MONEY
Howard Nemerov
This morning we shall spend a few minutes
Upon the study of symbolism, which is basic
To the nature of money. I show you this nickel.
Icons and cryptograms are written all over
The nickel: one side shows a hunchbacked bison
Bending his head and curling his tail to accommodate
The circular nature of money. Over him arches
UNITED STATES OF AMERICA, and, squinched in
Between that and his rump, E PLURIBUS UNUM,
A Roman reminiscence that appears to mean
An indeterminately large number of things
All of which are the same. Under the bison
A straight line giving him a ground to stand on
Reads FIVE CENTS. And on the other side of our nickel
There is the profile of a man with long hair
And a couple of feathers in the hair; we know
Somehow that he is an American Indian, and
He wears the number nineteen-thirty-six.
Right in front of his eyes the word LIBERTY, bent
To conform with the curve of the rim, appears
To be falling out of the sky Y first; the Indian
Keeps his eyes downcast and does not notice this;
To notice it, indeed, would be shortsighted of him.
So much for the iconography of one of our nickels,
Which is now becoming a rarity and something of
A collectors’ item: for as a matter of fact
There is almost nothing you can buy with a nickel,
The representative American Indian was destroyed
A hundred years or so ago, and his descendants’
Relations with liberty are maintained with reservations,
Or primitive concentration camps; while the bison,
Except for a few examples kept in cages,
Is now extinct. Something like that, I think,
Is what Keats must have meant in his celebrated
Ode on a Grecian Urn.
Notice, in conclusion,
A number of circumstances sometimes overlooked
Even by experts: (a) Indian and bison,
Confined to obverse and reverse of the coin,
Can never see each other; (b) they are looking
In opposite directions, the bison past
The Indian’s feathers, the Indian past
The bison’s tail; (c) they are upside down
To one another; (d) the bison has a human face
Somewhat resembling that of Jupiter Ammon.
I hope that our studies today will have shown you
Something of the import of symbolism
With respect to the understanding of what is symbolized.
My free blogging platform fwrtzed this post when I updated adding this a favorite post ever tag, I am telling you three times fine metaphors abound
THE TOWN DUMP
Howard Nemerov
A mile out in the marshes, under a sky
Which seems to be always going away
In a hurry, on that Venetian land threaded
With hidden canals, you will find the city
Which seconds ours (so cemeteries, too,
Reflect a town from hillsides out of town),
Where Being most Becomingly ends up
Becoming some more. From cardboard tenements,
Windowed with cellophane, or simply tenting
In paper bags, the angry mackerel eyes
Glare at you out of stove-in, sunken heads
Far from the sea; the lobster, also, lifts
An empty claw in his most minatory
Of gestures; oyster, crab, and mussel shells
Lie here in heaps, savage as money hurled
Away at the gate of hell. If you want results,
These are results.
Objects of value or virtue,
However, are also to be picked up here,
Though rarely, lying with bones and rotten meat,
Eggshells and mouldy bread, banana peels
No one will skid on, apple cores that caused
Neither the fall of man nor a theory
Of gravitation. People do throw out
The family pearls by accident, sometimes,
Not often; I’ve known dealers in antiques
To prowl this place by night, with flashlights, on
The off-chance of somebody’s having left
Derelict chairs which will turn out to be
by Hepplewhite, a perfect set of six
Going to show, I guess, that in any sty
Someone’s heaven may open and shower down
Riches responsive to the right dream; though
It is a small chance, certainly, that sends
The ghostly dealer, heavy with fly-netting
Over his head, across these hills in darkness,
Stumbling in cut-glass goblets, lacquered cups,
And other products of his dreamy midden
Penciled with light and guarded by the flies.
For there are flies, of course. A dynamo
Composed, by thousands, of our ancient black
Retainers, hums here day and night, steady
As someone telling beads, the hum becoming
A high whine at any disturbance; then,
Settled again, they shine under the sun
Like oil-drops, or are invisible as night,
By night.
All this continually smoulders,
Crackles, and smokes with mostly invisible fires
Which, working deep, rarely flash out and flare,
And never finish. Nothing finishes;
The flies, feeling the heat, keep on the move.
Among the flies, the purefying fires,
The hunters by night, acquainted with the art
Of our necessities, and the new deposits
That each day wastes with treasure, you may say
There should be ratios. You may sum up
The results, if you want results. But I will add
That wild birds, drawn to the carrion and flies,
Assemble in some numbers here, their wings
Shining with light, their flight enviably free,
Their music marvelous, though sad, and strange.
Howard Nemerov, a beloved gateway drug, born one hundred years ago today, February 29, 1920
THE CONSENT
Howard Nemerov
Late in November, on a single night
Not even near to freezing, the ginkgo trees
That stand along the walk drop all their leaves
In one consent, and neither to rain nor to wind
But as though to time alone: the golden and green
Leaves litter the lawn today, that yesterday
Had spread aloft their fluttering fans of light.
What signal from the stars? What senses took it in?
What in those wooden motives so decided
To strike their leaves, to down their leaves,
Rebellion or surrender? and if this
Can happen thus, what race shall be exempt?
What use to learn the lessons taught by time,
If a star at any time may tell us: Now.
