Thou art the goal for which my spirit longs;
As dove on dove,
Bound for one home, I send thee all my songs
With all my love.

Thou art the haven with fair harbour lights;
Safe locked in thee,
My heart would anchor after stormful nights
Alone at sea.

Thou art the rest of which my life is fain,
The perfect peace;
Absorbed in thee the world, with all its pain
And toil, would cease.

Thou art the heaven to which my soul would go!
O dearest eyes,
Lost in your light you would turn hell below
To Paradise.

Rain filled the streets
once a year, rising almost
to door and window sills,
battering walls and roofs
until it cleaned away the mess
we'd made. My father told
me this, he told me it ran
downtown and spilled into
the river, which in turn
emptied finally into the sea.
He said this only once
while I sat on the arm
of his chair and stared out
at the banks of gray snow
melting as the March rain
streaked past. All the rest
of that day passed on
into childhood, into nothing,
or perhaps some portion hung

Tell you what I like the best --
'Long about knee-deep in June,
'Bout the time strawberries melts
On the vine, -- some afternoon
Like to jes' git out and rest,
And not work at nothin' else!

Orchard's where I'd ruther be --
Needn't fence it in fer me! --
Jes' the whole sky overhead,
And the whole airth underneath --
Sort o' so's a man kin breathe
Like he ort, and kind o' has
Elbow-room to keerlessly
Sprawl out len'thways on the grass
Where the shadders thick and soft
As the kivvers on the bed

The Junes were free and full, driving through tiny
Roads, the mudguards brushing the cowparsley,
Through fields of mustard and under boldly embattled
Mays and chestnuts

Or between beeches verdurous and voluptuous
Or where broom and gorse beflagged the chalkland--
All the flare and gusto of the unenduring
Joys of a season

Now returned but I note as more appropriate
To the maturer mood impending thunder
With an indigo sky and the garden hushed except for
The treetops moving.

Then the curtains in my room blow suddenly inward,

The birds' shrill fluting
Beats on the pink blind,
Pierces the pink blind
At whose edge fumble the sun's
Fingers till one obtrudes
And stirs the thick motes.
The room is a close box of pink warmth.
The minutes click.
A man picks across the street
With a metal-pointed stick.
Three clocks drop each twelve pennies
On the drom of noon.
The birds end.
A child's cry pricks the hush.
The wind plucks at a leaf.
The birds rebegin.


Submitted by Stephen Fryer

Your voice, with clear location of June days,
Called me outside the window.You were there,
Light yet composed, as in the just soft stare
Of uncontested summer all things raise
Plainly their seeming into seamless air.

Then your love looked as simple and entire
As that picked pear you tossed me, and your face
As legible as pearskin's fleck and trace,
Which promise always wine, by mottled fire
More fatal fleshed than ever human grace.

And your gay gift—Oh when I saw it fall
Into my hands, through all that naïve light,

No two are identical though
they begin from the same
point in time the same point in
the dream when the radio shuts
itself off in the middle of
"Just in Time" (Sinatra version)
the curtains are blowing in
and the driver of the hearse
outside looks up and says "Room
for one more" and now you
know what kind of hospital you're in
and you must escape from it
by acting "normal" pretending there isn't
a conspiracy against you as Dead of Night
shifts into Shock Corridor
there are a dozen versions of this dream

What is it about the Abyss
that tempts the young poet to kiss
the air and head for the nearest cliff? This
unreasonable attachment to the bliss
of falling -- what accounts for it? Unlike the hiss
announcing a reptilian presence, the word Abyss
creates the object of our dread: it exists, it is,
widening like the gulf between whis-
key and wine, and we, drunk on neither, miss
the days when we, too, tumbled headlong out of heaven, pissed

It's my birtday I've got an empty
stomach and the desire to be
lazy in the hammock and maybe
go for a cool swim on a hot day
with the trombone in Sinatra's
"I've Got You Under My Skin"
in my head and then to break for
lunch a corned-beef sandwich and Pepsi
with plenty of ice cubes unlike France
where they put one measly ice cube
in your expensive Coke and when
you ask for more they argue with
you they say this way you get more
Coke for the money showing they
completely misunderstand the nature of

The blue forest, chilled and blue, like the lips of the dead
if the lips were gone. The year has been cut in half
with dull scissors, the solstice still looking for its square
on the calendar. Perhaps the scissors were really
lawn mowers or hoes. Perhaps God's calendar is Chinese.
As first I didn't understand those burlap dolls
slouched in Central Pennsylvania craft stores.
Where were the button eyes, the tiny pearl nostrils?
the smudgy pink watercolor cheeks?

I enter the woods--part Gretel, part Little Red.