air,
Slim against the sun I make not even a clear line of shadow.
Night and day I keep singing—humming and thrumming:
It is love and war and money; it is the fighting and the
tears, the work and want,
Death and laughter of men and women passing through
me, carrier of your speech,
In the rain and the wet dripping, in the dawn and the
shine drying,
A copper wire.
Slim against the sun I make not even a clear line of shadow.
Night and day I keep singing—humming and thrumming:
It is love and war and money; it is the fighting and the
tears, the work and want,
Death and laughter of men and women passing through
me, carrier of your speech,
In the rain and the wet dripping, in the dawn and the
shine drying,
A copper wire.
172
I AM THE PEOPLE, THE MOB
I AM the people—the mob—the crowd—the mass.
Do you know that all the great work of the world is
done through me?
I am the workingman, the inventor, the maker of the
world's food and clothes.
I am the audience that witnesses history. The Napoleons
come from me and the Lincolns. They die. And
then I send forth more Napoleons and Lincolns.
I am the seed ground. I am a prairie that will stand
for much plowing. Terrible storms pass over me.
I forget. The best of me is sucked out and wasted.
I forget. Everything but Death comes to me and
makes me work and give up what I have. And I
forget.
Sometimes I growl, shake myself and spatter a few red
drops for history to remember. Then—I forget.
When I, the People, learn to remember, when I, the
People, use the lessons of yesterday and no longer
forget who robbed me last year, who played me for
a fool—then there will be no speaker in all the world
say the name: "The People," with any fleck of a
sneer in his voice or any far-off smile of derision.
The mob—the crowd—the mass—will arrive then.
Do you know that all the great work of the world is
done through me?
I am the workingman, the inventor, the maker of the
world's food and clothes.
I am the audience that witnesses history. The Napoleons
come from me and the Lincolns. They die. And
then I send forth more Napoleons and Lincolns.
I am the seed ground. I am a prairie that will stand
for much plowing. Terrible storms pass over me.
I forget. The best of me is sucked out and wasted.
I forget. Everything but Death comes to me and
makes me work and give up what I have. And I
forget.
Sometimes I growl, shake myself and spatter a few red
drops for history to remember. Then—I forget.
When I, the People, learn to remember, when I, the
People, use the lessons of yesterday and no longer
forget who robbed me last year, who played me for
a fool—then there will be no speaker in all the world
say the name: "The People," with any fleck of a
sneer in his voice or any far-off smile of derision.
The mob—the crowd—the mass—will arrive then.
173
GOVERNMENT
THE Government—I heard about the Government and
I went out to find it. I said I would look closely at
it when I saw it.
Then I saw a policeman dragging a drunken man to
the callaboose. It was the Government in action.
I saw a ward alderman slip into an office one morning
and talk with a judge. Later in the day the judge
dismissed a case against a pickpocket who was a
live ward worker for the alderman. Again I saw
this was the Government, doing things.
I saw militiamen level their rifles at a crowd of
workingmen who were trying to get other workingmen
to stay away from a shop where there was a strike
on. Government in action.
I went out to find it. I said I would look closely at
it when I saw it.
Then I saw a policeman dragging a drunken man to
the callaboose. It was the Government in action.
I saw a ward alderman slip into an office one morning
and talk with a judge. Later in the day the judge
dismissed a case against a pickpocket who was a
live ward worker for the alderman. Again I saw
this was the Government, doing things.
I saw militiamen level their rifles at a crowd of
workingmen who were trying to get other workingmen
to stay away from a shop where there was a strike
on. Government in action.
Everywhere I saw that Government is a thing made of
men, that Government has blood and bones, it is
many mouths whispering into many ears, sending
telegrams, aiming rifles, writing orders, saying
"yes" and "no."
men, that Government has blood and bones, it is
many mouths whispering into many ears, sending
telegrams, aiming rifles, writing orders, saying
"yes" and "no."
Government dies as the men who form it die and are laid
away in their graves and the new Government that
comes after is human, made of heartbeats of blood,
ambitions, lusts, and money running through it all,
money paid and money taken, and money covered
up and spoken of with hushed voices.
A Government is just as secret and mysterious and sensitive
as any human sinner carrying a load of germs,
traditions and corpuscles handed down from
fathers and mothers away back.
away in their graves and the new Government that
comes after is human, made of heartbeats of blood,
174
money paid and money taken, and money covered
up and spoken of with hushed voices.
A Government is just as secret and mysterious and sensitive
as any human sinner carrying a load of germs,
traditions and corpuscles handed down from
fathers and mothers away back.
175
LANGUAGES
THERE are no handles upon a language
Whereby men take hold of it
And mark it with signs for its remembrance.
It is a river, this language,
Once in a thousand years
Breaking a new course
Changing its way to the ocean.
It is mountain effluvia
Moving to valleys
And from nation to nation
Crossing borders and mixing.
Languages die like rivers.
Words wrapped round your tongue today
And broken to shape of thought
Between your teeth and lips speaking
Now and today
Shall be faded hieroglyphics
Ten thousand years from now.
Sing—and singing—remember
Your song dies and changes
And is not here to-morrow
Any more than the wind
Blowing ten thousand years ago.
Whereby men take hold of it
And mark it with signs for its remembrance.
It is a river, this language,
Once in a thousand years
Breaking a new course
Changing its way to the ocean.
It is mountain effluvia
Moving to valleys
And from nation to nation
Crossing borders and mixing.
Languages die like rivers.
Words wrapped round your tongue today
And broken to shape of thought
Between your teeth and lips speaking
Now and today
Shall be faded hieroglyphics
Ten thousand years from now.
Sing—and singing—remember
Your song dies and changes
And is not here to-morrow
Any more than the wind
Blowing ten thousand years ago.
176
LETTERS TO DEAD IMAGISTS
Emily Dickinson:
You gave us the bumble bee who has a soul,
The everlasting traveler among the hollyhocks,
And how God plays around a back yard garden.
You gave us the bumble bee who has a soul,
The everlasting traveler among the hollyhocks,
And how God plays around a back yard garden.
Stevie Crane:
War is kind and we never knew the kindness of war till
you came;
Nor the black riders and clashes of spear and shield out
of the sea,
Nor the mumblings and shots that rise from dreams on
call.
War is kind and we never knew the kindness of war till
you came;
Nor the black riders and clashes of spear and shield out
of the sea,
Nor the mumblings and shots that rise from dreams on
call.
177
SHEEP
Thousands of sheep, soft-footed, black-nosed sheep—
one by one going up the hill and over the fence—one by
one four-footed pattering up and over—one by one wiggling
their stub tails as they take the short jump and go
over—one by one silently unless for the multitudinous
drumming of their hoofs as they move on and go over—
thousands and thousands of them in the grey haze of
evening just after sundown—one by one slanting in a
long line to pass over the hill—
one by one going up the hill and over the fence—one by
one four-footed pattering up and over—one by one wiggling
their stub tails as they take the short jump and go
over—one by one silently unless for the multitudinous
drumming of their hoofs as they move on and go over—
thousands and thousands of them in the grey haze of
evening just after sundown—one by one slanting in a
long line to pass over the hill—
I am the slow, long-legged Sleepyman and I love you
sheep in Persia, California, Argentine, Australia, or
Spain—you are the thoughts that help me when I, the
Sleepyman, lay my hands on the eyelids of the children
of the world at eight o'clock every night—you thousands
and thousands of sheep in a procession of dusk making
an endless multitudinous drumming on the hills with
your hoofs.
sheep in Persia, California, Argentine, Australia, or
Spain—you are the thoughts that help me when I, the
Sleepyman, lay my hands on the eyelids of the children
of the world at eight o'clock every night—you thousands
and thousands of sheep in a procession of dusk making
an endless multitudinous drumming on the hills with
your hoofs.
178
THE RED SON
I LOVE your faces I saw the many years
I drank your milk and filled my mouth
With your home talk, slept in your house
And was one of you.
But a fire burns in my heart.
Under the ribs where pulses thud
And flitting between bones of skull
Is the push, the endless mysterious command,
Saying:
"I leave you behind—
You for the little hills and the years all alike,
You with your patient cows and old houses
Protected from the rain,
I am going away and I never come back to you;
Crags and high rough places call me,
Great places of death
Where men go empty handed
And pass over smiling
To the star-drift on the horizon rim.
My last whisper shall be alone, unknown;
I shall go to the city and fight against it,
And make it give me passwords
Of luck and love, women worth dying for,
And money.
I go where you wist not of
Nor I nor any man nor woman.
I only know I go to storms
Grappling against things wet and naked."
There is no pity of it and no blame.
None of us is in the wrong.
After all it is only this:
You for the little hills and I go away.
I drank your milk and filled my mouth
With your home talk, slept in your house
And was one of you.
But a fire burns in my heart.
Under the ribs where pulses thud
And flitting between bones of skull
Is the push, the endless mysterious command,
Saying:
"I leave you behind—
You for the little hills and the years all alike,
You with your patient cows and old houses
Protected from the rain,
I am going away and I never come back to you;
Crags and high rough places call me,
Great places of death
Where men go empty handed
And pass over smiling
To the star-drift on the horizon rim.
My last whisper shall be alone, unknown;
I shall go to the city and fight against it,
And make it give me passwords
Of luck and love, women worth dying for,
And money.
179
Nor I nor any man nor woman.
I only know I go to storms
Grappling against things wet and naked."
There is no pity of it and no blame.
None of us is in the wrong.
After all it is only this:
You for the little hills and I go away.
180
THE MIST
I AM the mist, the impalpable mist,
Back of the thing you seek.
My arms are long,
Long as the reach of time and space.
Back of the thing you seek.
My arms are long,
Long as the reach of time and space.
Some toil and toil, believing,
Looking now and again on my face,
Catching a vital, olden glory.
Looking now and again on my face,
Catching a vital, olden glory.
But no one passes me,
I tangle and snare them all.
I am the cause of the Sphinx,
The voiceless, baffled, patient Sphinx.
I tangle and snare them all.
I am the cause of the Sphinx,
The voiceless, baffled, patient Sphinx.
I was at the first of things,
I will be at the last.
I am the primal mist
And no man passes me;
My long impalpable arms
Bar them all.
I will be at the last.
I am the primal mist
And no man passes me;
My long impalpable arms
Bar them all.
181
THE JUNK MAN
I AM glad God saw Death
And gave Death a job taking care of all who are tired
of living:
And gave Death a job taking care of all who are tired
of living:
When all the wheels in a clock are worn and slow and
the connections loose
And the clock goes on ticking and telling the wrong time
from hour to hour
And people around the house joke about what a bum
clock it is,
How glad the clock is when the big Junk Man drives
his wagon
Up to the house and puts his arms around the clock and
says:
"You don't belong here,
You gotta come
Along with me,"
How glad the clock is then, when it feels the arms of the
Junk Man close around it and carry it away.
the connections loose
And the clock goes on ticking and telling the wrong time
from hour to hour
And people around the house joke about what a bum
clock it is,
How glad the clock is when the big Junk Man drives
his wagon
Up to the house and puts his arms around the clock and
says:
"You don't belong here,
You gotta come
Along with me,"
How glad the clock is then, when it feels the arms of the
Junk Man close around it and carry it away.
182
SILVER NAILS
A MAN was crucified. He came to the city a stranger,
was accused, and nailed to a cross. He lingered hanging.
Laughed at the crowd. "The nails are iron," he
said, "You are cheap. In my country when we crucify
we use silver nails. . ." So he went jeering. They
did not understand him at first. Later they talked about
him in changed voices in the saloons, bowling alleys, and
churches. It came over them every man is crucified
only once in his life and the law of humanity dictates
silver nails be used for the job. A statue was erected
to him in a public square. Not having gathered his
name when he was among them, they wrote him as John
Silvernail on the statue.
was accused, and nailed to a cross. He lingered hanging.
Laughed at the crowd. "The nails are iron," he
said, "You are cheap. In my country when we crucify
we use silver nails. . ." So he went jeering. They
did not understand him at first. Later they talked about
him in changed voices in the saloons, bowling alleys, and
churches. It came over them every man is crucified
only once in his life and the law of humanity dictates
silver nails be used for the job. A statue was erected
to him in a public square. Not having gathered his
name when he was among them, they wrote him as John
Silvernail on the statue.
183
GYPSY
I ASKED a gypsy pal
To imitate an old image
And speak old wisdom.
She drew in her chin,
Made her neck and head
The top piece of a Nile obelisk
and said:
Snatch off the gag from thy mouth, child,
And be free to keep silence.
Tell no man anything for no man listens,
Yet hold thy lips ready to speak.
To imitate an old image
And speak old wisdom.
She drew in her chin,
Made her neck and head
The top piece of a Nile obelisk
and said:
Snatch off the gag from thy mouth, child,
And be free to keep silence.
Tell no man anything for no man listens,
Yet hold thy lips ready to speak.
184
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