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                    <text>Footnoting Toynbee

Doubting the motives of his visitors,
The one good man in Sodom bars his doors.
Dwellers in sand who mocked at Noah's Ark
Contend now with the life forms that embark.
Not everyone who hears "Beware the Ides"
Ignores it. Many a John Doe runs and hides.
Celestials confronted with the hordes
Of Mongols trust to walls instead of swords.
Challenge, response. The Chinese peasants' work
Might well have dammed the Flood, a grounded Ark
Be Trojan Horse of some great Gobi khan.
Los Alamos replaces Cio-Cio-San
If one thinks 'Nagasaki'. In a pang
Of conscience for his second biggest bang
Quoting the Gitas--arrogance or pity?-Oppenheimer's challenge still is Kitty.

�</text>
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                    <text>Flying South Again
1987
The 747 fishtails endlessly
Across the Trade Winds; in the smoking section, numb
With sideswipe, after thirteen hours we all agree
Namibia itself will seem a condolence.
“Ontbyt?” the steward says. And as the sun comes up,
The Namib, in the colors of a flattened pearl,
Sorts out its fogs and dunes. The iridescent flats
Give way to golden morning on the Kalahari;
Fawn, the River Vaal appears. Then, neither white
Nor watered--center, not an edge--the all concrete
Witwatersrand. Below the left wing as we bank,
Enormous in its greedy sprawl, Johannesburg
Maps out the diggings of its gold. If on the ground
One still can be deceived, the townships from the air
Are too encompassing. But does Soweto fly?
Jan Smuts is any airport. Customs are not worse
Than elsewhere, nor security. The block of flats
I used to live in is a rainbow co-op, now
Legit? And at the entrance, somewhat heavier,
And with a broader range of huge cut flowers to sell,
The Tamil woman in her sari still is there.
I notice, as she gathers up the last unsold,
A new Mercedes Diesel comes to pick her up.

�</text>
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                    <text>Fishers of Men
Around the Gulf of Mexico--Campeche, Vera Cruz,
South Padre--it is Hemingway hotels that one should choose.
Hotels, that is, where deep sea fishing types predominate,
Who will be out at sea in chartered boats all day, a state
Of grace for who remain on shore, as we shall have the bar,
The pool, the poolside luncheon to ourselves, and the guitar
Quartet will spare us La Paloma, finding us too few
For so much effort. Nothing if not willing to let you
Be Hemingway, the waterfront photographer has scales
Of metric length and weight, so in his photos numerals
Will, being higher, more impress the good old boys back home.
In blazing lack of color, blinding as off polished chrome,
The sun goes down. The Papa clones return; the crew string up
Their catch to photograph. Too tired and too sunburned to sup
Tonight, tomorrow they'll be belting margaritas down
And seeking metric system taxidermists in the town.
.
Above the Gulf the moon is neither chrome nor polished. Pearl,
If you must have it, shadowed from inside. And, skirts atwirl,
Come ladies of the evening to the torchlit terrace tile.
Hooking implies too narrow focus. Wide net is their style.

�</text>
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                    <text>The First Fabulous Four
Above Antigua in a cloudless sky
The mute volcano Agua lifts its peace,
Its look of flooded terraces for rice
Without the fact of either. Passion vines,
Small holdings--squatters’--thick with maize (a land
Reform in place at forty-five degrees).
On red horizons farther, thunder loud
As other thunders, lightning shaft for shaft
And cloud created darkly of itself,
The live volcano Fuego burns in storm.
Distrust peace. Agua is the killer. How?
In centuries of dormancy, a lake
Formed in the crater; rains and hurricane
Collapsed the crater wall. It was a cold
Fast-forward of a lava flow, a bit
Pompeii and a bit Atlantis, end
Of world and falling sky, as if reversal
Showed the elements for what they are.
They are a broad continuum of death,
And each can call another to its aid.
The gravity of Earth arms all the air;
Add fire to water to corrupt a tribe.
When God created Man out of the clay
He gave him allies: arson, whisky, flight…

�</text>
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                    <text>Faustus
Opera cape and top hat, false sword-cane,
The Evil One does not attain his full
Stature until the nineteenth century.
A handsome presence on the boulevards,
Upstaging actors in the theatres,
A textile baron in the center box,
Or Grand Duke in the chambre separee.
The Walloon owner of condemned coal mines;
The Flemish syndicalist whose blind eye
Is always turned; the Randlord on Park Lane;
Proconsul home from Cairo; Rajah weighed
In diamonds untouchables have mined;
Untouchables who traffic in child brides;
And, scrivening away in reading rooms,
A less than suave Karl Marx, Mephisto quick
To offer scrip for our immortal souls.
Box office, Hell Mouth, trapdoor in the stage
Admit invisibly the Devil we,
Or Devil we would be had not our own
Decades their figures of the boulevards:
The rapper, dealer, tenured Maoist.
Red tights are where you find them, cloven hooves
In brand name sandals, horns on botox foreheads.
Met on the street one cannot say to Him
"Get thee behind me;" Rosa Parks might hear.

�</text>
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                    <text>Fashions of 1903
Except that, finally, it flew,
The Wright machine, at this late date,
Looks just as fanciful, as frail,
As sketches out of Verne's notebooks,
Or Leonardo's. One would say
The ancient Chinese airscrew toys,
Patents of down East village cranks,
Ambitious steamer-glider schemes,
Professor Langley's "aerodromes,"
As projects are more plausible.
To pilot this construct or that,
No choice comes readily to mind.
Da Vinci's nude spreadeagled man?
In period, at least. A type
Of Richard Harding Davis, say,
To man the full scale aerodrome?
(Its own mechanic was in fact
At such controls as Langley put).
At throttle on the glider-steamer
Casey Jones, brave engineer?
The coin is tossed and Orville flies-An anticlimax, insofar
As archetyping is concerned.
Nothing of new archangel there,
As surely man's first flight should hint.
Nor is the modest plane itself
A vehicle of Lucifer.
The narrow struts and linen wings
Somehow suggest arts Japanese:
The piecing of the minimal,
As in the later Wilbur, scarf
And helmet, goggles, stiff-necked pride
A bit of Kamikaze shows:
Divine Wind as a coming mode
In flight's long history of styles.

�</text>
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                    <text>Farewell to Hillbrow
I'll not go back, but if I did
The air would prickle as it did,
The settling dust still gleam. At four
Storms gather as they did before;
In rain along the Main Reef Road
The steep mine tailings stream, erode;
Erratic as a board game grid
Flats brighten as the power grid
Comes back. Outside the Rand Club, queue
The Rolls and Jags; miscue and cue
In pubs the not quite homeward bound,
Do still the dart board sharks abound?
Soot falling on the wet asphalt;
Brit lawns precise and to a fault.
The townships glimpsed as through a pass;
Gold price to chalk the years that pass.

�</text>
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                    <text>Fantasia on Dummy Keys
The sound of a harpsichord reminds me
Of skeletons copulating.
--Sir Thomas Beecham

The practice keyboard teaches only fingering.
Interpretation is beyond it. Lacking sound,
It will forgive wrong notes, not know an exercise
From Bach, if there indeed is some distinction. Mute,
It is the ideal medium for twelve-tone works,
If not the Chopin repertoire. Without response,
How judge of touch? Too firm? Too light? One must assume
Seducers learn and necrophiliacs do not
Else why do spinet’s key and quill go at it so?
Is Czerny a perversion? And if harpsichords
Seem musical cadavers, are the fringe who play
“Authentic instruments” grave robbers? They, in proof
Of scholarship as folly, preach that out-of-tune
Is what is called for. Vocal exercises--scales-Employ an instrument whose authenticity
No one can doubt. A vocalise may have no words,
But is expression in a way dexterity,
Viewed, cannot ever be, although Franz Liszt might say
"My fingering could surely semaphore the deaf,
Who at recitals should be charged full ticket price."
To speak of heartstrings being plucked is retrograde,
As to both time and mechanism. Live hearts hammer.

�</text>
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                    <text>Eye for Eye
In granny glasses and a cotton dhoti,
As phony as the novelist Capote,
Mohandas Gandhi, worldwide Hindu icon,
Is also anvil for Islam to strike on.
Non-violence is to the Sons of Mecca
As valentines to priests of the Azteca.
Not that there is no blood to be detected
On the Mahatma's hands. An unelected
Vague Pontius Pilate who by indecision
Brought on the massacres of the partition.
His hunger strikes? He cheated; gnawed on crackers,
Drank orange juice, embarrassing his backers.
Unhelpful in the war Japan was winning,
To drive out Lancashire he went on spinning.
He thought to deal with jute without the jute mill.
He made the Press his Britain-is-a brute mill.
And when at last he was assassinated,
Was he or Hammurabi vindicated?

�</text>
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        <name>Particulars_of_Hell\Misc_Some_used</name>
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                    <text>Extremes of the Golden Mean,
or,
Crumbs from the Periodic Table
Financial pages and the Internet announce
That gold is seven hundred thirty five an ounce.
As gnomes in Zurich contemplate their balance sheets
No doubt Johannesburg is dancing in the streets.
The relic barbarous is rising once again
To hint it's paper currencies we should disdain.
Beyond us beckons Coronado's" Golden Man":
His El Dorado: person now a place, a span
From myth to myth, as are exchange rates. In or out
Of favor, fillings in a tooth or last redoubt
Of classic capital--force, measure, ornament,
How wise we are to worship it! Not to invent-Serve--any plastic Mammon. Au is itself
Its alchemy, its rite. Inflation's stolen pelf
May be in time a theft outwitted by Fort Knox.
Dig up, rebury... Hedge funds, markets on the rocks
Resort to Krugerrands, gold futures forge ahead?
To wreck the relic, Keynes, transmute the gold to lead..
Of course, the opposite would have the same result.
If value is the rarity, the lack is glut.

�</text>
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                <text>Is part of the Turner Cassity papers, 1948-2009 [http://pid.emory.edu/ark:/25593/8z3tt].</text>
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