I
All day the planes. Morning,
then afternoon.
then afternoon.
The roll of the tide
the song of the earth
drowned out
the song of the earth
drowned out
by the screaming of engines
that
Nagasaki howl.
that
Nagasaki howl.
II
By the station at Leuchars
the buds of a Japanese cherry
are starting to break,
the buds of a Japanese cherry
are starting to break,
the March light flowers and pools
on a sandstone wall
on a sandstone wall
and out in the yellowing grass
at the end of the platform
a yellowhammer flits along the hedge
at the end of the platform
a yellowhammer flits along the hedge
its call half song, half
fragment of conversation
fragment of conversation
threaded between the twigs,
insistent and pure
like a question that no one can answer.
insistent and pure
like a question that no one can answer.
It's repeated with small variations
again and again,
again and again,
thrown to the wind
that follows the simmer of tracks
that follows the simmer of tracks
to the bridge in the midst of the fields
and that quiet beyond
and that quiet beyond
where a dog fox wakes in the earth
to the scent of the evening
to the scent of the evening
and little owls float out beneath a moon
that feels so close we might, with one small step
that feels so close we might, with one small step
abandon this wreck of a world and begin anew
in The Sea of Tranquility, Carmen, The Lake of Time.
in The Sea of Tranquility, Carmen, The Lake of Time.
III
Spring and all. A shadow in the grass
is neither the shadow that forms
in a slant of light
is neither the shadow that forms
in a slant of light
or the darkness that lingers an hour
in the blue of day
in the blue of day
but something worn: a vacancy; a gap;
a slow tear in the fabric of the world
that blackens as it spreads, like oil, or blood,
a slow tear in the fabric of the world
that blackens as it spreads, like oil, or blood,
like oil, or blood, with every scheduled scream.
Retirado daqui.
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