Authors: Edward Hirsch
Soon we will give our speechless bodies
Back to the garden at night, like the scores
Of old songs we can no longer quite remember,
Or the embroidered shirts we outgrew as children.
Once, their colorful new skins clung tightly
To our skins, molding to our elastic human
Shapes, but now they hang limply in thrift shops
Next to coverless issues of
Newsweek
and
Time
And sullen piano music that no longer wants
To remember the slow torture of being played
On endless rainy afternoons in mid-October.
Sometimes I think that inside one of those faded
Musical sheets I am still practicing scales,
Still trying to avoid the musty gray smell
Of an interminable Sunday at home (and sometimes
I think the dullest afternoons of adulthood are
A memory of childhood relived in a tedium of autumn).
I used to press my forehead against the window
And imagine the sun moving behind the buildings
Like an exhausted old woman tramping home
Through a field after a long day in the city
With her hands buried deep in the pockets
Of a flowering red dress. I liked to pretend
That she would leave a smoky lantern flaming
In the elms for luck while she hummed a lullaby
To herself, a song from some other world,
The secret of light. I’d strain to listen,
But all I could hear was the voicelessness
Of the wind blowing its emptiness across the sad
Rooftops, leafing through the empty pages of trees.
All I could see was my own childish, blue boredom.
I am thirty-five now, but sometimes when I look out
At the garden at dusk, I can still feel myself
Becoming that child again, reliving that boredom,
And suddenly I am afraid only that the garden is
Changing even as we are changing, even as the sun
Goes back to being a sun toiling behind purple bars
On the horizon, and our bodies start to wear out
Like our favorite suits and hats. It’s the way
That even the fat crabapple tree swelling up
By the fence will someday retire from giving fruit
To every poor scavenger that comes along, every
Obese squirrel and thin starling, every lost crow.
Soon the sour green tree will quit storing up
Food for the moles—soon, but not yet.
Because look how the garden survives the dusk,
How quietly it waits for us, how lovingly
It welcomes us back. Maybe it already knows
That we always return to its soil like husbands
Who never quite leave their faithless wives,
Or sons who grow into their own fathers.
So, too, we will touch our bodies to the soil
And know the ground by its damp and bitter taste.
But until then, I will stand by the window at dusk
Remembering the sullen blue notes of a forgotten
Childhood, the tedious hours practicing, the rainy
Afternoons that seem eternal in an adult’s memory.
I will remember a slow dream of leaving the house
And then walk through the garden on cool nights
Listening for a single redbreasted cardinal
That sometimes returns to our dark elms. I
Like to think it is a little explosion of dye
Erupting in secret in its own time, a minor
Echo of the sun toiling on the bruised horizon.
I like to believe it is a smoky red lantern
That an old woman leaves in the branches
To fend off the darkness while she sleeps,
To keep a red flame burning through the night.
Some nights when you’re asleep
Deep under the covers, far away,
Slowly curling yourself back
Into a childhood no one
Living will ever remember
Now that your parents touch hands
Under the ground
As they always did upstairs
In the master bedroom, only more
Distant now, deaf to the nightmares,
The small cries that no longer
Startle you awake but still
Terrify me so that
I do get up, some nights, restless
And anxious to walk through
The first trembling blue light
Of dawn in a calm snowfall.
It’s soothing to see the houses
Asleep in their own large bodies,
The dreamless fences, the courtyards
Unscarred by human footprints,
The huge clock folding its hands
In the forehead of the skyscraper
Looming downtown. In the park
The benches are layered in
White, the statue out of history
Is an outline of blue snow. Cars,
Too, are rimmed and motionless
Under a thin blanket smoothed down
By the smooth maternal palm
Of the wind. So thanks to the
Blue morning, to the blue spirit
Of winter, to the soothing blue gift
Of powdered snow! And soon
A few scattered lights come on
In the houses, a motor coughs
And starts up in the distance, smoke
Raises its arms over the chimneys.
Soon the trees suck in the darkness
And breathe out the light
While black drapes open in silence.
And as I turn home where
I know you are already awake,
Wandering slowly through the house
Searching for me, I can suddenly
Hear my own footsteps crunching
The simple astonishing news
That we are here,
Yes, we are still here.
Grateful acknowledgment is made to the editors of the following publications where these poems—many of which have been substantially revised—first appeared:
Antaeus
: “Indian Summer,” “Recovery”
The Antioch Review
: “Three Journeys”
The Atlantic
: “Fast Break”
Crazyhorse
: “The Village Idiot,” “Paul Celan: A Grave and Mysterious Sentence,” “The Emaciated Horse”
Fiction International
: “Excuses,” “Unhappy Love Poem”
The Georgia Review
: “The Night Parade”
Grand Street
: “In a Polish Home for the Aged (Chicago, 1983)”
Kayak
: “Sleepwatch”
Memphis State Review
: “The Secret”
Michigan Quarterly Review
: “Leningrad (1941–1943)”
The Missouri Review
: “Omen,” “The Skokie Theatre”
The Nation
: “In the Middle of August,” “Dino Campana and the Bear” copyright © 1981, 1982 The Nation Associates, Inc.
National Forum
: “Prelude of Black Drapes,” “In Spite of Everything, the Stars”
The New Republic
: “Wild Gratitude”
The New Yorker
: “I Need Help,” “Fall,” “Dawn Walk”
The Ontario Review
: “Curriculum Vitae (1937)”
Ploughshares
: “Commuters”
Poetry
: “Edward Hopper and the House by the Railroad (1925),” “A Dark Hillside” (under the title “Moving Toward a Blue Unicorn”), “Fever,” “Poor Angels”
Shenandoah
: “The White Blackbird”
Skywriting
: “Ancient Signs” (under the title “My Grandfather Loved Storms”)
The epigraph is from W. H. Auden,
Selected Poems
: New Edition (New York: Vintage, 1979), p. 89.
I wish to express my gratitude to the National Endowment for the Arts and to Wayne State University for their support during the writing of this book. “Dawn Walk” is in memory of Gertrude Landay (1916–1979) and Donald Landay (1914–1977). “The Night Parade” is dedicated to Susan Stewart. “Curriculum Vitae (1937)” is for Lawrence Joseph.
Special thanks to Alice Quinn for her encouragement and generosity.
Edward Hirsch has published six books of poems:
For the Sleepwalkers
(1981)
, Wild Gratitude
(1986), which won the National Book Critics Circle Award
, The Night Parade (
1989
), Earthly Measures
(1994)
, On Love
(1998), and
Lay Back the Darkness
(2003). He has also written three prose books, including
How to Read a Poem and Fall in Love with Poetry
(1999), a national best-seller, and
The Demon and the Angel: Searching for the Source of Artistic Inspiration
(2002). A frequent contributor to leading magazines and periodicals, including
The New Yorker, DoubleTake,
and
The American Poetry Review,
he also writes the Poet’s Choice column for the
Washington Post Book World.
He has received the Prix de Rome, a Guggenheim Fellowship, an American Academy of Arts and Letters Award for Literature, and a MacArthur Fellowship. He teaches at the University of Houston.
POETRY
Lay Back the Darkness (2003)
On Love (1998)
Earthly Measures (1994)
The Night Parade (1989)
For the Sleepwalkers (1981)
PROSE
The Demon and the Angel: Searching for the Source of Artistic Inspiration (2002)
How to Read a Poem and Fall in Love with Poetry (1999)
Responsive Reading (1999)
EDITOR
Transforming Vision: Writers on Art (1994)