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A Postcard from Paris |
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To Wallace Stevens |
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"And for what, except for you, do I feel love? Do I press the extremest book of the wisest man Close to me, hidden in me day and night? In the uncertain light of single, certain truth, Equal in living changingness to the light In which I meet you, in which we sit at rest, For a moment in the central of our being, The vivid transparence that you bring is peace." Wallace Stevens, NOTES TOWARD A SUPREME FICTION |
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I It should be being home, being in this now world, Being a now person in this single here world, Partaking of what is as a guest partakes in The welcome which he attends as most precious one, The moment's diamond and pontifex summus. It should be being home, being that which is here In the here of the now, in the wind and the place Of the place of the wind. It should be. It is not. It is being the word the keenest realist Looked for in reality's corniest corners To describe that which was not exactly here now, That which was halfway here, yet conceived, and, conceived, Halfway nowhere, except on the realist's tongue Where it was absence and mosquito bite, a tip On the tip of the tongue, marking its own raging With syllabic ribbons and ruffles, and with void - But a word he did not find, for the word was part Of the realist's sense, not of reality, Of the realist's version of reality: A word and not a thing, a word gulping after The thing which it might call by the name it picked up Among many in its withered literacy, That which would gorge the word with sensuous replicas, With the breath of the wind upon the synonyms Of the grass and the ground and the inquiring tongue To refurbish the realist's sense of the real Out of all the already published lexicons. Realism defeats its followers. The real Is the most unreal part of the reality, A home yet not our home, a yes without a no, An opposite without antagonist, a the Without regard to the a and an we may proffer. II It should be being home, being home. It is not. It is being outside of the outside, outside Of the very outside without which an inside Cannot be. This is why we send postcards, Paris Or Bangalore. These banks basking in bulk beauty, These sculptures and thresholds to Gods' abodes stand As proofs of the possibility of a place in which We could have felt at home, could have been home and been The genius of the place, its compass and compound, Its composers, the intrinsic ur-architects, The tuners of the local harmoniums, the tune The harmoniums did hum under banana trees Or the bateaux-mouches' half English, half French drone. We send postcards to make sure of a real that be Our friend and not an indifferent foe, as one walks Into a cathedral, not to be in belief But to find oneself in a place where a belief Has been conceived of, as highest reality To the evil of an unreal world, where evil Disqualified the earth as palace of the real; To savor there a pattern of peace, even cold, An ardor for order, however spent and past, A passion for the here and now so absolute, For the intricacies and the delicacies Of the real, that it repeated them time and time, Magnified, vilified, but spied on with passion, Spelling out heavens' hymns with earthly, muddy words, Painting Eden's gazons as it would human lawns, And even setting on the big toe of its god The green laziness of a lozenge-skinned lizard. There the lizard prays for us, and calls for a world Where there would be no inside to any outside. III It prays; yet at the same moment, it feels and basks In the heat of the here sun which caparisons Its bifid tonguèd now, swathing it with a warmth We do not share, but the image of which we will Buy postcards of, with a pang of pleased jealousy. We send postcards and as we send them, nostalgia Settles in. Italy. The faucet is dripping In the ocher hotel's russet room lined with blue, Blue sea under blue sky caught in the bluer blue Of the window frame obsessed with whooping swallows. Its drops drip nostalgic; red geraniums grow red, As if it were a task, a calling, a passion, Their duty to the complementary color In a universe ruled by rigid Matisses; Facades look pensive and purple, in whose streets brews A decoction of tumefied lilac-like light; The bed sheets travel under the bright suns' guidance From sand bars to glaring icebergs to dusk's sawdust; By the opened window, the terrace flaps and slaps The landscape by ten millions pieces of laundry And, at night, when night lifts its anchor from the ground To sail, dark prow plowing the milky sea of stars, It leaves somber, scintillating scars on the sleep Of the tourists who sleep their sightseeing slumber In the recalled cackle of their cameras' clic-clac Among the ruins-in-progress of their past day And who wander through the Berlitz schools of their dreams, Looking for the word, the one word which would express That which they saw and felt, that which touched them and left Them speechless, geraniums red beyond redemption, Redder sun sunk in ruby-rouged rendering sea, And blue blotted-skin sky bottled in absolute. IV But our here and our now lives outside, and swallows Are birds, as geraniums are flowers and no more - And the Italian room is empty sink, in which Drips the same faucet which echoes in any room, And only the same sea which purrs on any shore And the same sky which sneers over each horizon Are actors on the stage by which we are seated. So we buy postcards and scribble "Wish you were here" To insure that, back home, back where we do not look At the real for it feels too protean for us To follow every quirk of its changing presence, Preferring to live in a world of permanence, Of catachreses and paltry stock sentences, A memorial will be built on the nostalgia Of people we left behind us as witnesses, Of selves we left behind as guardians of our real. Under the colonnade of his father's hotel Where roses bloom not as roses but as whispers Of a season to come after July's triumph, The Italian child weeps, because he is aware He will not be remembered, save as adjunction To his father's yarns and everyone's nostalgia For a truer meeting in a more genuine place. The sea sneezes and the sky snorts. Present becomes Its past, the figure of which can be assembled From postcards sent and received, Ravenna's decay. This is the world we live in but try to turn to Our world, our home, our life, our friend without blemish, Colonnade of crystal poles which would circle round The palace of the place and the time of being, Supporting the balcony from which we 'd attend The pageantry of the real with a cousin's eye. IV But we fail - and since we have to live, we accept To live in a real which only postcards depict, A real unreal, a dump brimming with clichés' clash, A collection of notions, exiled man's decor Who never left his home, save to go walk the dog. Italy... There is no such place, for, if they were, Everyone would live there and it would become here, Say, sad Saint Ouen or melancholy Manchester A place within a place within a life within, Without any without. Postcards are just like stamps: One collects them; one hangs them pretty pictures round One's typewriter and then forgets them. One's hands are Full enough as they are, without having to think About all them places. So, we fail, never reach Home, a place that be home, camping instead in lots Or projects - and when, at night, the night falls among Our exhausted bodies sizzling in fatigue's oil, It smashes into sliver-splinters of darkness Which we construe as sleep, restful sleep, companion And bedfellow, for we have no room in our real For a reality of the most obscure kind, A soot-shush-domed Italy, where velvet hooded streets Follow streets hooded with voluptuous moonlight, Like a lizard follows its lizards's laziness To the most heated, most sun-specked here and now spot, Where landscapes are notions evading from the mind Of landscapes seen before, and sea and sky are hues On the rich palette of the imagination, And things are, could be, might have been, shall come to be But converge all as one under the window where The scholar of the real, bent on the darkest book, Spells out the newest name of the geranium. V Postcard from Paris. Pause. The poet looks at it. Morning Connecticut and Hartford's half there dawn Gleam about among the forsythias of next day. Last Monday snow still hangs in mid air, souvenir Of an attitude of displeased Polish princess. From the anteroom on the threshold of which stands The poet, scents of mangoes and pineapples waft Idly, like so many letters thought of, composed In the mind, but never quite actually sent, Letters like acts of the mind, brave one, in a world Where happiness can exist only as poem. The poet drinks his cup of Ceylon tea. Outside, The rhapsody of the world composes itself In iambic blank meters. This is home to him. The poet looks at the postcard (some benign view Of a benign Paris scene caught in tourist gray) And says "This is my home. This here place in now time. This is that which is home, true home, by a far cry Neither the home I want nor the home I live in At every moment, but the home I go back to In order to come from. The place where a Ceylon Or a Paris can stem and bloom, bear fruit and die And be once again radiantly born in the light Of the ever brooding eye, the chiaroscuro Of the inventive mind as it spells out its world With a foreigner's lexicon, and feels at peace, And finds a peace, its own, the only one, sapphire, Because it had to be here so it could say there. I live on postcards sent from Europe, but I live Here, with the companionship of roots and exiles, Mingling on my bedside, windowsills and bookshelves, Out of which, as I walk across the snow and hear VI The creaking and cracking of frosted, spruced spruces, The uncicada-like crows clawing the day white, I compose and obtain a world that I call mine, A reality larger than taxonomies, A thing-that-is-a-word-that-is-a-thing, poem Not of me or from me or my dreamed of countries, But of the here and now of the here and now cold Out of which the warmest reality evolves, Precious crystal, in which Italy does take place As Italy, becomes the terrace of what is, Russet, ocher expanse for the now eye to see Not its poverty, but its poverty's riches In the deafening statement of its misery." The poet walks away in winter's global glare. The words of the poet become voices in air Soon gone, save for the squishing, irritating sound Of soles crushing snow with silly, silky noises, Spelling, or trying to spell out Connecticut's Italian name, Connecticut as geranium. Unchange prevails and the world is left as it was For the speechless under February's X-rays, Home, our home, where the wind flares and rails and rambles, In cold, raging, geometrical bouts of scratches, Single actor of the one act play of the day On the single stage, lit by a snow-snuffed up sun, Where cypresses shadows fall like clanking arrows, Making his with fury the curse from Elsinore: Word, words, words, words! while fair Italy writhes In the hearth of the mind like a faded postcard Burning up with a quick puff, a strange colored flame, And all is done and gone in a breath of ashes Which the wind catches and disperses to the wind... VII Our here and now live outside, outside in the wind - So we close the window, draw the curtains and crawl To our beds, where we lay in the transient warmth Of our curled up bodies and idle thoughts and dreams. A spear of winter's light falls on the eiderdown, Unreal ambassador of a much too real world, Clear light without a source, bright beam without its lamp From which we soon devise another here and now, The room's, our very own, most supreme interior, Devoid of what is not part of it, most untouched, Most delicate pagoda, the mind's porcelain Where the nightingale of the imagination Lilts indefinitely against this day of gales; Lilts, oh so preciously, its indefinite songs About the Chinese sign of the moon hung above The chiming sun of noon hung above the chimney, Son of boon, hung above - This plainly cannot do. The nightingale repeats but a then and a there. It does not know nor find nor propound nor explain. It sings without regard for the cold stab of light In which its sees a branch, porcelain bough, a part Of the world of its songs, not the beam in our eyes. Our thirst stems from the real as it is, not the thirst For a frills and furbelows real, a thirst from here And a hunger for now, a fierce famine for both; If it is Italy, then Italy should smell Of its Italian sweat, mingling with its sweetness, And we should be a part thereof, not mere postcards Collectors. The room collapses. Back to winter. The wound down nightingale warbles, wobbles, then stops, Having said all it could, all it knew of. The world Turns to empty seashell put to a deafman's ear. VIII Paris. No more postcards. Just Paris as it is. Paris, or Italy, or the realms of the mind. Just these countries, set in their obtuse obviousness, Caught in winter like tufts of hair on greasy combs. From these we must evolve the only here and now We know of and live in. End of all evasions. This is the here now world of our now here living. Period. Nothing beyond, beneath. Nothing added, Nothing subtracted. The word stet across the page In large, forceful letters. It is here or nowhere. It is now or never. The eye must be opened. The mind must be cleaned up. The imagination Must cut its garb out of these drab landscapes, wear it As a queen of highest lineage, and in her wake Must all men look down, not out of fear, but of love, But of rapture over her resplendent attire, Over the portly air of her kind countenance, The fire azure of her benevolent eyes, Over the promised lands she, with a finger's flick, Dispenses to her suite, her subjects, her people, As famished, bony, Paris pigeons, paramours, Bear her train in their beaks with a majestic strut. Paris. Or Italy. The wind blows in the place Where the mind dwells, and slaps it most vigorously. Yes. For the mind is poor; it lives in a poor house. Yes. For the now is poor; it lives in its here house. Yes. Leaves fall and rot; fruit fall and rot; and men fall Among them while the rain falls and beats them to rot. Yes. But a word is said, may be said, will be said, Or has been said, perhaps, time and time; any word Which called this world good world, this winter good winter, Which called this world poem of our here and now lives. |
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Over the gloomy Seine, the sun sinks.
The Seine stinks. |
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