Bee

Tuesday, July 29, 2008

Anne Sexton - Wanting To Die

Anne Sexton - Wanting To Die



Since you ask, most days I cannot remember.
I walk in my clothing, unmarked by that voyage.
Then the most unnameable lust returns.

Even then I have nothing against life.
I know well the grass blades you mention
the furniture you have placed under the sun.

But suicides have a special language.
Like carpenters they want to know which tools.
They never ask why build.

Twice I have so simply declared myself
have possessed the enemy, eaten the enemy,
have taken on his craft, his magic.

In this way, heavy and thoughtful,
warmer than oil or water,
I have rested, drooling at the mouth-hole.

I did not think of my body at needle point.
Even the cornea and the leftover urine were gone.
Suicides have already betrayed the body.

Still-born, they don't always die,
but dazzled, they can't forget a drug so sweet
that even children would look on and smile.

To thrust all that life under your tongue! --
that, all by itself, becomes a passion.
Death's a sad bone; bruised, you'd say,

and yet she waits for me, year and year,
to so delicately undo an old would,
to empty my breath from its bad prison.

Balanced there, suicides sometimes meet,
raging at the fruit, a pumped-up moon,
leaving the bread they mistook for a kiss,

leaving the page of a book carelessly open,
something unsaid, the phone off the hook
and the love, whatever it was, an infection.



______________________________________________________________________________

Locked Doors

by Anne Sexton

For the angels who inhabit this town,
although their shape constantly changes,
each night we leave some cold potatoes
and a bowl of milk on the windowsill.
Usually they inhabit heaven where,
by the way, no tears are allowed.

They push the moon around like
a boiled yam.
The Milky Way is their hen
with her many children.
When it is night the cows lie down
but the moon, that big bull,
stands up.

However, there is a locked room up there
with an iron door that can't be opened.
It has all your bad dreams in it
It is hell.
Some say the devil locks the door
from the inside.
Some say the angels lock it from
the outside.
The people inside have no water
and are never allowed to touch.
They crack like macadam.
They are mute
They do not cry help
except inside
where their hearts are covered with grubs.

I would like to unlock that door,
turn the rusty key
and hold each fallen one in my arms
but I cannot, I cannot.
I can only sit here on earth
at my place at the table.

___________________________________________

From the Garden

by Anne Sexton

Come, my beloved,
consider the lilies.
We are of little faith.
We talk too much.
Put your mouthful of words away
and come with me to watch
the lilies open in such a field,
growing there like yachts,
slowly steering their petals
without nurses or clocks.
Let us consider the view:
a house where white clouds
decorate the muddy halls.
Oh, put away your good words
and your bad words. Spit out
your words like stones!
Come here! Come here!
Come eat my pleasant fruits.

____________________________________________________

Her Kind, Anne Sexton

I have gone out, a possessed witch,
haunting the black air, braver at night;
dreaming evil, I have done my hitch
over the plain houses, light by light:
lonely thing, twelve-fingered, out of mind.
A woman like that is not a woman, quite.
I have been her kind.

I have found the warm caves in the woods,
filled them with skillets, carvings, shelves,
closets, silks, innumerable goods;
fixed the suppers for the worms and the elves:
whining, rearranging the disaligned.
A woman like that is misunderstood.
I have been her kind.

I have ridden in your cart, driver,
waved my nude arms at villages going by,
learning the last bright routes, survivor
where your flames still bite my thigh
and my ribs crack where your wheels wind.
A woman like that is not ashamed to die.
I have been her kind.

----------------------------------------------------------------

Some poems from Selected Poems of Anne Sexton
From Live or Die (1966)
Live
Live or die, but don’t poison everything. . .
Well, death's been here
for a long time —
it has a hell of a lot
to do with hell
and suspicion of the eye
and the religious objects
and how I mourned them
when they were made obscene
by my dwarf-heart's doodle.
The chief ingredient
is mutilation.
And mud, day after day,
mud like a ritual,
and the baby on the platter,
cooked but still human,
cooked also with little maggots,
sewn onto it maybe by somebody's mother,
the damn bitch!
Even so,
I kept right on going on,
a sort of human statement,
lugging myself as if
I were a sawed-off body
in the trunk, the steamer trunk.
This became a perjury of the soul.
It became an outright lie
and even though I dressed the body
it was still naked, still killed.
It was caught
in the first place at birth,
like a fish.
But I played it, dressed it up,
dressed it up like somebody's doll.
Is life something you play?
And all the time wanting to get rid of it?
And further, everyone yelling at you
to shut up. And no wonder!
People don't like to be told
that you're sick
and then be forced
to watch
you
come
down with the hammer.
Today life opened inside me like an egg
and there inside
after considerable digging
I found the answer.
What a bargain!
There was the sun,
her yolk moving feverishly,
tumbling her prize —
and you realize that she does this daily!
I'd known she was a purifier
but I hadn't thought
she was solid,
hadn't known she was an answer.
God! It's a dream,
lovers sprouting in the yard
like celery stalks
and better,
a husband straight as a redwood,
two daughters, two sea urchins,
picking roses off my hackles.
If I'm on fire they dance around it
and cook marshmallows.
And if I'm ice
they simply skate on me
in little ballet costumes.



From The Jesus Papers (1972)
Jesus Suckles
Mary, your great
white apples make me glad.
I feel your heart work its
machine and I doze like a fly.
I cough like a bird on its worm.
I'm a jelly-baby and you're my wife.
You're a rock and I the fringy algae.
You're a lily and I'm the bee that gets inside.
I close my eyes and suck you in like a fire.
I grow. I grow. I'm fattening out.
I'm a kid in a rowboat and you're the sea,
the salt, you're every fish of importance.
No. No.
All lies.
I am small
and you hold me.
You give me milk
and we are the same
and I am glad.
No. No.
All lies.
I am a truck. I run everything.
I own you.
The Author of the Jesus Papers Speaks
In my dream
I milked a cow,
the terrible udder
like a great rubber lily
sweated in my fingers
and as I yanked,
waiting for the moon juice,
waiting for the white mother, '
blood spurted from it
and covered me with shame.
Then God spoke to me and said:
People say only good things about Christmas.
If they want to say something bad, "•
they whisper.
So I went to the well and drew a baby
out of the hollow water.
Then God spoke to me and said:
Here. Take this gingerbread lady
and put her in your oven.
When the cow gives blood
and the Christ is born
we must all eat sacrifices.
We must all eat beautiful women.


From The Death Notebooks (1974)
from The Death Baby
1. DREAMS
I was an ice baby.
I turned to sky blue.
My tears became two glass beads.
My mouth stiffened into a dumb howl.
They say it was a dream
but I remember that hardening.
My sister at six
dreamt nightly of my death:
"The baby turned to ice.
Someone put her in the refrigerator
and she turned as hard as a Popsicle."
I remember the stink of the liverwurst.
How I was put on a platter and laid
between the mayonnaise and the bacon.
The rhythm of the refrigerator
had been disturbed.
The milk bottle hissed like a snake.
The tomatoes vomited up their stomachs.
The caviar turned to lava.
The pimentos kissed like cupids.
I moved like a lobster,
slower and slower.
The air was tiny.
The air would not do.
*
I was at the dogs' party.
I was their bone.
I had been laid out in their kennel
like a fresh turkey.
This was my sister's dream
but I remember that quartering;
I remember the sickbed smell
of the sawdust floor, the pink eyes,
the pink tongues and the teeth, those nails.
I had been carried out like Moses
and hidden by the paws
of ten Boston bull terriers,
ten angry bulls
jumping like enormous roaches.
At first I was lapped,
rough as sandpaper.
I became very clean.
Then my arm was missing.
I was coming apart.
They loved me until
I was gone.


2. THE DY-DEE DOLL
My Dy-dee doll
died twice.
Once when I snapped
her head off
and let it float in the toilet
and once under the sun lamp
trying to get warm
she melted.
She was a gloom,
her face embracing
her little bent arms.
She died in all her rubber wisdom.


From The Awful Rowing Toward God (1975)
When Man Enters Woman
When man
enters woman,
like the surf biting the shore,
again and again,
and the woman opens her mouth in pleasure
and her teeth gleam
like the alphabet,
Logos appears milking a star,
and the man
inside of woman
ties a knot
so that they will
never again be separate
and the woman
climbs into a flower
and swallows its stem
and Logos appears
and unleashes their rivers.
This man,
this woman
with their double hunger,
have tried to reach through
the curtain of God
and briefly they have,
though God
in His perversity
unties the knot.
Epilogue from anne sexton: a self-portrait in letters
Anne's death was not unexpected. All those close to her had known
that one day she would choose to commit suicide. At home in Weston
on Friday, October 4, 1974, she took herself quickly and quietly.
Only the day before she had returned from a successful reading at
Goucher College in Maryland, where the audience had given her an
extended standing ovation. The academic year had just begun at Boston
University and her students welcomed her home at the airport
instead of meeting her in their weekly Thursday class. At Black Oak
Road, housekeeping arrangements looked promising: a new young
couple had moved into the basement apartment.
The weather that Friday was particularly invigorating — the "black"
oaks and swamp maples were turning color. Anne shared lunch with
Maxine Kurnin in Newton, and proofread the galley sheets lor The
Awful Rowing Toward God with her as they had done with her
previous books. She had planned an evening out with one of the men
she was currently seeing. But despite these signs of renewal and
strength, she returned home to her death with no dramatics, no warning,
no telephone calls.
Of all those who unconsciously prepared for her death, perhaps Anne
herself was the most thorough. By July 1974 she had finished putting
her house in order, asking particular friends which of her possessions
they would like as remembrances, and offering to write holographs of
their favorite poems. She had selected a biographer and prepared the
Boston University archive of her manuscripts and letters. After much
thought, she had appointed her literary executor, and drawn up a will
with specific instructions for her funeral. In the last few years she had
repeatedly told family members and friends that she wanted a palindrome
from the side of an Irish barn carved on her gravestone. The
words RATS LIVE ON NO EVIL STAR gave her a peculiar kind of hope.
She was acutely aware of how her death would affect others. In a
letter written in April 1969 to her daughter. Linda, she attempted to
comfort and to hold, anticipating the day when touch would be impossible.


[a few selections from Ariel by Sylvia Plath]
SHEEP IN FOG

The hills step off into whiteness.
People or stars
Regard me sadly, I disappoint them.
The train leaves a line of breath.
0 slow
Horse the colour of rust,
Hooves, dolorous bells—
All morning the
Morning has been blackening,
A flower left out.
My bones hold a stillness, the far
Fields melt my heart.
They threaten
To let me through to a heaven
Starless and fatherless, a dark water.

THE APPLICANT
First, are you our sort of a person?
Do you wear
A glass eye, false teeth or a crutch,
A brace or a hook,
Rubber breasts or a rubber crotch,
Stitches to show something's missing? No, no? Then
How can we give you a thing?
Stop crying.
Open your hand.
Empty? Empty. Here is a hand
To fill it and willing
To bring teacups and roll away headaches
And do whatever you tell it.
Will you marry it?
It is guaranteed
To thumb shut your eyes at the end
And dissolve of sorrow.
We make new stock from the salt.
I notice you are stark naked.
How about this suit—
Black and stiff, but not a bad fit.
Will you marry it?
It is waterproof, shatterproof, proof
Against fire and bombs through the roof.
Believe me, they'll bury you in it.
Now your head, excuse me, is empty.
I have the ticket for that.
Come here, sweetie, out of the closet.
Well, what do you think of that?
Naked as paper to start
But in twenty-five years she'll be silver,
In fifty, gold.
A living doll, everywhere you look.
It can sew, it can cook,
It can talk, talk, talk.
It works, there is nothing wrong with it.
You have a hole, it's a poultice.
You have an eye, it's an image.
My boy, it's your last resort.
Will you marry it, marry it, marry it.
Ariel
Stasis in darkness.
Then the substanceless blue
Pour of tor and distances.
God's lioness,
How one we grow,
Pivot of heels and knees!—The furrow
Splits and passes, sister to
The brown arc
Of the neck I cannot catch,
Nigger-eye
Berries cast dark
Hooks—
Black sweet blood mouthfuls,
Shadows.
Something else
Hauls me through air—
Thighs, hair;
Flakes from my heels.
White
Godiva, I unpeel—
Dead hands, dead stringencies.
And now I
Foam to wheat, a glitter of seas.
The child's cry
Melts in the wall.
And I
Am the arrow,
The dew that flies
Suicidal, at one with the drive
Into the red
Eye, the cauldron of morning.


THE MUNICH MANNEQUINS
Perfection is terrible, it cannot have children.
Cold as snow breath, it tamps the womb
Where the yew trees blow like hydras,
The tree of life and the tree of life
Unloosing their moons, month after month, to no purpose.
The blood flood is the flood of love,
The absolute sacrifice.
It means: no more idols but me,
Me and you.
So, in their sulphur loveliness, in their smiles
These mannequins lean tonight
In Munich, morgue between Paris and Rome,
Naked and bald in their furs,
Orange lollies on silver sticks,
Intolerable, without mind.
The snow drops its pieces of darkness,
Nobody's about. In the hotels
Hands will be opening doors and setting
Down shoes for a polish of carbon
Into which broad toes will go tomorrow.
O the domesticity of these windows,
The baby lace, the green-leaved confectionery,
The thick Germans slumbering in their bottomless Stolz.
And the black phones on hooks
Glittering
Glittering and digesting
Voicelessness. The snow has no voice.

Labels: