Flesh moves to become spirit. You were the only one to understand my conversion. Many people have asked me about God; my proof is manifestation, that God can be called ‘getting over fear’. I wanted badly that truth be a single thing; now I know it won’t be measured. It wasn’t Heisenberg or Hindemith, but you who convinced me that nothing can be unravelled to its core, that truth is a field, a cage, a cloud of sound. How else to reconcile the faces of those running away with the faces of those turning away, with the faces of those in uniform — that hair-shirt that says more about a man than his eyes because you can’t tell the parts of his face that are his. How else to encompass both that crying and those orders; the sound of my own voice begging, and my voice telling jokes to the man without shoes beside me on a train; how else to encompass the moon’s chilling scream as it calls out in its bad sleep above the earth and your voice on the phone, waking me in Paris, Los Angeles, New York. ANNE MICHAELS Horse [ve never seen a soul detached from its gender, fonison but Pd Jike to, P'd like to see my own that way, airs Poe free of its female’ tethers. Maybe it would be like hace ar q decoy riding a hore thonides rider’s the human one, but everyone’ looks at the horse. CHASE TWICHELL 110search for a rock to make its home; then the hideous consummation as it set about eating its own brain. That was the only part he watched again. CHRIS GREENHALGH Octopus materia) Cnabutabcric) ~ dereriphve. plane Mariners call them devil fish, noting the eerie symmetr of those nervy serpentine arms. They resemble nothing so much as a man’s cowled head and shoulders. Mostly they are sessile, and shy as monsters, waiting in rock-clefts or coral for a swimming meal. “hrying 19 be apgectve Ckut..) Lartached] They have long since abandoned their skulls to the depths, and go naked in this soft element, made of a brain-sac and elephant eye. The tenderness of their huge heads makes them tremble at the shameful intimacy of the killing am those ropes of sticky muscle do. nalwee YE moral Females festoon their cavern roofs with garlands of ripening eggs and stay to tickle them and die. Their reproductive holocaust leaves them pallid and empty. Shoals of shad and krill, like sheet lightning, and the ravenous angelfish consume their flesh before they die. a human view of the nature's eouelly CAITRIONA O°REILLY 244~nascatine tlemente neat (eurp re 7 elt) Pos opt acable eble to erie eubeist the poe Places We Love ~refleANe poem memory vearth Places we love exist only through us, = ight Space destroyed is only illusion in the ¢ Places we love we can never leave, Ranson wane peinank Places we love together, together, together, reaerea asa re ey oad @ We) onstancy of time, “hire wid space ‘And is this room really a room, or an embrace, ‘And what is beneath the window: a street or years? ‘And the window is only the imprint left by “The first rain we understood, returning endlessly, ‘And this wall does not define the room, but perhaps the night Your son began to move in your sleeping blood, ‘A son like a butterfly of flame in your hall of mirrors, ‘The night you were frightened by your own light, ‘And this door leads into any afternoon Which outlives it, forever peopled With your casual movements, Like fire into copper, into my When you go, space closes over like water behind you, Do not look back: there is nothing outside you, Space is only tim: Ie in a different way, Places we love we can never leave IVAN Y. LALIC translated from the Serbo-Croat by Francis R. Jones Moorland It is beautiful and still, the air rarefied as the interior of a cathedral expecting a presence. It is where, also, the harrier occurs, materialising from nothing, snow- 424First there’s the children’s house of make-believe, Some shattered dishes underneath a pine, ‘The playthings in the playhouse of the children. Weep for what little things could make them glad. ‘Then for the house that is no more a house, But only a belilaced cellar hole, Now slowly closing like a dent in dough. This was no playhouse but a house in earnest Your destination and your destiny’s ‘A brook that was the water of the house, Cold as a spring-as ‘yet so near its source, Too lofty and original to rage. (We know the valley streams that when aroused Will leave their tatters hung on barb and thorn.) I have kept hidden in the instep arch Of an old cedar at the waterside A broken drinking goblet like the Grail Under a spell so the wrong ones can’t find it, So can’t get saved, as Saint Mark says they mustn’t. (1 stole the goblet from the children’s playhouse.) Here are your waters and your watering place. Drink and be whole again beyond confusion. ROBERT FROST The Read Home plilocephecal idea of the It is the road to God ese oe ies that matters now, the ragged road, the wood. > able act ~ Nome beyend the reach And if you will, drop pebbles here and there csrdalpns like Hansel, Gretel, right where tances i) ore they'll shine es eruis ie in the wilful light of the moon hay tttental) You won’t be going back to the hut ier eeniae 4 where father, mother plot = pez ne puto Per ovane SI on SIMA owed the cul de sac of the world Rr eqeicue sl He owiehe ina field Ace queckonthat’s permanently full of people looking for a festival > = UteraPere at tu sion of literature, a fairy tale, kncomparaole by te path a feathered oe spit nest of brothers, sisters. Would that first world, bared now to the word God, wade with you, through wood, into the weald and weather of the stars? GILLIAN ALLNUTT. Stopping by Woods on a Snowy Evening Whose woods these are I think I know, His house is in the village though; He will not see me stopping here To watch his woods fill up with snow. My little horse must think it queer ‘To stop without a farmhouse near Between the woods and frozen lake The darkest evening of the year. He gives his harness bells a shake To ask if there is some mistake The only other sound’s the sweep Of easy wind and downy flake The woods are lovely, dark and deep, But I have promises to keep, And miles to go before I sleep, And miles to go before I sleep. ROBERT FROST 73Someone’s got to lie there in the grass that covers up the causes and effects with a cornstalk in his teeth, gawking at clouds. WISLAWA SZYMBORSKA translated from the Polish by Stanislaw Baranczak and Clare Cavanagh The People of the Other Village tte tlle x Me bre thonza ~ cine Cements hate the people of this village and would nail our hats to our heads for refusing in their presence to remove them or staple our hands to our foreheads for refusing to salute them if we did not hurt them first: mail them packages of rats, mix their flour at night with broken glass. We do this, they do that. They peel the larynx from one of our brothers’ throats. We devein one of their sisters. The quicksand pits they built were good. Our amputation teams were better. We trained some birds to steal their wheat. ‘They sent to us exploding ambassadors of peace. They do this, we do that. ‘Waicaaccledouseteesiimnere! ‘They no longer bought our blankets We mocked their greatest poet and when that had no effect we parodied the way they dance which did cause pain, so they, in turn, said our God was leprous, hairless. 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