Famous Family Poems - Page 2

The Wife
The house is like a garden,
The children are the flowers,
The gardener should come methinks
And walk among his bowers,
Oh! lock the door on worry
And shut your cares away,
Not time of year, but love and cheer,
Will make a holiday.

The Husband
Impossible! You women do not know
The toil it takes to make a business grow.
I cannot join you until very late,
So hurry home, nor let the dinner wait.

The Wife
The feast will be like Hamlet
Without a Hamlet part:
The home is but a house, dear,
Till you supply the heart.
The Xmas gift I long for
You need not toil to buy;
Oh! give me back one thing I lack -
The love-light in your eye.

The Husband
Of course I love you, and the children too.
Be sensible, my dear, it is for you
I work so hard to make my business pay.
There, now, run home, enjoy your holiday.

The Wife (turning)
He does not mean to wound me,
I know his heart is kind.
Alas! that man can love us
And be so blind, so blind.
A little time for pleasure,
A little time for play;
A word to prove the life of love
And frighten care away!
Tho' poor my lot in some small cot
That were a holiday.

The Husband (musing)
She has not meant to wound me, nor to vex -
Zounds! but 'tis difficult to please the sex.
I've housed and gowned her like a very queen
Yet there she goes, with discontented mien.
I gave her diamonds only yesterday:
Some women are like that, do what you may.

Your children are not your children
They are the sons and daughters of life's longing for itself
They come through you but not from you
And though they are with you yet they belong not to you

You may give them your love but not your thoughts
For they have their own thoughts
You may house their bodies but not their souls
For their souls dwell in the house of tomorrow

Which you cannot visit, not even in your dreams
You may strive to be like them
But seek not to make them like you
For life goes not backward, nor tarries with yesterday

You are the bows from which your children
As living arrows are sent forth
The archer sees the mark upon the path of the infinite
And he bends you with his might

That his arrows may go swift and far
Let your bending in the archer's hand be for gladness
For even as he loves the arrow that flies
So he loves also the bow that is stable

Men at forty
Learn to close softly
The doors to rooms they will not be
Coming back to.

At rest on a stair landing,
They feel it
Moving beneath them now like the deck of a ship,
Though the swell is gentle.

And deep in mirrors
They rediscover
The face of the boy as he practices trying
His father’s tie there in secret

And the face of that father,
Still warm with the mystery of lather.
They are more fathers than sons themselves now.
Something is filling them, something

That is like the twilight sound
Of the crickets, immense,
Filling the woods at the foot of the slope
Behind their mortgaged houses.

Such beautiful, beautiful hands!
    They're neither white nor small;
And you, I know, would scarcely think
    That they are fair at all.
I've looked on hands whose form and hue
    A sculptor's dream might be;
Yet are those aged, wrinkled hands
    More beautiful to me.

Such beautiful, beautiful hands!
    Though heart were weary and sad,
Those patient hands kept toiling on,
    That the children might be glad.
I always weep, as, looking back
    To childhood's distant day,
I think how those hands rested not
    When mine were at their play.

Such beautiful, beautiful hands!
    They're growing feeble now,
For time and pain have left their mark
    On hands and heart and brow.
Alas! alas! the nearing time,
    And the sad, sad day to me,
When 'neath the daisies, out of sight,
    These hands will folded be.

But oh! beyond this shadow land,
    Where all is bright and fair,
I know full well these dear old hands
    Will palms of victory bear;
Where crystal streams through endless years
    Flow over golden sands,
And where the old grow young again,
    I'll clasp my mother's hands.

Sundays too my father got up early
and put his clothes on in the blueblack cold,
then with cracked hands that ached
from labor in the weekday weather made
banked fires blaze. No one ever thanked him.

I’d wake and hear the cold splintering, breaking.
When the rooms were warm, he’d call,
and slowly I would rise and dress,
fearing the chronic angers of that house,

Speaking indifferently to him,
who had driven out the cold
and polished my good shoes as well.
What did I know, what did I know
of love’s austere and lonely offices?

They have spent their
content of simpering,
holding their lips this
and that way, winding
the lines between
their brows. Old folks
allow their bellies to jiggle like slow
tambourines.
The hollers
rise up and spill
over any way they want.
When old folks laugh, they free the world.
They turn slowly, slyly knowing
the best and the worst
of remembering.
Saliva glistens in
the corners of their mouths,
their heads wobble
on brittle necks, but
their laps
are filled with memories.
When old folks laugh, they consider the promise
of dear painless death, and generously
forgive life for happening
to them.

we had goldfish and they circled around and around
in the bowl on the table near the heavy drapes
covering the picture window and
my mother, always smiling, wanting us all
to be happy, told me, ‘be happy Henry!’
and she was right: it’s better to be happy if you
can
but my father continued to beat her and me several times a week while
raging inside his 6—foot—two frame because he couldn’t
understand what was attacking him from within.

my mother, poor fish,
wanting to be happy, beaten two or three times a
week, telling me to be happy: 'Henry, smile!
why don’t you ever smile?'

and then she would smile, to show me how, and it was the
saddest smile I ever saw

one day the goldfish died, all five of them,
they floated on the water, on their sides, their
eyes still open,
and when my father got home he threw them to the cat
there on the kitchen floor and we watched as my mother
smiled

The mother soothes her mantled child
With incantation sad and wild;
A deep compassion brims her eye
And stills upon her lips, the sigh.

Her thoughts are leaping down the years,
O'er branding bars, through seething tears,
Her heart is sandaling his feet
Adown the world's corroding street.

Then, with a start she dons a smile
His tender yearnings to beguile,
And only God will ever know
The wordless measure of her woe.

You do not do, you do not do   
Any more, black shoe
In which I have lived like a foot   
For thirty years, poor and white,   
Barely daring to breathe or Achoo.

Daddy, I have had to kill you.   
You died before I had time——
Marble-heavy, a bag full of God,   
Ghastly statue with one gray toe   
Big as a Frisco seal

And a head in the freakish Atlantic   
Where it pours bean green over blue   
In the waters off beautiful Nauset.   
I used to pray to recover you.
Ach, du.

In the German tongue, in the Polish town   
Scraped flat by the roller
Of wars, wars, wars.
But the name of the town is common.   
My Polack friend

Says there are a dozen or two.   
So I never could tell where you   
Put your foot, your root,
I never could talk to you.
The tongue stuck in my jaw.

It stuck in a barb wire snare.   
Ich, ich, ich, ich,
I could hardly speak.
I thought every German was you.   
And the language obscene

An engine, an engine
Chuffing me off like a Jew.
A Jew to Dachau, Auschwitz, Belsen.   
I began to talk like a Jew.
I think I may well be a Jew.

The snows of the Tyrol, the clear beer of Vienna   
Are not very pure or true.
With my gipsy ancestress and my weird luck   
And my Taroc pack and my Taroc pack
I may be a bit of a Jew.

I have always been scared of you,
With your Luftwaffe, your gobbledygoo.   
And your neat mustache
And your Aryan eye, bright blue.
Panzer-man, panzer-man, O You——

Not God but a swastika
So black no sky could squeak through.   
Every woman adores a Fascist,   
The boot in the face, the brute   
Brute heart of a brute like you.

You stand at the blackboard, daddy,   
In the picture I have of you,
A cleft in your chin instead of your foot   
But no less a devil for that, no not   
Any less the black man who

Bit my pretty red heart in two.
I was ten when they buried you.   
At twenty I tried to die
And get back, back, back to you.
I thought even the bones would do.

But they pulled me out of the sack,   
And they stuck me together with glue.   
And then I knew what to do.
I made a model of you,
A man in black with a Meinkampf look

And a love of the rack and the screw.   
And I said I do, I do.
So daddy, I’m finally through.
The black telephone’s off at the root,   
The voices just can’t worm through.

If I’ve killed one man, I’ve killed two——
The vampire who said he was you   
And drank my blood for a year,
Seven years, if you want to know.
Daddy, you can lie back now.

There’s a stake in your fat black heart   
And the villagers never liked you.
They are dancing and stamping on you.   
They always knew it was you.
Daddy, daddy, you bastard, I’m through.

In Worcester, Massachusetts,
I went with Aunt Consuelo
to keep her dentist's appointment
and sat and waited for her
in the dentist's waiting room.
It was winter. It got dark
early. The waiting room
was full of grown-up people,
arctics and overcoats,
lamps and magazines.
My aunt was inside
what seemed like a long time
and while I waited I read
the National Geographic
(I could read) and carefully
studied the photographs:
the inside of a volcano,
black, and full of ashes;
then it was spilling over
in rivulets of fire.
Osa and Martin Johnson
dressed in riding breeches,
laced boots, and pith helmets.
A dead man slung on a pole
--"Long Pig," the caption said.
Babies with pointed heads
wound round and round with string;
black, naked women with necks
wound round and round with wire
like the necks of light bulbs.
Their breasts were horrifying.
I read it right straight through.
I was too shy to stop.
And then I looked at the cover:
the yellow margins, the date.
Suddenly, from inside,
came an oh! of pain
--Aunt Consuelo's voice--
not very loud or long.
I wasn't at all surprised;
even then I knew she was
a foolish, timid woman.
I might have been embarrassed,
but wasn't. What took me
completely by surprise
was that it was me:
my voice, in my mouth.
Without thinking at all
I was my foolish aunt,
I--we--were falling, falling,
our eyes glued to the cover
of the National Geographic,
February, 1918.

I said to myself: three days
and you'll be seven years old.
I was saying it to stop
the sensation of falling off
the round, turning world.
into cold, blue-black space.
But I felt: you are an I,
you are an Elizabeth,
you are one of them.
Why should you be one, too?
I scarcely dared to look
to see what it was I was.
I gave a sidelong glance
--I couldn't look any higher--
at shadowy gray knees,
trousers and skirts and boots
and different pairs of hands
lying under the lamps.
I knew that nothing stranger
had ever happened, that nothing
stranger could ever happen.

Why should I be my aunt,
or me, or anyone?
What similarities--
boots, hands, the family voice
I felt in my throat, or even
the National Geographic
and those awful hanging breasts--
held us all together
or made us all just one?
How--I didn't know any
word for it--how "unlikely". . .
How had I come to be here,
like them, and overhear
a cry of pain that could have
got loud and worse but hadn't?

The waiting room was bright
and too hot. It was sliding
beneath a big black wave,
another, and another.

Then I was back in it.
The War was on. Outside,
in Worcester, Massachusetts,
were night and slush and cold,
and it was still the fifth
of February, 1918.

You painted no Madonnas
On chapel walls in Rome,
But with a touch diviner
You lived one in your home.

You wrote no lofty poems
That critics counted art,
But with a nobler vision
You lived them in your heart.

You carved no shapeless marble
To some high-souled design,
But with a finer sculpture
You shaped this soul of mine.

You built no great cathedrals
That centuries applaud,
But with a grace exquisite
Your life cathedraled God.

Had I the gift of Raphael,
Or Michelangelo,
Oh, what a rare Madonna
My mother's life would show!