little poetry post

Morning

By Billy Collins b. 1941 Billy Collins

Why do we bother with the rest of the day,
the swale of the afternoon,
the sudden dip into evening,
then night with his notorious perfumes,
his many-pointed stars?
This is the best—
throwing off the light covers,
feet on the cold floor,
and buzzing around the house on espresso—
maybe a splash of water on the face,
a palmful of vitamins—
but mostly buzzing around the house on espresso,
dictionary and atlas open on the rug,
the typewriter waiting for the key of the head,
a cello on the radio,
and, if necessary, the windows—
trees fifty, a hundred years old
out there,
heavy clouds on the way
and the lawn steaming like a horse
in the early morning.

By Eileen Myles Eileen Myles

I am always hungry
& wanting to have
sex. This is a fact.
If you get right
down to it the new
unprocessed peanut
butter is no damn
good & you should
buy it in a jar as
always in the
largest supermarket
you know. And
I am an enemy
of change, as
you know. All
the things I
embrace as new
are in
fact old things,
re-released: swimming,
the sensation of
being dirty in
body and mind
summer as a
time to do
nothing and make
no money. Prayer
as a last re-
sort. Pleasure
as a means,
and then a
means again
with no ends
in sight. I am
absolutely in opposition
to all kinds of
goals. I have
no desire to know
where this, anything
is getting me.
When the water
boils I get
a cup of tea.
Accidentally I
read all the
works of Proust.
It was summer
I was there
so was he. I
write because
I would like
to be used for
years after
my death. Not
only my body
will be compost
but the thoughts
I left during
my life. During
my life I was
a woman with
hazel eyes. Out
the window
is a crooked
silo. Parts
of your
body I think
of as stripes
which I have
learned to
love along. We
swim naked
in ponds &
I write be-
hind your
back. My thoughts
about you are
not exactly
forbidden, but
exalted because
they are useless,
not intended
to get you
because I have
you & you love
me. It’s more
like a playground
where I play
with my reflection
of you until
you come back
and into the
real you I
get to sink
my teeth. With
you I know how
to relax. &
so I work
behind your
back. Which
is lovely.
Nature
is out of control
you tell me &
that’s what’s so
good about
it. I’m immoderately
in love with you,
knocked out by
all your new
white hair
why shouldn’t
something
I have always
known be the
very best there
is. I love
you from my
childhood,
starting back
there when
one day was
just like the
rest, random
growth and
breezes, constant
love, a sand-
wich in the
middle of
day,
a tiny step
in the vastly
conventional
path of
the Sun. I
squint. I
wink. I
take the
ride.

Eileen Myles, “Peanut Butter” from Not Me, published by Semiotext(e). Copyright © 1991 by Eileen Myles. Reprinted by permission of the author.

Source: Not Me (Semiotext(e), 1991)

THE BREATHER

By Billy Collins

Just as in the horror movies
when someone discovers that the phone calls
are coming from inside the house
so too, I realized
that our tender overlapping
has been taking place only inside me.
All that sweetness, the love and desire—
it’s just been me dialing myself
then following the ringing to another room
to find no one on the line,
well, sometimes a little breathing
but more often than not, nothing.
To think that all this time—
which would include the boat rides,
the airport embraces, and all the drinks—
it’s been only me and the two telephones,
the one on the wall in the kitchen
and the extension in the darkened guest room upstairs.

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