Up the Facades, His Shadow Dragging Like a Photographer's Cloth Behind Him, He Climbs Fearfully, Thinking That This Time He Will Manage to Push His Small Head Through That Round Clean Opening and Be Forced Through, as from a Tube, in Black Scrolls on the Light

The Story of The Clean, part one.







The Story of the Clean, part two.

• I am getting my car serviced today, estimated wait time two hours, I will be live blogging parts if not the whole of the waiting room experience between ten and whenever. No I won't. Maybe some.
• This Week in Water. We in DCstan laugh at Atlantans and snow like Ninglanders laugh at DCstanners and snow.
• Famous last words.
• American Ninja Warriors.
• My future hell.
• SeatSix's future hell.
• Hamster sends along this 1963 Irving Howe piece on Robert Frost written after Frost died. As he said in his email, fuck the front of The New Republic, the back of The New Republic was once tremendous.
• Arvo Pärt, for those of you who do. No, this wasn't posted there because Arvo Pärt is two posts down here.
• One moment. 
• Richard's 2013 in music and bleggalgaze.
• Hey, Schubert was born 217 years ago today. I have a vague memory that Hamster once gave me a post full of Lieder but I can't find it and am probably wrong anyway. I like the piano pieces better in any case.

THE MAN-MOTH

Elizabeth Bishop

Man-Moth: Newspaper misprint for “mammoth.”
  
 

Here, above,

cracks in the buildings are filled with battered moonlight.

The whole shadow of Man is only as big as his hat.

It lies at his feet like a circle for a doll to stand on,

and he makes an inverted pin, the point magnetized to the moon.

He does not see the moon; he observes only her vast properties,

feeling the queer light on his hands, neither warm nor cold,

of a temperature impossible to record in thermometers.

                     But when the Man-Moth

pays his rare, although occasional, visits to the surface,

the moon looks rather different to him. He emerges

from an opening under the edge of one of the sidewalks

and nervously begins to scale the faces of the buildings.

He thinks the moon is a small hole at the top of the sky,

proving the sky quite useless for protection.

He trembles, but must investigate as high as he can climb.

                     Up the façades,

his shadow dragging like a photographer’s cloth behind him

he climbs fearfully, thinking that this time he will manage

to push his small head through that round clean opening

and be forced through, as from a tube, in black scrolls on the light.

(Man, standing below him, has no such illusions.)

But what the Man-Moth fears most he must do, although

he fails, of course, and falls back scared but quite unhurt.

                     Then he returns

to the pale subways of cement he calls his home. He flits,

he flutters, and cannot get aboard the silent trains

fast enough to suit him. The doors close swiftly.

The Man-Moth always seats himself facing the wrong way

and the train starts at once at its full, terrible speed,

without a shift in gears or a gradation of any sort.

He cannot tell the rate at which he travels backwards.

                     Each night he must

be carried through artificial tunnels and dream recurrent dreams.

Just as the ties recur beneath his train, these underlie

his rushing brain. He does not dare look out the window,

for the third rail, the unbroken draught of poison,

runs there beside him. He regards it as a disease

he has inherited the susceptibility to. He has to keep

his hands in his pockets, as others must wear mufflers.

                     If you catch him,

hold up a flashlight to his eye. It’s all dark pupil,

an entire night itself, whose haired horizon tightens

as he stares back, and closes up the eye. Then from the lids

one tear, his only possession, like the bee’s sting, slips.

Slyly he palms it, and if you’re not paying attention

he’ll swallow it. However, if you watch, he’ll hand it over,

cool as from underground springs and pure enough to drink.