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.

Forgiveness was sitting in your kitchen when you got home, and now rests elbows on the table to watch you reach for a knife. You scrape the papery skin from a ginger root and slice it into thin coins. You think too hard about which mugs to pull from your cupboard: you might reveal too much; should you offer the one with the uncomfortable handle? Water boils. You divide the ginger evenly into both cups and pour. Spoonful of honey. You stir slowly, eyes down as though you might be able to forget. You stir too long. Forgiveness coughs politely, so you turn, place both mugs on the table, sit. Forgiveness leans forward. You lean back. You have forgotten what it is like to live with someone who eats all your cut watermelon, picks clean the skeletal vine of red grapes, shakes water spots onto your bathroom mirror without wiping them away. What thresholds of welcome have you crossed and recrossed? Most mornings, you listen for the body to move through your house and out the door before leaving your bedroom. Most nights, you ghost around each other without speaking. But now, as the rain drizzles into gloaming, you settle into your chairs, inevitable, a cupful of hesitation finally beginning to loosen your tongues.

To every thing there is a season,

and a time to every purpose under the heaven:

A time to be born, a time to die;

a time to plant, and a time to pluck up that which is planted;

A time to kill, and a time to heal;

a time to break down, and a time to build up;

A time to weep, and a time to laugh;

a time to mourn, and a time to dance;

A time to cast away stones, and a time to gather stones together;

a time to embrace, and a time to refrain from embracing;

A time to get, and a time to lose;

a time to keep, and a time to cast away;

A time to rend, and a time to sew;

a time to keep silence, and a time to speak;

A time to love, and a time to hate;

A time of war, and a time of peace.

^{Dedicated to the Poet Agostinho Neto,
President of The People’s Republic of Angola: 1976}

1
I will no longer lightly walk behind
a one of you who fear me:
                                     Be afraid.
I plan to give you reasons for your jumpy fits
and facial tics
I will not walk politely on the pavements anymore
and this is dedicated in particular
to those who hear my footsteps
or the insubstantial rattling of my grocery
cart
then turn around
see me
and hurry on
away from this impressive terror I must be:
I plan to blossom bloody on an afternoon
surrounded by my comrades singing
terrible revenge in merciless
accelerating
rhythms
But
I have watched a blind man studying his face.
I have set the table in the evening and sat down
to eat the news.
Regularly
I have gone to sleep.
There is no one to forgive me.
The dead do not give a damn.
I live like a lover
who drops her dime into the phone
just as the subway shakes into the station
wasting her message
canceling the question of her call:
fulminating or forgetful but late
and always after the fact that could save or 
condemn me

I must become the action of my fate.

2
How many of my brothers and my sisters
will they kill
before I teach myself
retaliation?
Shall we pick a number? 
South Africa for instance:
do we agree that more than ten thousand
in less than a year but that less than
five thousand slaughtered in more than six
months will
WHAT IS THE MATTER WITH ME?

I must become a menace to my enemies.

3
And if I 
if I ever let you slide
who should be extirpated from my universe
who should be cauterized from earth
completely
(lawandorder jerkoffs of the first the
                   terrorist degree)
then let my body fail my soul
in its bedeviled lecheries

And if I 
if I ever let love go
because the hatred and the whisperings
become a phantom dictate I o-
bey in lieu of impulse and realities
(the blossoming flamingos of my
                   wild mimosa trees)
then let love freeze me
out.
I must become
I must become a menace to my enemies.

Then Almitra spoke again and said, And what of Marriage, master?
      And he answered saying:
      You were born together, and together you shall be forevermore.
      You shall be together when the white wings of death scatter your days.
      Ay, you shall be together even in the silent memory of God.
      But let there be spaces in your togetherness,
      And let the winds of the heavens dance between you.

     Love one another, but make not a bond of love:
      Let it rather be a moving sea between the shores of your souls.
      Fill each other’s cup but drink not from one cup.
      Give one another of your bread but eat not from the same loaf.
      Sing and dance together and be joyous, but let each one of your be alone,
      Even as the strings of the lute are alone though they quiver with the same music.

     Give your hearts, but not into each other’s keeping.
      For only the hand of Life can contain your hearts.
      And stand together yet not too near together:
      For the pillars of the temple stand apart,
      And the oak tree and the cypress grow not in each other’s shadow.

              10

maggie and milly and molly and may
went down to the beach(to play one day)

and maggie discovered a shell that sang
so sweetly she couldn’t remember her troubles,and

milly befriended a stranded star
whose rays five languid fingers were;

and molly was chased by a horrible thing
which raced sideways while blowing bubbles:and

may came home with a smooth round stone
as small as a world and as large as alone.

For whatever we lose(like a you or a me)
it’s always ourselves we find in the sea

Then Almitra spoke, saying, We would ask now of Death.
    And he said:
    You would know the secret of death.
    But how shall you find it unless you seek it in the heart of life?
    The owl whose night-bound eyes are blind unto the day cannot unveil the mystery of light.
    If you would indeed behold the spirit of death, open your heart wide unto the body of life.
    For life and death are one, even as the river and the sea are one.

    In the depth of your hopes and desires lies your silent knowledge of the beyond;
    And like seeds dreaming beneath the snow your heart dreams of spring.
    Trust the dreams, for in them is hidden the gate to eternity.
    Your fear of death is but the trembling of the shepherd when he stands before the king whose hand is to be laid upon him in honour.
    Is the shepherd not joyful beneath his trembling, that he shall wear the mark of the king?
    Yet is he not more mindful of his trembling?

    For what is it to die but to stand naked in the wind and to melt into the sun?
    And what is it to cease breathing, but to free the breath from its restless tides, that it may rise and expand and seek God unencumbered?

    Only when you drink from the river of silence shall you indeed sing.
    And when you have reached the mountain top, then you shall begin to climb.
    And when the earth shall claim your limbs, then shall you truly dance.

^{translated from the Italian by Will Schutt}

1

Don’t go down again. Here, 
on this windy night,
somewhere on a night of never-ending 
headlights and roads, Pluto
is waiting down below for you to rise.
Down below—if he remains 
in his enclosure. This is how
it must be. Don’t go down again, go on.
Toward your days, yours alone and no one’s.
Toward sweeter nights to divvy up 
with others, like fruit. Don’t go down again, 
go on.

2

Because rain, because wind and valleys 
at night, yellow grass, breath. That water 
raking the alleys and fields. Because 
there is no truce or tomorrow. Only 
these bars, the cage of an I.
Hell is not being others, 
watching them slip by and disappear:
a parking lot that slowly empties, 
the windblown worksite.

3

Opening your hand, that’s the hard part. Releasing
something without sacrifice, without 
deceit. Being the face
that fades from you, the wing that flits away, the cry 
that does not cry for you.

Breve omaggio a Plutone 

1

Non ridiscendere. Qui 
nella notte del vento, 
da qualche parte nella notte, lunga 
di fari e strade, Plutone
aspetta che tu sali, più in basso.
Più in basso: se resta 
nel suo chiuso. Dev’essere 
così: non ridiscendere, vai.
Verso i tuoi giorni, solo tuoi e di nessuno.
Verso altre notti più dolci da spezzare 
come un frutto, con altri. Non ridiscendere, 
vai.
 

2

Perché la pioggia, perché il vento e le pianure 
notturne, l’erba gialla, il respiro. Quell’acqua 
che scroscia nei vicoli, e i prati. Perché 
non c’è tregua, o domani. Soltanto 
le sbarre, la gabbia di un io.
L’inferno è non essere gli altri, 
guardarli passare e sparire nel niente:
un posteggio che piano si svuota, 
il cantiere del vento.
 

3

Aprire la mano: questo è difficile. Lasciare 
qualcosa senza sacrificio, senza 
falsità. Essere il volto
che si allontana da te, l’ala che sfugge, il pianto 
che non piange per te.