Über die Autorin bzw. den Autor

David Ferry is the Sophie Chantal Hart Professor Emeritus of English at Wellesley College and also teaches at Suffolk University. In 2011 he received the prestigious Ruth Lilly Poetry Prize for his lifetime accomplishments.

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Bewilderment

New Poems and TranslationsBy DAVID FERRY

THE UNIVERSITY OF CHICAGO PRESS

Copyright © 2012 The University of Chicago
All right reserved.
ISBN: 978-0-226-24488-4

Contents

Acknowledgments.............................................................xiNarcissus...................................................................3Found Single-Line Poems.....................................................4One Two Three Four Five.....................................................5Soul........................................................................7Untitled....................................................................8The Intention of Things.....................................................9Your Personal God (From Horace, Epistles II.2)..............................11Dedication to His Book (Catullus I).........................................15Brunswick, Maine, Early Winter, 2000........................................16Martial i.101...............................................................19Measure 100.................................................................20Ancestral Lines.............................................................22Entreaty....................................................................23October.....................................................................24Spring (From Virgil, Georgics II)...........................................25Anguilla (Eugenio Montale, "L'Anguilla")....................................26In the Reading Room.........................................................28Coffee Lips.................................................................31Incubus.....................................................................32At the Street Corner (Rilke, "Das Lied des Zwerges")........................33The Late-Hour Poem..........................................................34At a Bar....................................................................35To Varus (Horace, Odes I.18)................................................37Somebody in a Bar...........................................................38In Despair (Cavafy, "En Apognosi")..........................................39Dido in Despair (From Virgil, Aeneid IV)....................................40Catullus II.................................................................42Virgil, Aeneid II...........................................................43Thermopylae (Cavafy, "Thermopylae").........................................44Street Scene................................................................47Willoughby Spit.............................................................49Everybody's Tree............................................................54The Offering of Isaac (From Genesis A, Anglo-Saxon).........................61Reading Arthur Gold's Poem "Chest Cancer"...................................69Reading Arthur Gold's "Trolley Poem"........................................72Reading Arthur Gold's Poem "On the Beach at Asbury".........................74Reading Arthur Gold's Poem "Rome, December 1973"............................76Virgil, Aeneid vi...........................................................80Reading Arthur Gold's Prose Poem "Allegory".................................82Looking, Where Is the Mailbox?..............................................85Orpheus and Eurydice (From Virgil, Georgics IV).............................89Lake Water..................................................................93The White Skunk.............................................................96Virgil, Aeneid vi...........................................................99That Now Are Wild and Do Not Remember.......................................101Untitled Dream Poem.........................................................102The Departure from Fallen Troy (From Virgil, Aeneid II).....................105to where....................................................................107Resemblance.................................................................108Scrim.......................................................................111Poem........................................................................112The Birds...................................................................113Notes.......................................................................115

Chapter One

    NARCISSUS

    There's the one about the man who went into
    A telephone booth on the street and called himself up,
    And nobody answered, because he wasn't home,
    So how could he possibly have answered the phone?
    The night went on and on and on and on.
    The telephone rang and rang and nobody answered.

    And there's the one about the man who went
    Into the telephone booth and called himself up,
    And right away he answered, and so they had
    A good long heart-to-heart far into the night.
    The sides of the phone booth glittered and shone in the light
    Of the streetlight light as the night went echoing on.

    Out in the wild hills of suburban New Jersey,
    Up there above South Orange and Maplewood,
    The surface of a lonely pond iced over,
    Under the avid breath of the winter wind,
    And the snow drifted across it and settled down,
    So at last you couldn't tell that there was a pond.


    FOUND SINGLE-LINE POEMS

    Turning Eighty-Eight, a Birthday Poem:

      It is a breath-taking, near-death, experience.

    Found poem:

      You ain't seen Nothing yet.

    Found poem:

      We're all in this apart.

    A Subtitle:

      Playing With My Self


    ONE TWO THREE FOUR FIVE

    anger

    Anger is what I don't know what to do with.
    I know it was anger was the trouble that other time.
    I don't know where the anger came from, that time,
    Or where it was I was going on anger's back
    On a mission to somewhere to get me through the danger.

    whatever

    Whatever it is I think I probably know.
    However whatever it is I keep from knowing.
    No, it is not whatever I think I know.
    Maybe I'll never know whatever it is.
    Some day it has to be figured out. Whatever.

    somebody

    Somebody's got to tell me the truth some day.
    And if somebody doesn't tell me the truth I'll tell it.
    On my block there was somebody knew the truth, I think.
    Or so I thought. Anyway somebody knew
    That trying to tell the truth is looking for somebody.

    isn't

    If it isn't anywhere I guess it isn't.
    But if it isn't why do I think it is?
    I guess there really isn't any way
    For me to find out what is or isn't there
    In the black night where it either was or wasn't.

    where

    Where was it I was looking in the past?
    It isn't where I've looked, that's no surprise.
    I don't know what or where it is or was.
    But maybe it isn't so much the where but the why.
    Or maybe I haven't found it because beware.


    SOUL

    What am I doing inside this old man's body?
    I feel like I'm the insides of a lobster,
    All thought, and all digestion, and pornographic
    Inquiry, and getting about, and bewilderment,
    And fear, avoidance of trouble, belief in what,
    God knows, vague memories of friends, and what
    They said last night, and seeing, outside of myself,
    From here inside myself, my waving claws
    Inconsequential, wavering, and my feelers
    Preternatural, trembling, with their amazing
    Troubling sensitivity to threat;
    And I'm aware of and embarrassed by my ways
    Of getting around, and my protective shell.
    Where is it that she I loved has gone to, as
    This cold sea water's washing over my back?


    UNTITLED

    without

    not any


    THE INTENTION OF THINGS

    The death that lives in the intention of things
    To have a meaning of some sort or other,

    That means to come to something in the end,
    It is the death that lives not finding the meaning

    Of this or that object as it moves among them
    Uncertainly, moving among the shadows,

    The things that are like shadows, shadows of things,
    The things the shadows of shadows, all in the effort

    To put off the death that we are coming to.
    The intention makes its way among its moments,

    Choosing this object or that, uncertainly,
    Somebody's body or the leaves of a tree

    On a summer night in a landscape somewhere else,
    Under which something happened that made it different.

    It is seeking to find the meaning of what they are.
    But it moves uncertainly among them, the shadows,

    The things that are like shadows, putting off
    The death that is coming, that we are coming to.

    It is the death that lives that makes the flower
    Be what it's going to be and makes it die,

    And makes the musical phrase complete itself,
    Or fail to complete itself, as Goethe said,

    Writing a friend whose son had died in the Army:
    "So you have had another terrible trial.

    It's still, alas, the same old story: to live
    Long is to outlive many; and after all,

    We don't even know, then, what it was all about.
    The answer to part of the riddle is, we each

    Have something peculiarly our own, that we
    Mean to develop by letting it take its course.

    This strange thing cheats us from day to day, and so
    We grow old without knowing how it happened or why."

    It is the death that lives in the intention of things
    To have a meaning of some sort or other;

    Implacable, bewildered, it moves among us
    Seeking its own completion, still seeking to do so,

    But also putting it off, oh putting it off,
    The death that is coming, that we are coming to.


    YOUR PERSONAL GOD
    From Horace, Epistles II.2 (lines 180–89)


    Jewels, marble, ivory, paintings, beautiful Tuscan
    Pottery, silver, Gaetulian robes dyed purple—
    Many there are who'd love to have all of these things.
    There are some who don't care about them in the least.
    Why one twin brother lives for nothing but pleasure,
    And loves to fool around even more than Herod
    Loves his abundant gardens of date-trees, while
    The other twin brother works from morning to night
    Improving his farm, ploughing and clearing the lands,
    Pruning and planting, working his ass off, only
    The genius knows, the personal god who knows
    And controls the birth star of every person
    There is in the world. Your personal god is the god
    Who dies in a sense when your own breath gives out,
    And yet lives on, after you die, to be
    The personal god of somebody other than you;
    Your personal god, whose countenance changes as
    He looks at you, smiling sometimes, sometimes not.

Chapter Two

    DEDICATION TO HIS BOOK
    Catullus I, to Cornelius Nepos


    Who is it I should give my little book to,
    So pretty in its pumice-polished covers?

    Cornelius, I'll give my book to you:
    Because you used to think my nothings somethings,

    At the time when you were the first in Italy
    To dare to write our whole long history,

    Three volumes, under the sign of Jupiter,
    Heroically achieved; so take this little

    Book of mine for what it's worth; whatever;
    And oh, patroness Virgin, grant that it shall

    Live and survive beyond the century.


    BRUNSWICK, MAINE, EARLY WINTER, 2000

    That day when Suzie drove us out to get
    The lobsters at the lobster place at the cove:

    Bill Moran in the passenger seat of the car,
    Doubled up as if in a fit of laughter,

    A paroxysm of helpless, silent laughter,
    At the joke the Parkinson's had played on him.

    The big joke he simply couldn't get over.

    * * *

    Bill Moran at breakfast time, in the kitchen,
    Bent double in his wheelchair, his chin almost

    Touching the kitchen table, and his eyes
    Intently studying a piece of toast,

    A just discovered, as yet unreadable
    Mesopotamian language, not related

    To Akkadian or Sumerian, much older
    Even than what he knew about already—

    The great old man with his ferocity
    Of tenderness and joy, his eyes intently

    Studying the text. He sent me once
    A passage copied from Nietzsche's book Daybreak:

    "It is a connoisseurship of the word;
    Philology is that venerable art

    That asks one thing above all other things:
    Read slowly, slowly. It is a goldsmith's art,

    Looking before and after, cautiously;
    Considering; reconsidering;

    Studying with delicate eyes and fingers.
    It does not easily get anything done."

    Bill looking for heaven on the tabletop.

    * * *

    After the funeral Suzie said, "Bill thought
    He'd be flying around up there somewhere forever."

    And he could fly. After breakfast that day
    We wheeled him away from the kitchen table and into

    The living room and there was a frame contraption
    Set up on long thin crane-like legs. It looked

    Like something in a children's playground, with
    A canvas sling to carry him through the air

    From the wheelchair to another chair; heartbreaking,
    Swaddled, small, ridiculously like

    A newborn baby. Or else the sling resembled
    Those slings you see on television when

    They rescue people from their sinking boats
    And carry them up under the angel wings

    To safety in the helicopter noise.


    MARTIAL I.101

    He, who had been the one to whom I had
    Recited my poems and then he wrote them down
    With his faithful scribal hand for which already
    He was well known and had been justly praised,
    Demetrius has died. He lived to be
    Fifteen years old, and after that four summers.
    Even the Caesars had heard how good he was.

    When he fell sick and I knew he was going to die,
    I didn't want him to descend to where
    The Stygian shades are, still a slave, and so
    I relinquished my ownership of him to his sickness.
    Deserving by my deed to have gotten well,
    He knew what I had done and was grateful for it,
    Calling me his patron, falling free,

    Down to those waters that are waiting there.


    MEASURE 100

    There is a passage in the Mozart K.
    511 Rondo in A Minor,

    Measures 98 through 101,
    And focused on measure 100, where there are

    At least four different melodies, or fragments
    Of melodies, together and apart,

    Resolving themselves, or unresolving themselves
    With enigmatic sweetness, or melancholy;

    Or distant memories of victories,
    Personal, royal, or mythic over demons;

    Or sophisticated talking about ideas;
    Or moments of social or sexual concord; or

    Of parting though with mutual regret;
    Or differences and likenesses of natures;

    It was what you said last night, whoever you are,
    That told me what your nature is, and didn't;

    It was the way that you said the things you said;
    Grammar and syntax, agents of our fate;

    Allusions to disappointments; as also to
    An unexpected gift somebody gave

    To someone there in the room behind the music;
    Or somebody else working out a problem

    At a table under the glowing light of a lamp;
    Or the moment when the disease has finally

    Proceeded to its foregone working through,
    Leaving behind it nothing but the question

    Of whether there's a heaven to sing about.
    The clarity and poise of the arrangement,

    The confidence in the very writing of it,
    Fosters the erroneous impression that

    There's all the truth there is, in the little nexus,
    Encapsulated here in narratives

    Diminutive in form; perfectly told,
    As far as they are willing to be told.

    According to the dictionary, "resolve"
    Derives from "solve" and "solve" derives from the Latin

    "Solvere" that means "untie," and "re-"
    Is an intensifier, meaning "again,"

    And so, again, again, and again, what's tied
    Must be untied again, and again, and again;

    Or else it's like what happens inside a lock,
    The cylinders moving back and forth as the lock

    Is locked, unlocked, and locked, over and over.


    ANCESTRAL LINES

    It's as when following the others' lines,
    Which are the tracks of somebody gone before,
    Leaving me mischievous clues, telling me who

    They were and who it was they weren't,
    And who it is I am because of them,
    Or, just for the moment, reading them, I am;

    Although the next moment I'm back in myself, and lost.
    My father at the piano saying to me,
    "Listen to this, he called the piece Warum?"

    And the nearest my father could come to saying what
    He made of that was lamely to say he didn't,
    Schumann didn't, my father didn't, know why.

    "What's in a dog's heart"? I once asked in a poem,
    And Christopher Ricks when he read it said "Search me."
    He wasn't just being funny, of course; he was right.

    You can't tell anything much about who you are
    By exercising on the Romantic bars.
    What are the wild waves saying? I don't know.

    And Shelley didn't know, and knew he didn't.
    In his great poem, "Ode to the West Wind." he
    Said that the leaves of his pages were blowing away,

    Dead leaves, like ghosts from an enchanter fleeing.

(Continues...)

Excerpted from Bewildermentby DAVID FERRY Copyright © 2012 by The University of Chicago. Excerpted by permission of THE UNIVERSITY OF CHICAGO PRESS. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
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