Blogtober #9: Brevity.

I wrote this poem a few years ago. It has a fairly familiar theme. *wink*

Autumn: Brevity

I pull open the doors for you,
my intermittent love,
eager to greet you with the cool kisses of yet another fall.
It does not bother me that you arrive once a year bearing your all-consuming brevity.
It does not trouble me that I compete with the other colors in your world.

Do hopeless beggars have the power of choice?

You are mine.
Whether orange moons or darkened afternoons–
whether burnished leaves or hearts exposed on long sleeves–
You are mine.
Cloak me with the fleeting warmth of your love and affection
and disregard what errant tears you may see from me,
for we have so little time.

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In Plain Sight

“Gin and tonic, please,” he said to the waiter.

“My, how tame we’ve become in our old age.”

He smiled and turned around. She stood before him, grinning and still looking very much like the 21 year-old girl that had crossed the threshold of the gray building on Fairfax Street so many years ago. But her youthful appearance was in looks only; the woman in front of him brimmed with confidence and strength, a far cry from the terrified, shy girl they met that first day. Back then, their superiors had been–inexplicably in the eyes of most–convinced that Tamara Knight was blessed with the same keen abilities as her deceased mother, the incomparable Pamela Knight, and had recruited Tamara at once for the school. They had been wrong. Mara Knight was a complete neophyte; hardly ready to begin a rigorous training program that would result in a career as one of the Queen’s stable of international espionage agents.  

James stood and met her embrace, reminding himself to hold on just enough, not too long, not too close. Just enough. Of course, his resolve was interrupted by the kiss she placed on his cheek and, as a result, the dizzying aroma of roses and lilacs that she left behind on his skin. He was tempted to hold on to her one beat longer, long enough to communicate everything he had wanted to say since he laid eyes on her fifteen years ago.

He didn’t.

After the embrace, James escorted her to the other side of the booth. Moments later, the waiter re-appeared and took her request for a whiskey, neat.

“Where are you coming from?” he asked her after the waiter departed.

Mara softly chuckled. “Does it seem like I came from somewhere?”

“Absolutely.” He paused to study her, forcing himself to conduct only a surface appraisal and not the kind of intense staring he formerly engaged in when they worked in the same building. “South America, perhaps?”

Her large brown eyes gleamed. “How did you know?”

James pointed toward the sparkling broach on the left shoulder of her olive green dress. It was a flower with dark pink petals and a yellow/cream center.  “I’m venturing that it’s a rendering from the silk floss tree. Native to the tropical and subtropical forests of South America, I believe.”

“Spot on, as always. Two weeks in Argentina. Buenos Aires, specifically.”

Naturally, the details about her time in Buenos Aires would remain unspoken between them. They belonged to the same organization, yes, but the potentiality of traitors meant that there would be no detailed discussion about “work.”  

“Lovely, isn’t it?” she said, lightly touching the broach. “It’s always nice to honor the culture of where you are.”

In the beginning, Mara Knight certainly wasn’t interested in honoring cultures. During a field assignment in Indonesia (they had been assigned together; her first, his umpteenth), James recalled that she had spent more time vomiting on the side of various roads than taking in the culture around them. “My nerves…my nerves are shot,” she kept muttering whenever the truck had to pull over for her. He laughed at the memory.

“Something funny?” she asked.

“You dry-heaving on the side of the road in Jakarta.”

She joined him in laughter, tears eventually twinkling in the corners of her eyes. “Those were the days, weren’t they?”

They had all underestimated her, believing that the terrified, unsure beginner would remain that way. In the end, her mother may not have gifted Mara Knight with those astute abilities she had been famous for, but perhaps she had given her daughter something greater, something she would come to find nearly six months into her training: a tenacious will to succeed. That will led to her surpassing them all, in the end.

“I miss us working together, James.”

His knee-jerk reaction, to blurt out that he missed her, just her, and not working together, was ignored. “I don’t think you miss London traffic and morning fog, though,” James replied instead, smiling.

“Those things don’t matter,” Mara replied. “I miss seeing you every day.”

Had she transitioned to reading minds?

Nevertheless, James kept the smile planted on his face and said nothing. What could even be said?

“I miss walking onto our floor and waving at you from the elevator,” she continued. “How long has it been: a year since we saw each other?”

One year, four months, two days, 15 minutes.

James merely nodded, sipping his drink to avoid speaking what he simply couldn’t say.

“I tried to call you, you know,” Mara then said quietly.

Don’t choke. “You tried to call me?” he questioned, holding tightly to his composure. “When?”

Mara sipped her drink. “Many times. Times when your voice was the only one I needed to hear.”

Understandable, he quickly reasoned. It was the two of them as partners for a long time. Nine years, to be exact.  (Also recruited at 21, James Caraway had quickly risen in their ranks and was a mission lead by the time Mara came to them. The top brass had decided to place the two of them together, feeling that the closeness in their ages–James was four years Mara’s senior–would lend itself to her training. They had shared everything: from missions to near-death experiences to those tiny, quiet moments in between, when just being side by side provided a sense of comfort and safety that didn’t require explanation or discussion. And then, three years ago, their superiors promoted Mara to a special counterintelligence team that didn’t include James.)

“I wish I had known,” was his only reply. Perhaps those unlisted numbers were her. Perhaps, deep, deep down, he had known it was her calling and allowed the calls to go unanswered. It didn’t matter, in the end. She missed him as a friend and a colleague, nothing more.

Mara then peered out of the window, gazing at the rain-soaked evening. James took that opportunity to carefully study her this time, not a surface appraisal like before. He took in every nuance of her, carving a new image of her to replace the one he had placed in his mind when they last saw another. Her dark brown skin, far more luminous than a year ago; the full head of curls, longer and fuller; even her shade of lipstick, deep red and warm. That way, when he closed his eyes from this day forward, he would see her in the present, as she was now. It made things a bit more real.

“James,” she said, turning back to face him, “you, my friend, are a terrible, terrible actor. How you’ve been able to excel this long in espionage is beyond me.”

Taken aback, he shook his head. “I’m not quite sure what–“

She reached across the table and grasped his hands. “Did you know it was me calling all those times? Did see you those numbers and wonder if it was me?”

“Mara, I–“

“Why did you ignore my calls, James? Why don’t you reply to my emails? Why did you arrange this dinner through Michael?”

Michael Hanson was her handler. James ran into Hanson one morning at the office and had suggested the dinner, hastily speaking before he could take it all back. Of course, he had used the cover that it was high time that Mara and her former partner/trainer reunite.

Mara squeezed his hands, still leaning over, her brown eyes boring into his. “What have you been afraid to tell me? Why have you been afraid to say? Do you think I’ve never noticed you looking at me? Just like you were a few seconds ago? Do you think I’ve been blind all this time?”

Briefly, James noted that this interrogation technique, wearying the subject with rapid-fire, incessant questions, was something he had taught her to do.

“What are you afraid of, James? What are you imprisoned by? What keeps you from doing what you want?”

“Please, Mara. Stop.” How could a moment be so fraught with both desire and a wish for silence? How could he be so puzzled by her abrupt turn of behavior and equally aware of why she was behaving this way?

She shook her head. “I won’t stop, James. I won’t. I’ve stood by for fifteen years, waiting for you to say something, to speak the obvious, and I won’t stop now. I won’t stop until–“

James laughed despite himself. “You’ve stood by for fifteen years? Oh, Mara. You have no idea what you’re talking about.”

She grinned. “That’s the first loosely combative thing you’ve ever said to me, James. Thank you.”

Freshly taken aback, he felt beads of sweat forming on his forehead. He wanted to wipe them, but he didn’t want to remove his hands from hers.

“I can resume my questioning if you don’t say something,” Mara warned, her eyes twinkling.

“Are you playing with me, Mara?” James asked. “What is this?”

Mara stood up and walked around to his side of the booth. She slid in next to him, as close as she physically could. “This is us releasing each other from the prisons we built 15 years ago, James. You’ve been worried for so long about telling me how you felt–that’s the prison you built. I’ve been waiting for so long for you to confirm what I felt the moment we met each other–the prison I built.” She put her hands on his shoulders. “No more prison for me, James. I’ve wanted you for fifteen years. Your turn. Tell me how you feel. Open the bars. Come out of the prison.”

James inhaled her words and roses and lilacs and swore he would pass out. Was all of this truly happening?

“You only remember me getting sick in Jakarta,” she said softly, leaning in even closer. “I remember watching you fall asleep every night in Jakarta. I couldn’t sleep. I would stay up and watch you sleep every evening until the morning. Fifteen nights, just watching you sleep, feeling strange and confused and just…”

Fifteen nights.

Fifteen years.

Exhale.

Exhale.

Exhale.

He had been holding his breath for fifteen years. Apparently, they both had.

Mara smiled at him. She knew it, then, that he was letting go.

James reached over and gently caressed her cheek. “How did you…how did you know all of this?” he asked her.

She placed her hand over his. “I’m a super spy. I know everything.”

***

it chose me.

It was inevitable that fiction would choose me, that my world would become consumed by it. From the fairy tales my mother brought before me, to the fascinating living stories around me, to the nursery rhymes that incited such vivid images in my mind, to the billowing curtain in my childhood bedroom that, to me, offered pretty terrifying possibilities on the other side, my imagination was its own character from the very beginning. When I would hide in the library during recess (we’ll talk about that in another post; praise kind librarians), I would read. And read. And read. All fiction, all topics, all possibilities. A fiction writer was being born. By the age of eight, that writer came alive.

After messing with my dear father a bit about majoring in psychology while filling out my college application (“I want to be a shrink, Daddy.” “No; choose something else.”), I chose English as my major. It was always going to be English; I knew that when I was sixteen years old. Soon thereafter, I chose the concentration for my major: Fiction. For four years, I was ensconced in literature, stories, novels. It was like being in the stacks all over again.

I write poetry, these lovely blog posts, articles, the occasional play, a few songs…

But first and foremost, utterly and completely: I will always be a fiction writer.

fictionquote

What do you love to do that chose you? I’m curious to know…

{Guest Blogger} – “I Fell in Love…With Myself”

Support your Square Peg! Support your Square Peg! Support your…typewriter2

I wrote and submitted a guest blog post that was shared on the The Sum of Many Things, “A Lifestyle, Wellness and Personal Development Blog for Busy Women of Color.” (Amazing tagline, right?) Direct link to my post is here. I’d love to hear/read your thoughts about the piece, of course.

Thanks for your support. You’ll make this writer/blogger/author/unceasing lover of Ricky Schroder very happy.

Bon weekend…

schroder
Bae since 1980.

 

issa new contribution.

Yep, I’m basically going to tell you every time a write-up that I contribute to The Maria Antoinette goes live. Because of my enduring love for your support of my writing efforts. And because this self-promotion-as-a-writer thing (which we will discuss later) is a new goal of mine, and unlike my goal to avoid bread, I’ll be sticking to this one.

The new post is here.

highfive

As always, feel free to comment, share, dance with me, whatever you like.

This writing journey continues…

Confetti Explosions and Things of that Nature.

It’s official.

Like really official.

I’ve been sitting on this news for a while until it was official official. And now…

drumroll

I was chosen as a guest contributor for The Maria Antoinette, a beauty/hair/lifestyle/fashion website.

!!!!

That in itself was amazing to be chosen. But even better?

My first contribution to the site is now live.

tina

The excitement and gratitude is real, you guys. This here blog fills me with joy, of course, as well as every single thing related to my writing, my creative works, everything. But to see my contribution up and to read my words…it’s both unreal and super cool.

Here’s the link to my piece: https://themariaantoinette.com/2017/06/29/cover-girl-no-more-four-reasons-i-wont-hide-my-bathing-suit-this-summer/

Read, comment, like, all those things. But above all: thank you for your support!

*cue confetti*

speechless.

flannery

Writing fiction has been a no-go, party people. And I miss writing fiction. Yes, I’ve written some poems quite recently (here and here, if you feel like reminiscing), but I am 100 percent a writer, lover, and creator of fiction. I don’t exactly know what’s going on. Let’s think it through:

  1. Is it because I haven’t given my muse other platforms of art to be inspired by? Honestly, living here in the Lone Star state is still very much a transition: personally, emotionally, and especially artistically.  I’ve yet to stroll down the cool, marble hallways of an art museum. I have been to a few concerts, yes. Most recently, I sat in the audience, tears cascading my face, while Alvin Ailey dancers took my entire life with their powerful, breathtaking performances. That was inspiring, absolutely. It got me writing. But the moment was kind of fleeting. Is it because I’m not exploring art more?
  2. Is it because I’m a lazy writer? Look, there are times when an idea comes to me and I start typing and…I stop. Because I don’t want to do it anymore. Because I don’t feel like it. Because I just want to read People Magazine online and mentally judge the choices of silly celebrities.  Because I want to scroll through Instagram and “happen” to find photos of Idris. Because because because. But real talk? Even though the distractions are awesome and it’s nice to turn off the creative brain once in a while, I feel queasy when it happens. I want to write. Is it because I’m not trying hard enough?
  3. Is it because I’ve run out of ideas? Notice above that I respond when an idea comes to me. So they still come. In fact, some great ones have come and they continue. So what’s going on, dear reader? Is it because I let some of them just sit there, unacknowledged?

I’m sure you’re sitting there shaking your head and muttering that some of these questions/problems have obvious solutions. Go to the museum, then. Stop being lazy, then. Acknowledge those ideas, then.

Yeah yeah yeah.

I just wanted to write this post. Get it? I just need to keep writing. Even if it’s not fiction. Maybe that will come. For now, just keep writing, Square Peg. Just keep writing…

National Poetry Month: Les Poèmes Finaux (#28,29,30)

The final three poems. It’s been wonderful sharing this poetic April with you. Whether it was something I wrote or a classic, beloved piece, I was reminded of my enduring love of poetry, and I hope you were, too. Sometimes we moved in sync with the month, sometimes pieces came at you in bulk, like today. But here’s something interesting about today’s bulk: they’re actually in sequence, a series of allegorical haikus I wrote about the same person. (Does anyone else count the 5/7/5 on their fingers like me? If you also carry the 1 in your head, I welcome you, my kindred spirit.) I thought it fitting to end the last three days (4/28, 29, 30) with a three-parter.

Hope your National Poetry Month was filled with iambic pentameter and all that good stuff. 

Pomegranates for Persephone 

I. 
here’s some honesty:
as search parties mobilize
I’d rather stay lost

II.
of grain and harvest
reeking of cereal and corn
this life awaits me

III.
this mantle she wears 
back-breaking work veiled as gifts–
I ate willingly. 

National Poetry Month: Le Poème #27

Is she posting in real time? Yes, dear reader, your eyes do not deceive you. A poem for the actual day. Stranger things have happened.

I wrote this yesterday. Yay to moments of inspiration while waiting for a cardio class to begin. I should tell you that I’m a big fan of allegory. In artwork, in writing, etc. Regarding poetry, I’d gotten away from allegory when my poems became more of a confessional art form. It was my chance to just be raw and open without using literacy devices. But sometimes the muse misses the past. So here’s today’s poem, which employs my tried and true allegorical vehicle: Greek mythology. 

Athena’s Lament

The exit from a man’s head 
is no guarantee that I have free
entrance into a man’s heart.
You see my armor, balk at
my aegis, confusing my 
breastplate for the Gorgon itself.
And no, it’s not the loveliest thing 
in the world to see–Medusa was 
no beauty queen–but why aren’t 
you looking at me?
(Instead of my armor?)
There are times when I wish
this wisdom was transferable,
so that you could see that wars 
are about battlegrounds and not
about us…
I wouldn’t fight you, my dear, 
for the ability to think doesn’t make
me your enemy. 
If anything, I also like crafts.
Does that bother you, too?
(I doubt it.)
My house on the hill can crumble 
in ruins for all I care, we don’t need it,
we can get a condo somewhere–
just stop forcing yourself to push 
me away.
For by now, you must know
you must,
that I am strong enough to 
stop you from leaving. 
So make it easy.
Stay.  

National Poetry Month: Le Grand Poème (because we’re a bit behind…)

And by “we”, I refer solely to myself. Of course, if you’d like to take the blame along with me, please, feel free.

Yeah, so the last poem upload was ages ago (life, life, life) and now I have to catch up from #18-today, #26. So I thought I’d post the longest poem I’ve ever read, a classic that incited a number of essays and analysis when I was college, a classic filled with sentences and words that still electrify the mind. That should make up for my absence, no? (If you don’t agree, well, I run this thing, dear reader. But I shall do better. Maybe. You still love me, though. I feel it.)

The Waste Land
T.S. Eliot
(Poem courtesy of the Poetry Foundation)

  FOR EZRA POUND
IL MIGLIOR FABBRO
              I. The Burial of the Dead
  April is the cruellest month, breeding
Lilacs out of the dead land, mixing
Memory and desire, stirring
Dull roots with spring rain.
Winter kept us warm, covering
Earth in forgetful snow, feeding
A little life with dried tubers.
Summer surprised us, coming over the Starnbergersee
With a shower of rain; we stopped in the colonnade,
And went on in sunlight, into the Hofgarten,
And drank coffee, and talked for an hour.
Bin gar keine Russin, stamm’ aus Litauen, echt deutsch.
And when we were children, staying at the arch-duke’s,
My cousin’s, he took me out on a sled,
And I was frightened. He said, Marie,
Marie, hold on tight. And down we went.
In the mountains, there you feel free.
I read, much of the night, and go south in the winter.
  What are the roots that clutch, what branches grow
Out of this stony rubbish? Son of man,
You cannot say, or guess, for you know only
A heap of broken images, where the sun beats,
And the dead tree gives no shelter, the cricket no relief,
And the dry stone no sound of water. Only
There is shadow under this red rock,
(Come in under the shadow of this red rock),
And I will show you something different from either
Your shadow at morning striding behind you
Or your shadow at evening rising to meet you;
I will show you fear in a handful of dust.
                      Frisch weht der Wind
                      Der Heimat zu
                      Mein Irisch Kind,
                      Wo weilest du?
“You gave me hyacinths first a year ago;
“They called me the hyacinth girl.”
—Yet when we came back, late, from the Hyacinth garden,
Your arms full, and your hair wet, I could not
Speak, and my eyes failed, I was neither
Living nor dead, and I knew nothing,
Looking into the heart of light, the silence.
Oed’ und leer das Meer.
  Madame Sosostris, famous clairvoyante,
Had a bad cold, nevertheless
Is known to be the wisest woman in Europe,
With a wicked pack of cards. Here, said she,
Is your card, the drowned Phoenician Sailor,
(Those are pearls that were his eyes. Look!)
Here is Belladonna, the Lady of the Rocks,
The lady of situations.
Here is the man with three staves, and here the Wheel,
And here is the one-eyed merchant, and this card,
Which is blank, is something he carries on his back,
Which I am forbidden to see. I do not find
The Hanged Man. Fear death by water.
I see crowds of people, walking round in a ring.
Thank you. If you see dear Mrs. Equitone,
Tell her I bring the horoscope myself:
One must be so careful these days.
  Unreal City,
Under the brown fog of a winter dawn,
A crowd flowed over London Bridge, so many,
I had not thought death had undone so many.
Sighs, short and infrequent, were exhaled,
And each man fixed his eyes before his feet.
Flowed up the hill and down King William Street,
To where Saint Mary Woolnoth kept the hours
With a dead sound on the final stroke of nine.
There I saw one I knew, and stopped him, crying: “Stetson!
“You who were with me in the ships at Mylae!
“That corpse you planted last year in your garden,
“Has it begun to sprout? Will it bloom this year?
“Or has the sudden frost disturbed its bed?
“Oh keep the Dog far hence, that’s friend to men,
“Or with his nails he’ll dig it up again!
“You! hypocrite lecteur!—mon semblable,—mon frère!”
              II. A Game of Chess
The Chair she sat in, like a burnished throne,
Glowed on the marble, where the glass
Held up by standards wrought with fruited vines
From which a golden Cupidon peeped out
(Another hid his eyes behind his wing)
Doubled the flames of sevenbranched candelabra
Reflecting light upon the table as
The glitter of her jewels rose to meet it,
From satin cases poured in rich profusion;
In vials of ivory and coloured glass
Unstoppered, lurked her strange synthetic perfumes,
Unguent, powdered, or liquid—troubled, confused
And drowned the sense in odours; stirred by the air
That freshened from the window, these ascended
In fattening the prolonged candle-flames,
Flung their smoke into the laquearia,
Stirring the pattern on the coffered ceiling.
Huge sea-wood fed with copper
Burned green and orange, framed by the coloured stone,
In which sad light a carvéd dolphin swam.
Above the antique mantel was displayed
As though a window gave upon the sylvan scene
The change of Philomel, by the barbarous king
So rudely forced; yet there the nightingale
Filled all the desert with inviolable voice
And still she cried, and still the world pursues,
“Jug Jug” to dirty ears.
And other withered stumps of time
Were told upon the walls; staring forms
Leaned out, leaning, hushing the room enclosed.
Footsteps shuffled on the stair.
Under the firelight, under the brush, her hair
Spread out in fiery points
Glowed into words, then would be savagely still.
  “My nerves are bad tonight. Yes, bad. Stay with me.
“Speak to me. Why do you never speak. Speak.
  “What are you thinking of? What thinking? What?
“I never know what you are thinking. Think.”
  I think we are in rats’ alley
Where the dead men lost their bones.
  “What is that noise?”
                          The wind under the door.
“What is that noise now? What is the wind doing?”
                           Nothing again nothing.
                                                        “Do
“You know nothing? Do you see nothing? Do you remember
“Nothing?”
       I remember
Those are pearls that were his eyes.
“Are you alive, or not? Is there nothing in your head?”
                                                                           But
O O O O that Shakespeherian Rag—
It’s so elegant
So intelligent
“What shall I do now? What shall I do?”
“I shall rush out as I am, and walk the street
“With my hair down, so. What shall we do tomorrow?
“What shall we ever do?”
                                               The hot water at ten.
And if it rains, a closed car at four.
And we shall play a game of chess,
Pressing lidless eyes and waiting for a knock upon the door.
  When Lil’s husband got demobbed, I said—
I didn’t mince my words, I said to her myself,
HURRY UP PLEASE ITS TIME
Now Albert’s coming back, make yourself a bit smart.
He’ll want to know what you done with that money he gave you
To get yourself some teeth. He did, I was there.
You have them all out, Lil, and get a nice set,
He said, I swear, I can’t bear to look at you.
And no more can’t I, I said, and think of poor Albert,
He’s been in the army four years, he wants a good time,
And if you don’t give it him, there’s others will, I said.
Oh is there, she said. Something o’ that, I said.
Then I’ll know who to thank, she said, and give me a straight look.
HURRY UP PLEASE ITS TIME
If you don’t like it you can get on with it, I said.
Others can pick and choose if you can’t.
But if Albert makes off, it won’t be for lack of telling.
You ought to be ashamed, I said, to look so antique.
(And her only thirty-one.)
I can’t help it, she said, pulling a long face,
It’s them pills I took, to bring it off, she said.
(She’s had five already, and nearly died of young George.)
The chemist said it would be all right, but I’ve never been the same.
You are a proper fool, I said.
Well, if Albert won’t leave you alone, there it is, I said,
What you get married for if you don’t want children?
HURRY UP PLEASE ITS TIME
Well, that Sunday Albert was home, they had a hot gammon,
And they asked me in to dinner, to get the beauty of it hot—
HURRY UP PLEASE ITS TIME
HURRY UP PLEASE ITS TIME
Goonight Bill. Goonight Lou. Goonight May. Goonight.
Ta ta. Goonight. Goonight.
Good night, ladies, good night, sweet ladies, good night, good night.
              III. The Fire Sermon
  The river’s tent is broken: the last fingers of leaf
Clutch and sink into the wet bank. The wind
Crosses the brown land, unheard. The nymphs are departed.
Sweet Thames, run softly, till I end my song.
The river bears no empty bottles, sandwich papers,
Silk handkerchiefs, cardboard boxes, cigarette ends
Or other testimony of summer nights. The nymphs are departed.
And their friends, the loitering heirs of city directors;
Departed, have left no addresses.
By the waters of Leman I sat down and wept . . .
Sweet Thames, run softly till I end my song,
Sweet Thames, run softly, for I speak not loud or long.
But at my back in a cold blast I hear
The rattle of the bones, and chuckle spread from ear to ear.
A rat crept softly through the vegetation
Dragging its slimy belly on the bank
While I was fishing in the dull canal
On a winter evening round behind the gashouse
Musing upon the king my brother’s wreck
And on the king my father’s death before him.
White bodies naked on the low damp ground
And bones cast in a little low dry garret,
Rattled by the rat’s foot only, year to year.
But at my back from time to time I hear
The sound of horns and motors, which shall bring
Sweeney to Mrs. Porter in the spring.
O the moon shone bright on Mrs. Porter
And on her daughter
They wash their feet in soda water
Et O ces voix d’enfants, chantant dans la coupole!
Twit twit twit
Jug jug jug jug jug jug
So rudely forc’d.
Tereu
Unreal City
Under the brown fog of a winter noon
Mr. Eugenides, the Smyrna merchant
Unshaven, with a pocket full of currants
C.i.f. London: documents at sight,
Asked me in demotic French
To luncheon at the Cannon Street Hotel
Followed by a weekend at the Metropole.
At the violet hour, when the eyes and back
Turn upward from the desk, when the human engine waits
Like a taxi throbbing waiting,
I Tiresias, though blind, throbbing between two lives,
Old man with wrinkled female breasts, can see
At the violet hour, the evening hour that strives
Homeward, and brings the sailor home from sea,
The typist home at teatime, clears her breakfast, lights
Her stove, and lays out food in tins.
Out of the window perilously spread
Her drying combinations touched by the sun’s last rays,
On the divan are piled (at night her bed)
Stockings, slippers, camisoles, and stays.
I Tiresias, old man with wrinkled dugs
Perceived the scene, and foretold the rest—
I too awaited the expected guest.
He, the young man carbuncular, arrives,
A small house agent’s clerk, with one bold stare,
One of the low on whom assurance sits
As a silk hat on a Bradford millionaire.
The time is now propitious, as he guesses,
The meal is ended, she is bored and tired,
Endeavours to engage her in caresses
Which still are unreproved, if undesired.
Flushed and decided, he assaults at once;
Exploring hands encounter no defence;
His vanity requires no response,
And makes a welcome of indifference.
(And I Tiresias have foresuffered all
Enacted on this same divan or bed;
I who have sat by Thebes below the wall
And walked among the lowest of the dead.)
Bestows one final patronising kiss,
And gropes his way, finding the stairs unlit . . .
She turns and looks a moment in the glass,
Hardly aware of her departed lover;
Her brain allows one half-formed thought to pass:
“Well now that’s done: and I’m glad it’s over.”
When lovely woman stoops to folly and
Paces about her room again, alone,
She smoothes her hair with automatic hand,
And puts a record on the gramophone.
“This music crept by me upon the waters”
And along the Strand, up Queen Victoria Street.
O City city, I can sometimes hear
Beside a public bar in Lower Thames Street,
The pleasant whining of a mandoline
And a clatter and a chatter from within
Where fishmen lounge at noon: where the walls
Of Magnus Martyr hold
Inexplicable splendour of Ionian white and gold.
               The river sweats
               Oil and tar
               The barges drift
               With the turning tide
               Red sails
               Wide
               To leeward, swing on the heavy spar.
               The barges wash
               Drifting logs
               Down Greenwich reach
               Past the Isle of Dogs.
                                 Weialala leia
                                 Wallala leialala
               Elizabeth and Leicester
               Beating oars
               The stern was formed
               A gilded shell
               Red and gold
               The brisk swell
               Rippled both shores
               Southwest wind
               Carried down stream
               The peal of bells
               White towers
                                Weialala leia
                                Wallala leialala
“Trams and dusty trees.
Highbury bore me. Richmond and Kew
Undid me. By Richmond I raised my knees
Supine on the floor of a narrow canoe.”
“My feet are at Moorgate, and my heart
Under my feet. After the event
He wept. He promised a ‘new start.’
I made no comment. What should I resent?”
“On Margate Sands.
I can connect
Nothing with nothing.
The broken fingernails of dirty hands.
My people humble people who expect
Nothing.”
                       la la
To Carthage then I came
Burning burning burning burning
O Lord Thou pluckest me out
O Lord Thou pluckest
burning
              IV. Death by Water
Phlebas the Phoenician, a fortnight dead,
Forgot the cry of gulls, and the deep sea swell
And the profit and loss.
                                   A current under sea
Picked his bones in whispers. As he rose and fell
He passed the stages of his age and youth
Entering the whirlpool.
                                   Gentile or Jew
O you who turn the wheel and look to windward,
Consider Phlebas, who was once handsome and tall as you.
              V. What the Thunder Said
  After the torchlight red on sweaty faces
After the frosty silence in the gardens
After the agony in stony places
The shouting and the crying
Prison and palace and reverberation
Of thunder of spring over distant mountains
He who was living is now dead
We who were living are now dying
With a little patience
Here is no water but only rock
Rock and no water and the sandy road
The road winding above among the mountains
Which are mountains of rock without water
If there were water we should stop and drink
Amongst the rock one cannot stop or think
Sweat is dry and feet are in the sand
If there were only water amongst the rock
Dead mountain mouth of carious teeth that cannot spit
Here one can neither stand nor lie nor sit
There is not even silence in the mountains
But dry sterile thunder without rain
There is not even solitude in the mountains
But red sullen faces sneer and snarl
From doors of mudcracked houses
                                      If there were water
   And no rock
   If there were rock
   And also water
   And water
   A spring
   A pool among the rock
   If there were the sound of water only
   Not the cicada
   And dry grass singing
   But sound of water over a rock
   Where the hermit-thrush sings in the pine trees
   Drip drop drip drop drop drop drop
   But there is no water
Who is the third who walks always beside you?
When I count, there are only you and I together
But when I look ahead up the white road
There is always another one walking beside you
Gliding wrapt in a brown mantle, hooded
I do not know whether a man or a woman
—But who is that on the other side of you?
What is that sound high in the air
Murmur of maternal lamentation
Who are those hooded hordes swarming
Over endless plains, stumbling in cracked earth
Ringed by the flat horizon only
What is the city over the mountains
Cracks and reforms and bursts in the violet air
Falling towers
Jerusalem Athens Alexandria
Vienna London
Unreal
A woman drew her long black hair out tight
And fiddled whisper music on those strings
And bats with baby faces in the violet light
Whistled, and beat their wings
And crawled head downward down a blackened wall
And upside down in air were towers
Tolling reminiscent bells, that kept the hours
And voices singing out of empty cisterns and exhausted wells.
In this decayed hole among the mountains
In the faint moonlight, the grass is singing
Over the tumbled graves, about the chapel
There is the empty chapel, only the wind’s home.
It has no windows, and the door swings,
Dry bones can harm no one.
Only a cock stood on the rooftree
Co co rico co co rico
In a flash of lightning. Then a damp gust
Bringing rain
Ganga was sunken, and the limp leaves
Waited for rain, while the black clouds
Gathered far distant, over Himavant.
The jungle crouched, humped in silence.
Then spoke the thunder
DA
Datta: what have we given?
My friend, blood shaking my heart
The awful daring of a moment’s surrender
Which an age of prudence can never retract
By this, and this only, we have existed
Which is not to be found in our obituaries
Or in memories draped by the beneficent spider
Or under seals broken by the lean solicitor
In our empty rooms
DA
Dayadhvam: I have heard the key
Turn in the door once and turn once only
We think of the key, each in his prison
Thinking of the key, each confirms a prison
Only at nightfall, aethereal rumours
Revive for a moment a broken Coriolanus
DA
Damyata: The boat responded
Gaily, to the hand expert with sail and oar
The sea was calm, your heart would have responded
Gaily, when invited, beating obedient
To controlling hands
                                    I sat upon the shore
Fishing, with the arid plain behind me
Shall I at least set my lands in order?
London Bridge is falling down falling down falling down
Poi s’ascose nel foco che gli affina
Quando fiam uti chelidon—O swallow swallow
Le Prince d’Aquitaine à la tour abolie
These fragments I have shored against my ruins
Why then Ile fit you. Hieronymo’s mad againe.
Datta. Dayadhvam. Damyata.
                  Shantih     shantih     shantih