the heavens.
Foolish is he who does not fear
his Lord; death comes to him
though he is unprepared.
Blessed is he who lives in all
humility; what comes to him
in Heaven is forgiveness.
God gave to him that spirit
to bow to all His power.
A man must steer his passions,
be strong in staying steady;
keep promises, be pure.
He must be wise and fair
with foes as much as friends,
well-tempered in himself.
He dreads to see a dear one
engulfed in flames, yet patience
tells him to trust the sway
of Fate, and that God’s might
is greater than we know.
Let us ponder where our true
home is, and how to reach it.
Let us labor to gain entry
into the eternal,
to find the blessedness
of belonging to the Lord
joyfully on high.
Thanks be to God who loved us,
the endless Father, the Prince
of Glory forever. Amen.
VII
LOST ORIGINALS
VOICE OF AMERICA
I sit at my desk
My life is grotesque.
— JOSEPH BRODSKY
1. Open to the Public
Hard labor? But you’d claim it wasn’t hard.
You sat in your log cabin, ably sketching
another cabin, and some chickens scratching
out their appointed living in the yard.
A farmhand reading poems by kerosene,
you plotted carefully the coup d’état
of yourself, and boiled another cup of tea;
a well-turned sentence made you feel serene.
I sit in Russia’s National Library,
rifling through folders of your private stuff.
They came easily—or not easily enough,
illiterate as I am in the very
language which to you was the first god.
Your faintly ruled, cheap spiral notebooks hatched
fresh images, new chickens came unlatched
from their coop, and from a corner, a man’s head—
a twenty-something profile. That was yours.
You doodled, and you knew your keepers well.
You studied English, though you couldn’t spell;
you daydreamed in unguarded metaphors.
Well, here’s one for you, touching and grotesque.
After you died, a citizen of the States,
they shipped some furniture of yours in crates
to Petersburg: your velvet couch, your desk—
actually two of them—from your South Hadley
room and a half. Or so your house had seemed,
those maple floors as slippery as in the dreamed
Leningrad apartment; brightly, sadly,
you’d write your parents, who had watched you jammed
into a taxi, snapped in a photograph,
and lost forever. Your desk sent here ? I’d laugh,
if it were funny, studying a framed
Madonna and child, a cat, a Mandelstam,
an Auden; a pocket-sized address book, still
open to the last call; your manual
typewriter, outdated as a ham
radio no one again can operate.
The last icon is you. Incredible.
That’s you in tuxedo tails, with your Nobel,
in a video that loops as if your fate
had always been a hero’s. Applause and cheers
repeat on the TV screen within a house
that once was your old friend Akhmatova’s:
hero without a poem for years and years.
2. Tears at the Fountain House
Out in the garden, where for years her spies
chain-smoked while she sat indoors and nearly starved,
an art show. Wine and cheese are being served.
Today’s the opening, and a viewer’s eyes
are free to interpret anyhow, it appears.
Hung as if on cobwebs, or on memories
of traumas left unspoken, from the trees
giant water balloons droop like the tears
in your poetry that welled and wouldn’t land.
(Your mother told you weeping was for grave
occasions: obedient, you were brave.)
Don’t touch the tears. I brush one with my hand,
stroll about the grounds, and though I doubt
you’d love the installation, you’d round up
some artsy types—high-booted girls and hip
boyfriends in ripped jeans—and ask them out
to a smoky bar nearby, if you were here.
But you never will be. Never came back to grill
the next generation, shame them, crush their will—
or that’s how your taunts and teasing, your severe
quizzing came off, exiled to the warm
and