Although it no longer has a body
to cover out of a sense of decorum,

the ghost must still consider fashion—

must clothe its invisibility in something
if it is to “appear” in public.

Some traditional specters favor
the simple shroud—

a toga of ectoplasm
worn Isadora-Duncan-style
swirling around them.

While others opt for lightweight versions
of once familiar tee shirts and jeans.

Perhaps being thought-forms,
they can change their outfits instantly—

or if they were loved ones,
it is we who clothe them
like dolls from memory.
 

Although it no longer has a body
to cover out of a sense of decorum,

the ghost must still consider fashion—

must clothe its invisibility in something
if it is to “appear” in public.

Some traditional specters favor
the simple shroud—

a toga of ectoplasm
worn Isadora-Duncan-style
swirling around them.

While others opt for lightweight versions
of once familiar tee shirts and jeans.

Perhaps being thought-forms,
they can change their outfits instantly—

or if they were loved ones,
it is we who clothe them
like dolls from memory.
 

Gloomy and bare the organ-loft,
Bent-backed and blind the organist.
From rafters looming shadowy,
From the pipes’ tuneful company,
Drifted together drowsily,
Innumerable, formless, dim,
The ghosts of long-dead melodies,
Of anthems, stately, thunderous,
Of Kyries shrill and tremulous:
In melancholy drowsy-sweet
They huddled there in harmony.
Like bats at noontide rafter-hung.

Gloomy and bare the organ-loft,
Bent-backed and blind the organist.
From rafters looming shadowy,
From the pipes’ tuneful company,
Drifted together drowsily,
Innumerable, formless, dim,
The ghosts of long-dead melodies,
Of anthems, stately, thunderous,
Of Kyries shrill and tremulous:
In melancholy drowsy-sweet
They huddled there in harmony.
Like bats at noontide rafter-hung.

All houses wherein men have lived and died
Are haunted houses. Through the open doors
The harmless phantoms on their errands glide,
With feet that make no sound upon the floors.

We meet them at the door-way, on the stair,
Along the passages they come and go,
Impalpable impressions on the air,
A sense of something moving to and fro.

There are more guests at table than the hosts
Invited; the illuminated hall
Is thronged with quiet, inoffensive ghosts,
As silent as the pictures on the wall.

The stranger at my fireside cannot see
The forms I see, nor hear the sounds I hear;
He but perceives what is; while unto me
All that has been is visible and clear.

We have no title-deeds to house or lands;
Owners and occupants of earlier dates
From graves forgotten stretch their dusty hands,
And hold in mortmain still their old estates.

The spirit-world around this world of sense
Floats like an atmosphere, and everywhere
Wafts through these earthly mists and vapours dense
A vital breath of more ethereal air.

Our little lives are kept in equipoise
By opposite attractions and desires;
The struggle of the instinct that enjoys,
And the more noble instinct that aspires.

These perturbations, this perpetual jar
Of earthly wants and aspirations high,
Come from the influence of an unseen star
An undiscovered planet in our sky.

And as the moon from some dark gate of cloud
Throws o’er the sea a floating bridge of light,
Across whose trembling planks our fancies crowd
Into the realm of mystery and night,—

So from the world of spirits there descends
A bridge of light, connecting it with this,
O'er whose unsteady floor, that sways and bends,
Wander our thoughts above the dark abyss.

Mr. Macklin takes his knife 
And carves the yellow pumpkin face: 
Three holes bring eyes and nose to life, 
The mouth has thirteen teeth in place. 
Then Mr. Macklin just for fun 
Transfers the corn-cob pipe from his 
Wry mouth to Jack’s, and everyone 
Dies laughing! O what fun it is 
Till Mr. Macklin draws the shade 
And lights the candle in Jack’s skull. 
Then all the inside dark is made 
As spooky and as horrorful 
As Halloween, and creepy crawl 
The shadows on the tool-house floor, 
With Jack’s face dancing on the wall. 
O Mr. Macklin! where's the door?

I am the ghost of Shadwell Stair.
       Along the wharves by the water-house,
       And through the cavernous slaughter-house,
I am the shadow that walks there.


Yet I have flesh both firm and cool,
       And eyes tumultuous as the gems
       Of moons and lamps in the full Thames
When dusk sails wavering down the pool.


Shuddering the purple street-arc burns
       Where I watch always; from the banks
       Dolorously the shipping clanks
And after me a strange tide turns.


I walk till the stars of London wane
       And dawn creeps up the Shadwell Stair.
       But when the crowing syrens blare
I with another ghost am lain.

I spot the hills 
With yellow balls in autumn. 
I light the prairie cornfields 
Orange and tawny gold clusters 
And I am called pumpkins. 
On the last of October 
When dusk is fallen 
Children join hands 
And circle round me 
Singing ghost songs 
And love to the harvest moon; 
I am a jack-o'-lantern 
With terrible teeth 
And the children know 
I am fooling.

The moon will shine for God
knows how long.
As if it still matters. As if someone

is trying to recall a dream.
Believe the brain is a cage of light
& rage. When it shuts off,

something else switches on.
There’s no better reason than now
to lock the doors, the windows.

Turn off the sprinklers
& porch light. Save the books
for fire. In darkness,

we learn to read
what moves along the horizon,
across the periphery of a gun scope—

the flicker of shadows,
the rustling of trash in the body
of cities long emptied.

Not a soul lives
in this house &
this house & this

house. Go on, stiffen
the heart, quicken
the blood. To live

in a world of flesh
& teeth, you must
learn to kill

what you love,
& love what can die.