- Birthday, Books, Quotes, Reading, Writing

“I can remember much forgetfulness.”

 

Happy birthday, Hart Crane! Here are some quotes and poems from the poet.

“One must be drenched in words, literally soaked with them to have the right ones form themselves into the proper pattern at the right moment. When they come…they come as things in themselves; it is a matter of felicitous juggling!; and no amount of will or emotion can help the thing a bit.”

“It has taken a great deal of energy—which has not been so difficult to summon as the necessary patience to wait, simply wait much of the time—until my instincts assured me that I had assembled my materials in proper order for the final welding into their natural form.”

“It is as though a poem gave the reader as he left it a single, new word, never before spoken and impossible to actually enunciate, but self-evident as an active principle in the reader’s consciousness henceforward.”

 

At Melville’s Tomb

Often beneath the wave, wide from this ledge
The dice of drowned men’s bones he saw bequeath
An embassy. Their numbers as he watched,
Beat on the dusty shore and were obscured.

And wrecks passed without sound of bells,
The calyx of death’s bounty giving back
A scattered chapter, livid hieroglyph,
The portent wound in corridors of shells.

Then in the circuit calm of one vast coil,
Its lashings charmed and malice reconciled,
Frosted eyes there were that lifted altars;
And silent answers crept across the stars.

Compass, quadrant and sextant contrive
No farther tides…High in the azure steeps
Monody shall not wake the mariner.
This fabulous shadow only the sea keeps.

 

The Broken Tower

The bell-rope that gathers God at dawn
Dispatches me as though I dropped down the knell
Of a spent dayto wander the cathedral lawn
From pit to crucifix, feet chill on steps from hell.

Have you not heard, have you not seen that corps
Of shadows in the tower, whose shoulders sway
Antiphonal carillons launched before
The stars are caught and hived in the sun’s ray?

The bells, I say, the bells break down their tower;
And swing I know not where. Their tongues engrave
Membrane through marrow, my long-scattered score
Of broken intervals…And I, their sexton slave!

Oval encyclicals in canyons heaping
The impasse high with choir. Banked voices slain!
Pagodas campaniles with reveilles out leaping
O terraced echoes prostrate on the plain!…

And so it was I entered the broken world
To trace the visionary company of love, its voice
An instant in the wind (I know not whither hurled)
But not for long to hold each desperate choice.

My world I poured. But was it cognate, scored
Of that tribunal monarch of the air
Whose thighs embronzes earth, strikes crystal Word
In wounds pledges once to hopecleft to despair?

The steep encroachments of my blood left me
No answer (could blood hold such a lofty tower
As flings the question true?)or is it she
Whose sweet mortality stirs latent power?

And through whose pulse I hear, counting the strokes
My veins recall and add, revived and sure
The angelus of wars my chest evokes:
What I hold healed, original now, and pure…

And builds, within, a tower that is not stone
(Not stone can jacket heaven)but slip
Of pebbles,visible wings of silence sown
In azure circles, widening as they dip

The matrix of the heart, lift down the eyes
That shrines the quiet lake and swells a tower…
The commodious, tall decorum of that sky
Unseals her earth, and lifts love in its shower.

 

The Air Plant

Grand Cayman

This tuft that thrives on saline nothingness,
Inverted octopus with heavenward arms
Thrust parching from a palm-bole hard by the cove⎯
A bird almost⎯of almost bird alarms,

Is pulmonary to the wind that jars
Its tentacles, horrific in their lurch.
The lizard’s throat, held bloated for a fly,
Balloons but warily from this throbbing perch.

The needles and hack-saws of cactus bleed
A milk of earth when stricken off the stalk;
But this,⎯defenseless, thornless, sheds no blood,
Almost no shadow⎯but the air’s thin talk.

Angelic Dynamo! Ventriloquist of the Blue!
While beachward creeps the shark-swept Spanish Main
By what conjunctions do the winds appoint
Its apotheosis, at last⎯the hurricane!

 

Voyages

I

Above the fresh ruffles of the surf
Bright striped urchins flay each other with sand.
They have contrived a conquest for shell shucks,
And their fingers crumble fragments of baked weed
Gaily digging and scattering.

And in answer to their treble interjections
The sun beats lightning on the waves,
The waves fold thunder on the sand;
And could they hear me I would tell them:

O brilliant kids, frisk with your dog,
Fondle your shells and sticks, bleached
By time and the elements; but there is a line
You must not cross nor ever trust beyond it
Spry cordage of your bodies to caresses
Too lichen-faithful from too wide a breast.
The bottom of the sea is cruel.

II

—And yet this great wink of eternity,
Of rimless floods, unfettered leewardings,
Samite sheeted and processioned where
Her undinal vast belly moonward bends,
Laughing the wrapt inflections of our love;

Take this Sea, whose diapason knells
On scrolls of silver snowy sentences,
The sceptred terror of whose sessions rends
As her demeanors motion well or ill,
All but the pieties of lovers’ hands.

And onward, as bells off San Salvador
Salute the crocus lustres of the stars,
In these poinsettia meadows of her tides,—
Adagios of islands, O my Prodigal,
Complete the dark confessions her veins spell.

Mark how her turning shoulders wind the hours,
And hasten while her penniless rich palms
Pass superscription of bent foam and wave,—
Hasten, while they are true,—sleep, death, desire,
Close round one instant in one floating flower.

Bind us in time, O Seasons clear, and awe.
O minstrel galleons of Carib fire,
Bequeath us to no earthly shore until
Is answered in the vortex of our grave
The seal’s wide spindrift gaze toward paradise.

III

Infinite consanguinity it bears—
This tendered theme of you that light
Retrieves from sea plains where the sky
Resigns a breast that every wave enthrones;
While ribboned water lanes I wind
Are laved and scattered with no stroke
Wide from your side, whereto this hour
The sea lifts, also, reliquary hands.

And so, admitted through black swollen gates
That must arrest all distance otherwise,—
Past whirling pillars and lithe pediments,
Light wrestling there incessantly with light,
Star kissing star through wave on wave unto
Your body rocking!
and where death, if shed,
Presumes no carnage, but this single change,—
Upon the steep floor flung from dawn to dawn
The silken skilled transmemberment of song;

Permit me voyage, love, into your hands …

IV

Whose counted smile of hours and days, suppose
I know as spectrum of the sea and pledge
Vastly now parting gulf on gulf of wings
Whose circles bridge, I know, (from palms to the severe
Chilled albatross’s white immutability)
No stream of greater love advancing now
Than, singing, this mortality alone
Through clay aflow immortally to you.

All fragrance irrefragably, and claim
Madly meeting logically in this hour
And region that is ours to wreathe again,
Portending eyes and lips and making told
The chancel port and portion of our June—

Shall they not stem and close in our own steps
Bright staves of flowers and quills today as I
Must first be lost in fatal tides to tell?

In signature of the incarnate word
The harbor shoulders to resign in mingling
Mutual blood, transpiring as foreknown
And widening noon within your breast for gathering
All bright insinuations that my years have caught
For islands where must lead inviolably
Blue latitudes and levels of your eyes,—

In this expectant, still exclaim receive
The secret oar and petals of all love.

V

Meticulous, past midnight in clear rime,
Infrangible and lonely, smooth as though cast
Together in one merciless white blade—
The bay estuaries fleck the hard sky limits.

—As if too brittle or too clear to touch!
The cables of our sleep so swiftly filed,
Already hang, shred ends from remembered stars.
One frozen trackless smile … What words
Can strangle this deaf moonlight? For we

Are overtaken. Now no cry, no sword
Can fasten or deflect this tidal wedge,
Slow tyranny of moonlight, moonlight loved
And changed … “There’s

Nothing like this in the world,” you say,
Knowing I cannot touch your hand and look
Too, into that godless cleft of sky
Where nothing turns but dead sands flashing.

“—And never to quite understand!” No,
In all the argosy of your bright hair I dreamed
Nothing so flagless as this piracy.

But now
Draw in your head, alone and too tall here.
Your eyes already in the slant of drifting foam;
Your breath sealed by the ghosts I do not know:
Draw in your head and sleep the long way home.

VI

Where icy and bright dungeons lift
Of swimmers their lost morning eyes,
And ocean rivers, churning, shift
Green borders under stranger skies,

Steadily as a shell secretes
Its beating leagues of monotone,
Or as many waters trough the sun’s
Red kelson past the cape’s wet stone;

O rivers mingling toward the sky
And harbor of the phoenix’ breast—
My eyes pressed black against the prow,
—Thy derelict and blinded guest

Waiting, afire, what name, unspoke,
I cannot claim: let thy waves rear
More savage than the death of kings,
Some splintered garland for the seer.

Beyond siroccos harvesting
The solstice thunders, crept away,
Like a cliff swinging or a sail
Flung into April’s inmost day—

Creation’s blithe and petalled word
To the lounged goddess when she rose
Conceding dialogue with eyes
That smile unsearchable repose—

Still fervid covenant, Belle Isle,
—Unfolded floating dais before
Which rainbows twine continual hair—
Belle Isle, white echo of the oar!

The imaged Word, it is, that holds
Hushed willows anchored in its glow.
It is the unbetrayable reply
Whose accent no farewell can know.

 

John Madera's fiction may be found in Conjunctions, Opium Magazine, The &Now Awards 2: The Best Innovative Writing, and many other journals. His criticism may be found in American Book Review, Bookforum, The Review of Contemporary Fiction, Rain Taxi: Review of Books, The Believer, The Brooklyn Rail, and many other venues. Recipient of an M.F.A. in Literary Arts from Brown University, John Madera lives in New York City, where he runs Rhizomatic and manages and edits Big Other.

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