summer afternoon
the long fly ball to center field
takes its time

from Baseball Haiku, 2007
W.W. Norton Publishing

Edward Hopper, House by the Railroad (1925)
Oil on canvas, 24 inches x 29 inches. Museum of Modern Art, New York City.

Edward Hopper and the House by the Railroad

Out here in the exact middle of the day,
This strange, gawky house has the expression
Of someone being stared at, someone holding
His breath underwater, hushed and expectant;

This house is ashamed of itself, ashamed
Of its fantastic mansard rooftop
And its pseudo-Gothic porch, ashamed
of its shoulders and large, awkward hands.

But the man behind the easel is relentless.
He is as brutal as sunlight, and believes
The house must have done something horrible
To the people who once lived here

Because now it is so desperately empty,
It must have done something to the sky
Because the sky, too, is utterly vacant
And devoid of meaning. There are no

Trees or shrubs anywhere--the house
Must have done something against the earth.
All that is present is a single pair of tracks
Straightening into the distance. No trains pass.

Now the stranger returns to this place daily
Until the house begins to suspect
That the man, too, is desolate, desolate
And even ashamed. Soon the house starts

To stare frankly at the man. And somehow
The empty white canvas slowly takes on
The expression of someone who is unnerved,
Someone holding his breath underwater.

And then one day the man simply disappears.
He is a last afternoon shadow moving
Across the tracks, making its way
Through the vast, darkening fields.

This man will paint other abandoned mansions,
And faded cafeteria windows, and poorly lettered
Storefronts on the edges of small towns.
Always they will have this same expression,

The utterly naked look of someone
Being stared at, someone American and gawky.
Someone who is about to be left alone
Again, and can no longer stand it.

from Wild Gratitude, 2003
Knopf Publishing

The Lake Isle of Innisfree

I will arise and go now, and go to Innisfree,
And a small cabin build there, of clay and wattles made:
Nine bean-rows will I have there, a hive for the honeybee,
And live alone in the bee-loud glade.

And I shall have some peace there, for peace comes dropping slow,
Dropping from the veils of the morning to where the cricket sings;
There midnight’s all a glimmer, and noon a purple glow,
And evening full of the linnet’s wings.

I will arise and go now, for always night and day
I hear lake water lapping with low sounds by the shore;
While I stand on the roadway, or on the pavements grey,
I hear it in the deep heart’s core.

from The Collected Poems of W.B. Yeats, 1991
Macmillan Publishing

Stop all the clocks, cut off the telephone,
Prevent the dog from barking with a juicy bone,
Silence the pianos and with muffled drum
Bring out the coffin, let the mourners come.

Let aeroplanes circle moaning overhead
Scribbling on the sky the message He Is Dead.
Put crepe bows round the white necks of public doves,
Let the traffic policemen wear black cotton gloves.

He was my North, my South, my East and West.
My working week and my Sunday rest,
My noon, my midnight, my talk, my song;
I thought that love would last forever; I was wrong.

The stars are not wanted now: put out every one;
Pack up the moon and dismantle the sun;
Pour away the ocean and sweep up the wood;
For nothing now can ever come to any good.


from Collected Poems, 2007
Modern Library Publishing

This is a core sample
from the floor of the Sea of Mending,

a cylinder packed with shells
that over many years

sank through fathoms of shirts -
pearl buttons, blue buttons -

and settled together
beneath waves of perseverance,

an ocean upon which
generations of women set forth,

under the sails of gingham curtains,
and, seated side by side

on decks sometimes salted by tears,
made small but important repairs.

My father put his hands in the white light
of the lantern, and his palms became a horse
that flicked its ears and bucked; an alligator
feigning sleep along the canvas wall leapt up
and snapped its jaws in silhouette, or else
a swan would turn its perfect neck and drop
a fingered beak toward that shadowed head
to lightly preen my father's feathered hair.
Outside our tent, skunks shuffled in the woods
beneath a star that died a little every day,
and from a nebula of light diffused
inside Orion's sword, new stars were born.
My father's hands became two birds, linked
by a thumb, they flew one following the other.

from Red Studio, 2007
Oberlin College Press

On Fridays he'd open a can of Jax
After coming home from the mill,
& ask me to write a letter to my mother
Who sent postcards of desert flowers
Taller than men. He would beg,
Promising to never beat her
Again. Somehow I was happy
She had gone, & sometimes wanted
To slip in a reminder, how Mary Lou
Williams' "Polka Dots & Moonbeams"
Never made the swelling go down.
His carpenter's apron always bulged
With old nails, a claw hammer
Looped at his side & extension cords
Coiled around his feet.
Words rolled from under the pressure
Of my ballpoint: Love,
Baby, Honey, Please.
We sat in the quiet brutality
Of voltage meters & pipe threaders,
Lost between sentences . . .
The gleam of a five-pound wedge
On the concrete floor
Pulled a sunset
Through the doorway of his toolshed.
I wondered if she laughed
& held them over a gas burner.
My father could only sign
His name, but he'd look at blueprints
& say how many bricks
Formed each wall. This man,
Who stole roses & hyacinth
For his yard, would stand there
With eyes closed & fists balled,
Laboring over a simple word, almost
Redeemed by what he tried to say.


from Magic City, 1988
Wesleyan University Press

Created and maintained by M. Parrilli - English Department Chair
Last update: May 2008