I

Living is no laughing matter:
	you must live with great seriousness
		like a squirrel, for example—
   I mean without looking for something beyond and above living,
		I mean living must be your whole occupation.
Living is no laughing matter:
	you must take it seriously,
	so much so and to such a degree
   that, for example, your hands tied behind your back,
                                            your back to the wall,
   or else in a laboratory
	in your white coat and safety glasses,
	you can die for people—
   even for people whose faces you’ve never seen,
   even though you know living
	is the most real, the most beautiful thing.
I mean, you must take living so seriously
   that even at seventy, for example, you’ll plant olive trees—
   and not for your children, either,
   but because although you fear death you don’t believe it,
   because living, I mean, weighs heavier.

II

Let’s say we’re seriously ill, need surgery—
which is to say we might not get up
			from the white table.
Even though it’s impossible not to feel sad
			about going a little too soon,
we’ll still laugh at the jokes being told,
we’ll look out the window to see if it’s raining,
or still wait anxiously
		for the latest newscast. . . 
Let’s say we’re at the front—
	for something worth fighting for, say.
There, in the first offensive, on that very day,
	we might fall on our face, dead.
We’ll know this with a curious anger,
        but we’ll still worry ourselves to death
        about the outcome of the war, which could last years.
Let’s say we’re in prison
and close to fifty,
and we have eighteen more years, say,
                        before the iron doors will open.
We’ll still live with the outside,
with its people and animals, struggle and wind—
                                I  mean with the outside beyond the walls.
I mean, however and wherever we are,
        we must live as if we will never die.

III

This earth will grow cold,
a star among stars
               and one of the smallest,
a gilded mote on blue velvet—
	  I mean this, our great earth.
This earth will grow cold one day,
not like a block of ice
or a dead cloud even 
but like an empty walnut it will roll along
	  in pitch-black space . . . 
You must grieve for this right now
—you have to feel this sorrow now—
for the world must be loved this much
                               if you’re going to say “I lived”. . .

‘A cold coming we had of it,
Just the worst time of the year
For a journey, and such a long journey:
The ways deep and the weather sharp,
The very dead of winter.’
And the camels galled, sore-footed, refractory,
Lying down in the melting snow.
There were times we regretted
The summer palaces on slopes, the terraces,
And the silken girls bringing sherbet.
Then the camel men cursing and grumbling
And running away, and wanting their liquor and women,
And the night-fires going out, and the lack of shelters,
And the cities hostile and the towns unfriendly
And the villages dirty and charging high prices:
A hard time we had of it.
At the end we preferred to travel all night,
Sleeping in snatches,
With the voices singing in our ears, saying
That this was all folly.

Then at dawn we came down to a temperate valley,
Wet, below the snow line, smelling of vegetation;
With a running stream and a water-mill beating the darkness,
And three trees on the low sky,
And an old white horse galloped away in the meadow.
Then we came to a tavern with vine-leaves over the lintel,
Six hands at an open door dicing for pieces of silver,
And feet kicking the empty wine-skins,
But there was no information, and so we continued
And arrived at evening, not a moment too soon
Finding the place; it was (you may say) satisfactory.

All this was a long time ago, I remember,
And I would do it again, but set down
This set down
This: were we led all that way for
Birth or Death? There was a Birth, certainly,
We had evidence and no doubt. I had seen birth and death,
But had thought they were different; this Birth was
Hard and bitter agony for us, like Death, our death.
We returned to our places, these Kingdoms,
But no longer at ease here, in the old dispensation,
With an alien people clutching their gods.
I should be glad of another death.

The moon
Was an old, old woman, tonight,
Hurrying home;
Calling pitifully to her children,
The stars,
Begging them to go home with her
For she was afraid,
But they would not.
They only laughed
While she crept along
Huddling against the dark blue wall of the Night
Stooping low,
Her old black hood wrapped close about her ears,
And only the pale curve of her yellow cheek
With a tear in the hollow of it
Showing through.
And the wind laughed too,
For he was teasing the old woman,
Pelting her with snowballs,
Filling her old eyes with the flakes of them,
Making her cold.
She stumbled along, shivering,
And once she fell,
And the snow buried her;
And all her jewels
Slid from the old bag
Under her arm
And fell to earth,
And the tall trees seized them,
And hung them about their necks,
And filled their bony arms with them.
All their nakedness was covered by her jewels,
And they would not give them back to her.
The old moon-woman moaned piteously,
Hurrying home;
And the wild wind laughed at her
And her children laughed too,
And the tall trees taunted her
With their glittering plunder.

Because the red osier dogwood
Is the winter lightning,
The retention of the prime fire
In the naked and forlorn season
When snow is winner
(For he flames quietly above the shivering mouse
In the moldy tunnel,
The eggs of the grasshopper awaiting metamorphosis
Into the lands of hay and the times of the daisy,
The snake contorted in the gravel,
His brain suspended in thought
Over an abyss that summer will fill with murmuring
And frogs make laughable: the cricket-haunted time)—
I, seeing in the still red branches
The stubborn, unflinching fire of that time,
Will not believe the horror at the door, the snow-white worm
Gnawing at the edges of the mind,
The hissing tree when the sleet falls.
For because the red osier dogwood
Is the winter sentinel,
I am certain of the return of the moth
(Who was not destroyed when an August flame licked him),
And the cabbage butterfly, and all the families
Whom the sun fathers, in the cauldron of his mercy.

In the beginning
there was the war.

The war said let there be war
and there was war.

The war said let there be peace
and there was war.

The people said music and rain
evaporating against fire in the brush
was a kind of music
and so was the beast.

The beast that roared
or bleated when brought down
was silent when skinned
but loud after the skin
was pulled taut over wood
and the people said music
and the thump thump
thump said drum.
Someone said
war drum. The drum said war
is coming to meet you in the field.
The field said war
tastes like copper,
said give us some more, said look
at the wild flowers our war plants
in a grove and grows
just for us.

Outside sheets are pulling
this way and that.

Fields are smoke,
smoke is air.

We wait for fingers to be bent
knuckle to knuckle,

the porch overrun
with rope and shotgun

but the hounds don’t show.
We beat the drum and sing

like there’s nothing outside
but rust-colored clay and fields

of wild flowers growing
farther than we can walk.

Torches may come like fox paws
to steal away what we plant,

but with our bodies bound
by the skin, my arc to his curve,

we are stalks that will bend
and bend and bend…

fire for heat
fire for light
fire for casting figures on a dungeon wall

fire for teaching shadows to writhe
fire for keeping beasts at bay
fire to give them back to the earth

fire for the siege
fire to singe
fire to roast
fire to fuse rubber soles to collapsed crossbeams
fire for Gehenna

fire for Dante
fire for Fallujah
fire for readied aim

fire in the forge that folds steel like a flag
fire to curl worms like cigarette ash
fire to give them back to the earth

fire for ancient reasons: to call down rain
fire to catch it and turn it into steam
fire for churches
fire for a stockpile of books
fire for a bible-black cloak tied to a stake

fire for smoke signals
fire to shape gun muzzle and magazine
fire to leap from the gut of a furnace
fire for Hephaestus
fire for pyres’ sake
fire licking the toes of a quiet brown man
fire for his home
fire for her flag
fire for this sand, to coax it into glass

fire to cure mirrors
fire to cure leeches
Fire to compose a nocturne of cinders

fire for the trash cans illuminating streets
fire for fuel
fire for fields
fire for the field hand’s fourth death

fire to make a cross visible for several yards
fire from the dragon’s mouth
fire for smoking out tangos
fire to stoke like rage and fill the sky with human remains
fire to give them back to the earth
fire to make twine fall from bound wrists
fire to mark them all and bubble black
any flesh it touches as it frees

They took the light from our eyes. Possessive.
Took the moisture from our throats. My arms,
my lips, my sternum, sucked dry, and
lovers of autumn say, Look, here is beauty.
Tallness only made me an obvious target made of
off-kilter limbs. I’d fall either way. I should get a
to-the-death tattoo or metal ribbon of some sort.
War took our prayers like nothing else can,
left us dumber than remote drones. Make
me a loyal soldier and I’ll make you a
lamenting so thick, metallic, so tank-tread-hard.

Now make tomorrow a gate shaped like a man.
I can’t promise, when it’s time, I won’t hesitate,
cannot say I won’t forget to return in fall and
guess the names of the leaves before they change.

The war said bring us your dead
and we died. The people said music
and bending flower, so we sang ballads

in the aisles of churches and fruit markets.
The requiem was everywhere: a comet’s tail
disappearing into the atmosphere,

the wide mouths of the bereft men that have sung…
On currents of air, seeds were carried
as the processional carried us

through the streets of a forgetting city,
between the cold iron of gates.
The field said soil is rich wherever we fall.

Aren’t graveyards and battlefields
our most efficient gardens?
Journeys begin there too if the flowers are taken

into account, and shouldn’t we always
take the flowers into account? Bring them to us.
We’ll come back to you. Peace will come to you

as a rosewood-colored road paver
in your grandmother’s town, as a trench
scraped into canvas, as a violin bow, a shovel,

an easel, a brushstroke that covers
burial mounds in grass. And love, you say,
is a constant blade, a trowel that plants

and uproots, and tomorrow
will be a tornado, you say. Then war,
a sick wind, will come to part the air,

straighten your suit,
and place fresh flowers
on all our muddy graves.