the teachers have gone, the masters remain,
distant as summer, your sleep sails through the clouds
across the sky.
LONG STREET
Thankless street — little dry goods stores
like sentries in Napoleon’s frozen army;
country people peer into shop windows and their reflections
gaze back at dusty cars;
Long Street trudging slowly to the suburbs,
while the suburbs press toward the center.
Lumbering trams groove the street,
scentless perfume shops furrow it,
and after rainstorms mud instead of manna;
a street of dwarves and giants, creaking bikes,
a street of small towns clustered
in one room, napping after lunch,
heads dropped on a soiled tablecloth,
and clerics tangled in long cassocks;
unsightly street — coal rises here in fall,
and in August the boredom of white heat.
This is where you spent your first years
in the proud Renaissance town,
you dashed to lectures and military drills
in an outsized overcoat—
and now you wonder, can
you return to the rapture
of those years, can you still
know so little and want so much,
and wait, and go to sleep so swiftly,
and wake adroitly
so as not to startle your last dream
despite the December dawn’s darkness.
Street long as patience.
Street long as flight from a fire,
as a dream that never
ends.
TADEUSZ KANTOR
He dressed in black,
like a clerk at an insurance bureau
who specializes in lost causes.
I’d spot him on Urzednicza
rushing for a streetcar,
and at Krzysztofory as he solemnly discharged
his duties, receiving other artists dressed in black.
I dismissed him with the pride
of someone who’s done nothing himself
and despises the flaws of finished things.
Much later, though,
I saw The Dead Class and other plays,
and fell silent with fear and admiration—
I witnessed systematic dying,
decline, I saw how time
works on us, time stitched into clothes or rags,
into the face’s slipping features, I saw
the work of tears and laughter, the gnashing of teeth,
I saw boredom and yearning at work, and how
prayer might live in us, if we would let it,
what blowhard military marches really are,
what killing is, and smiling,
and what wars are, seen or unseen, just or not,
what it means to be a Jew, a German, or
a Pole, or maybe just human,
why the elderly are childish,
and children dwell in aging bodies
on a high floor with no elevator and try
to tell us something, let us know, but it’s useless,
in vain they wave gray handkerchiefs
stretching from their school desks scratched with penknives
— they already know that they have only
the countless ways of letting go,
the pathos of helpless smiles,
the innumerable ways of taking leave,
and they don’t even hear the dirty stage sets
singing with them, singing shyly
and perhaps ascending into heaven.
THE POWER CINEMA
FOR BARBARA AND WOJCIECH PSZONIAK
Some Sundays were white
like sand on Baltic beaches.
In the morning footsteps sounded
from infrequent passersby.
The leaves of our trees kept watchful silence.
A fat priest prayed for everyone
who couldn’t come to church.
Movie projectors gave intoxicating hiccups
as dust wandered crosswise through the light.
Meanwhile a skinny priest bewailed the times
and called us to strict mystic contemplation.
A few ladies grew slightly faint.
The screen in the Power Cinema was happy to receive
every film and every image—
the Indians felt right at home,
but Soviet heroes
were no less welcome.
After each showing a silence fell,
so deep that the police got nervous.
But in the afternoon the city slept,
mouth open, like an infant in a stroller.
Sometimes a wind stirred in the evening
and at dusk a storm would flicker
with an eerie, violet glow.
At midnight the frail moon
came back to a scrubbed sky.
On some Sundays it seemed
that God was close.
THE CHURCH OF CORPUS CHRISTI
We’re next to the Jewish Quarter,
where mindful prayers rose
in another tongue, the speech of David,
which is like a nut, a cluster of grapes.
This church isn’t lovely,
but it doesn’t lack solemnity;
a set of vertical lines
and dust trembling in a sunbeam,
a shrine of minor revelations
and strenuous silence,
the terrain of longing
for those who have gone.
I don’t know if I’ll be admitted,
if my imperfect prayer
will enter the dark, trembling air,
if my endless questing
will halt within this church,
still and sated as a beehive.
WAS IT
Was it worth waiting in consulates
for some clerk’s fleeting good humor
and waiting at the station for a late train,
seeing Etna in its Japanese cloak
and Paris at dawn, as Haussmann’s conventional caryatids
came looming from the dark,
entering cheap restaurants
to the triumphal scent of garlic,
was it worth taking the underground
beneath I can’t recall what city
to see the shades of not my ancestors,
flying in a tiny plane over an earthquake
in Seattle like a dragonfly above a fire, but also
scarcely breathing for three months, asking anxious questions,
forgetting the mysterious ways of grace,
reading in papers about betrayal, murder,
was it worth thinking, remembering, falling
into deepest sleep, where gray hallways
stretched, buying black books,
jotting only separate images
from a kaleidoscope more glorious than the cathedral
in Seville, which I haven’t seen,
was it worth coming and going, was it—
yes no yes no
erase nothing.
RAINBOW
I returned to Long Street with its dark
halo of ancient grime — and to Karmelicka Street,
where drunks with blue faces await
the world’s end in delirium tremens
like the anchorites of Antioch, and where
electric trams tremble from excess time,
to my youth, which didn’t want
to wait and passed on, perished from long
fasting and strict vigils, I returned to
black side streets and used bookshops,
to conspiracies concealing
affection and treachery, to laziness,
to books, to boredom, to oblivion, to tea,
to death, which took so many
and gave no one back,
to Kazimierz, vacant district,
empty even of lamentation,
to a city of rain, rats, and garbage,
to childhood, which evaporated
like a puddle gleaming with a rainbow of gasoline,