Zukofsky’s Texts
For
an overview of the state of LZ’s texts, see Mark Scroggins’ “Note on Texts” in Louis Zukofsky and the Poetry of Knowledge
(1998). Below is an incomplete list of errata that have been recorded so far,
followed by a list of textual
variants for “A” 1-8.
“A”
Errata
designated (CZ) were reported by Celia Zukofsky in Paideuma 8.3 (Winter 1979): 585.
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1.3.27
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were [should be] are (CZ)
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1.5.25
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lamposts [should be] lampposts (Scroggins)
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6.25.8
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soldiers!” [should be] soldiers!’
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6.36.19
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they [should be] thy (CZ)
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7.40.19
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fellow [should be] follow (?)
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7.42.13
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Bother [should be] “Bother
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8.75.7
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Make [should be] Made
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8.88.27
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hat [should be] hath (CZ)
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8.93.9
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Jenny [should be] Johnny
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8.94.14
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illusions..” [should be] illusions . . “
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8.103.24
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Molinare [should be] Molinaro
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8.104.26
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shard [should be] shards
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12.138.20
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I [should be] it (CZ)
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12.164.28
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“Plato and…” [should be] “Plato” went first and then
“Aristotle.” (CZ)
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12.167.31
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check [should be] cheek
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12.171.4
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Is is [should be] Is it
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12.171.21
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widsom [should be] wisdom
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12.172.31
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be [should be] he
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12.191.10
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inalnd
[should be] inland
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12.214.30
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fact” [should be] “fact”
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12.251.28
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Is is [should be] It is or
Is it (?)
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12.261.17
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his and [should be] and his (CZ)
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13.277.7
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flourescents [should be] fluorescents (CZ)
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14.357.13
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them [should be] thim (?)
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21.446.11
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(broken type) [should be] festers (CZ)
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21.456.8
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(broken type) [should be] traction (CZ)
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22.508.20
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grammer [should be] grammar
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22.510.19
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every yet [should be] ever yet (Leggott)
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23.555.36
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desért [should be] desert (CZ)
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Collected
Shorter Poems
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Anew 15
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85.1
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Not [should be] No
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Bottom: on Shakespeare
There
are quite a few instances throughout Bottom
where quotation marks are missing at one end or the other of a quotation, but I
have not attempted to identify these.
50 3.1444 [should be] 3.144
289 Henry VI [should be] Henry V
399 T.
& C.,III,iii,22 [should be] T.
& C.,III,iii,221 (Leggott)
424 ‘thoughts’ no ‘subjects’ [should be]
‘thoughts’ on ‘subjects’ (?)
443 τουτο δέ
πρός έυα: [should be] τοϋτο δέ πρός ένα:
Textual Variants in “A”
LZ carefully revised most
of the pre-World War II movements of “A”,
specially “A” 1-6 and -8, subsequent
to their original printings. In later movements, LZ seems to have done little
more than correct printing errors between journal and book publications,
although this has yet to be systematically verified. “A” 1-6 were revised in the summer of 1942, while “A”-8 was less
extensively revised in Oct. 1957 as LZ prepared the text for the publication of
“A” 1-12 (1959).
Characteristically, LZ’s
revisions are largely a matter of cutting and concision, sometimes
rearrangement, but only rarely rewording, much less adding to the earlier text.
Particularly in “A” 1-7, which was
published complete in An “Objectivists”
Anthology (1932), LZ went meticulously through the earlier text, making
numerous changes on the level of punctuation and lineation, as well as cutting
a number of substantial passages. In the case of “A”-4, he rearranged the
collaging of the segments in the majority of the movement. Nevertheless, on the
whole these revisions are in the nature of tightening the poetic text rather
than a significant rethinking of the poetic presentation. It is noticeable that
he tends to delete the more personal details in the early movements, as well as
toning down the more explicit references to the Soviet Union, the Communist
Party and its discourse in “A”-8, although it is equally evident that he makes
no effort to downplay the Marxism and Leninism of the original version.
Interestingly, some of the deletions in “A”
1-6 and even a few in “A”-8 cut out repetitions that were originally intended
to imagistically and thematically bind together the sequence, but subsequent
developments appear to have encouraged LZ to conceive of the movements as
relatively autonomous, although the idea of the poem recycling itself recurs
intermittently.
The textual variants listed
below compare the text of the final edition of “A” (1978) with that of a “corrected” text of “A” 1-7 as they appear in An
“Objectivists” Anthology (OA),
with page and line numbers referring to the former. OA included an Errata sheet noting 22 misprints in the “A” texts, so I have incorporated these
as the correct versions of the OA
text, but noted all such instances as OA
Errata. For “A”-8 the comparative text is that published in New Directions 1938. Other early
printings of individual movements that have been examined are listed at the
head of each movement (see Printings of “A” for full listing) and are
assumed to follow the OA text, unless
otherwise noted. As far as I can tell, LZ did not significantly revise “A”-10,
but at present I do not have access to the original printing in Calendar: An Anthology of 1941. The OA printing was done in France and
reflects European punctuation conventions in putting spaces before colons,
semicolons, question and exclamation marks, as well as putting punctuation
outside quotation marks (although not entirely consistent on this score); this
has been standardized to American practice below. Except in obvious cases, no
effort has been made to determine which line breaks are due simply to
insufficient right margin since it is extremely difficult to second guess LZ’s
practice in such cases, or what might be due to the decisions by the
compositor.
All material that appears
below is copyright © Paul Zukofsky, is used by permission, and may not be
quoted by third parties without the express written permission of the copyright
holder.
“A”-1
An “Objectivists” Anthology, ed. LZ.
Le Beausset, France and NY: To, Publishers, 1932.
Pagany 3.3 (Summer 1932).
Title In
OA the first six movements are presented in pairs with titles: First and
Second Movements: "Come, ye Daughters"
1.2 Round
of fiddles] justified left; Pagany
printing as in final text.
1.2 Bach.]
Bach— / The double chorus.
1.3 Come, ye daughters,] “Come, ye daughters, [throughout italicized lines from the
libretto of Bach’s St. Matthew Passion are also in quotations marks].
1.4 dresses,]
dresses
1.5 Whom?] whom?—” [Pagany printing:
Whom?—”].
1.7 How?] How?—”
1.8 His
legs blue, tendons bleeding,] His legs, blue tendons bleeding, / Tinsel
over his ribs
1.9 holy!] holy—”
1.10 Black
full dress of the audience.] Black, black full dress in the audience—
1.11 Dead
century, where are your motley] Dead century where is your motley,
1.13 Easter]
indented.
1.14 Matronly
flounces, starched, heaving,] Matronly flounces, / —starched, heaving, /
Belly freighted—boom!
1.16 Where’s]
where’s
1.17 “Ah,
there’s the Kapellmeister / in a terrible hurry—] “Ach, dort eilt sich der
Keppellmeister—”
1.19 Johann
Sebastian, twenty-two / children!”] “Johann Sebastian! (twenty-two /
children!)”.
1.21 The
Passion According to Matthew,] According to Matthew,
1.23 Rendered
at Carnegie Hall, / Nineteen twenty-eight, / Thursday evening, the fifth of
April. / The autos parked, honking.]
Repeated
here at Carnegie,
That was Thursday, ‘twenty-eight, the fifth evening
of April,
April, and autos honking outside,
all those
that were parked there.
2.1 A
German lady there said: / (Heart turned
to Thee) / “I, too, was born in Arcadia.”] (“Hearts turned to thee”) / German lady / Auch ich war in Arkadien
geboren. [Pagany printing has no stanza
break following].
2.7 “Not
that exit, Sir!”] “No suh! / Not past that exit, Zukofsky!” / “Agh,
Satan! Agh—gh!”
2.8 molting,]
gradual molting, [separate line].
2.9 As
tho blood stained] Blood staining
2.11 “Not
that exit!” / “Devil! Which?”—] “Not past that exit, Zukofsky!” / “Devil!
what!—?”
2.13 Blood
and desire to graft what you desire, / But no heart left for boys’ voices. /
Desire longing for perfection.]
“Blood of your desire to graft what you desire,
Consider the Angels who sang in the boys’ choir
God’s cherubs,
If seen near the ocean, stripped white skins, red
coat of the sunburn,—
They have mothers.”
“No, Satan, not heart that bled
Over boys’ voices, nor blood
Flowing for lost sons,—
I have harbored perfection.” [no stanza
break following].
2.16 stars]
the stars
2.17 Spits
across] Spits free across
2.18 the
spittle drowning worlds—] and his spit seems to drown worlds,
2.19 stepped
free] passed free
2.21 The
usher faded thru “Camel” smoke;] Asmodeus fading to “Camel” smoke,
2.22 The
next person seen thru it, / Greasy, solicitous, eyes smiling minutes after, / A
tramp’s face,] Greasy, solicitous, eyes longing minutes after, / Smiling, a
tramp’s face,
2.29 About
me,] But about me,
3.2 High
necks turned for chatter:] Stopping of turned necks for chatter:
3.4 He
admired so our recessional architecture—] It was he who admired so our
recessional / architecture,
3.7 mother?]
mother,
3.9 perused]
had perused
3.10 Patrons
of poetry, business devotees of arts
and letters, / Cornerstones of waste paper,— / “Such lyric weather”— / Chirping
quatrain on quatrain; / And the sonneteers—when I consider / again and over
again— / Immured holluschickies persisting thru polysyllables,]
The immature pants that filled chairs
Patrons of poetry, business temples erected to
arts and letters,
The
cornerstones of waste
paper,
“Such lyric weather!” chirping
Quatrain on quatrain, empty and
The sonneteers when I consider again and over
again
Limp
wet blanket pentameters,
Immured holluschickies, dead honor men
Persisting thru polysyllables,
3.17 accretions;]
accretions,
3.18 “mélange
adultère de tout,”] “mélange adultere de tout”. [Pagany printing has comma].
3.19 Down
East, Middle West, and West coast flaunters / of the Classics and of /
Tradition] The Americanizers of the Classics, / Tradition!
3.22 (A
word to them of great contours)—] (To them word of great contours),
3.23 Who
sang of women raped by horses.] And raping women with horses.
3.25 Lamenting,]
Lamenting contemporaneousness,
3.27 are
again] again
3.29 next
editorial about, Carat,] next, editorial about Carat, [Pagany printing: next editorial about, Carat?].
3.32 It
was also Passover.] And I, / Upon the feast of that Passover, [Pagany printing: And I.].
4.1 The
blood's tide like the music.] The bloods' tide as the music’s [Pagany printing: blood's].
4.2 A
round of fiddles playing / Without effort—] A thousand fiddles as beyond
effort / Playing—playing
4.4 As
into the fields and forgetting to die.] Into fields and forgetting to die,
4.8 effort—]
effort, playing—
4.9 traces,]
traces
4.10 Not
dying, and leaving no traces.] Not dying, yet leaving no traces. / Nor any
conscious effort, [no stanza break
following].
4.11 Not]
Nor
4.11 paper]
paper.
4.12 to
remember—] to remember / (Three there stealing in thru the music / As
pioneers moccasined stealing in thru the music). [OA Errata notes last line
missing from original OA; Pagany printing:
as in corrected OA].
4.13 “There
are] Atheling—“There are
4.16 And
quite differently to be sung";] And
quite differently to be sung:" [Pagany
printing has italics and semicolon].
4.17 “I
heard] Carlos—“I heard
4.18 inside";] inside:" [Pagany
printing has semicolon].
4.19 “Everything
which] Estlang—“Everything which
4.22 wide
awake, calling] the most wide awake / “Weary, broken bodies,” calling [in Pagany printing quoted phrase italicized].
4.23 earth,]
earth [no stanza break following].
4.24 Cold stone above Thy head. / Weary, broken
bodies. / Sleeping: their eyes were full of sleep.]
A thousand fiddles as beyond—
“Cold
stone above thy head—”
Trainmen chanting
And again:
“He
came and found them—
Sleeping, indeed their eyes were
full
of sleep”.
Good night . . .
4.27 The
next day the reverses] So the next day the reverses,
4.28 taunt:]
taunt,
4.30 before
the eyes, perfecting.] before the eyes, perfecting,— [OA Errata corrects: live-forever].
5.1 —I
thought that was finished:] I thought that was finished, Zukofsky,
5.5 looked
for] has been looking for
5.6 cellar—]
cellar. [stanza break following].
5.7 Remembering
love in a taxi:] Remembering what? / Love, in your lap, in a taxi,
unwilling—
5.9 great
numbers] the greatest number
5.9 streets—]
streets,
5.11 employment’;]
employment,’
5.13 Yeh,]
Yeah!
5.15 And]
While
5.15 confrères]
confreres
5.18 Pointing
to a chart, between bites.] To a chart pointing, and between bites.
5.20 engineer,] engineer, [Pagany printing italicized].
5.21 Single
handed,] Single-handed,
5.25 Dogs
cuddling to lampposts, / Maybe broken forged iron,] these lines are placed as independent stanza immediately before 5.19:
Dogs cuddling to lampposts / Lonely—look—what—maybe broken forged iron—. [Pagany printing has no final period or following
stanza break].
5.28 vanished?] no stanza break following [OA
Errata corrects missing question mark].
“A”-2
An “Objectivists” Anthology, ed. LZ.
Le Beausset, France and NY: To, Publishers, 1932.
Poetry 40.1 (April 1932).
6.1 —Clear
music—] The clear music— / Zoo-zoo-kaw-kaw-of-the-sky, [Poetry printing has period].
6.2 calling
you] mentioning
6.3 such
things,] Poetry printing has period.
6.4 Music,]
Old music,
6.7 —Kay,
in the sea / There with you, / Slugs, cuttlefish,]
Damn you, Kay,
What do you, Kay, know about it!
Wherever always we are
Crowds the sea in upon us,
Slivers of slugs from the seaweed,
Tossed cuttlefish shouldering
6.10 Ball
of imperialism, wave games, nations,] Ball of imperialism, / Wave-games of
its stanchions: nations—
6.11 armaments,
drilling,] armaments drilling—
6.12 Old
religions— / Epos:] Churning of old religions, epos,
6.14 One
Greek] Agamemnon
6.14 two
wives] two
6.16 Those
epopt caryatids,] The women, epopt, caryatid,
6.17 world-cornice.]
world- / cornice, / “Please now and thank you,”
6.18 (Agamemnon).
Very much like the sailors. / Lust and lust. Ritornelle.] (Agamemnon), very
much like the sailors, / Lust and lust ritornelle.
6.20 All!
Blue trouser seats—each alike a square inch—] Tutti! the blue square inch
trouser seats
6.21 thru]
Poetry printing: through.
6.22 torus,]
torus
6.24 “Hi,
Ricky!”] Ai-yuh, look at boy Ricky
6.26 The
sea grinds the half-hours,] Grinds the sea of half-hours,
6.27 bells
are heard,] clocks strike,
7.1 half-equestrian,
clatter of waves,] half-equestrian, / Clitter-clatter of wave-forms,
7.2 Fabulous
sea-horses] Sea-horses
7.3 to
break thru the walls / of alleyways:] break the cross-walls of the alleys /
Cross-walls like locks of canal (never end-walls) / rising, replacing, [Poetry printing: alleys; OA Errata corrects: Cross walls].
7.5 Till the moon, one afternoon, / Launches
with sea-whorl, / Opening leaf within leaf floats, green, / On waves:
liveforever. / Hyaline cushions it, sun, / In one’s own head.]
Till of an afternoon
Launches the moon upon sea-whorl; green,
flowering,
opening
leaf within leaf
Floats upon wave-edge ; liveforever,
pearl-clean giant-size,
Green leathery leaf within leathery vision—
sunned, as of sand-gold—
(All imagined)
7.11 As
in Johann Sebastian, / Listen, Kay . . .]
Johann Sebastian . . . old . . . / Listen . . . / Listen, Kay. . . the music is
in the flower,
7.14 ranged
around the center;] wrapped around the center leaf,
7.15 outer
leaf breaking on space,] the outer leaf breaking on space;
7.16 There
is space to step to the central heart:] Bountiful the flower, there is
space to step to the central / heart,
7.17 The
music] Listen—the music
7.18 flower—]
flower, [Poetry printing: flower].
7.19 Liveforever,
everlasting.] (Liveforever, everlasting) [Poetry printing has period].
7.20 other,]
other
7.21 Each
leaf a buttress flung for the other.] The strength of each leaf is a
buttress flung for the other, [no stanza
break following].
7.22 Ankle,
like fetlock, at the center leaf—] I have stepped with haired ankle, / As
with fetlock, to the center leaf,
7.23 Looked
into] I have looked into
7.24 Eyes
drowned in] My eyes have drowned in
7.25 forehead,]
Poetry printing: forehead.
7.26 What
is at my lips,] What is at my lips, have I kissed the flower, / It is green
yet graciously ferruginous,
7.27 bears
rust lightly,] bears the iron-rust lightly, / The flower is the steel
piston at my chest,
7.28 but
the music steeps in the center—] but, hear . . . the music steeps / in the
center—
7.29 over
it.] over it—
7.30 Or
/ I walked on Easter Sunday,] I walked out upon Easter Sunday / As who
should say,
8.2 This
is my face / This is my form.] This is my face, / This is my form,
8.4 I
would write] I would put / you down
8.6 of]
as of
8.10 Wrigleys.]
Poetry printing: “Wrigley’s.”
8.12 ocean;]
ocean.
8.14 Crouched,]
I crouched again,
8.15 The
double chorus singing,] this line
placed with and immediately preceding the last as a separate stanza: And
the double chorus singing,
8.16 Around Thy tomb] this line in quotation marks.
8.17 For
the fun of it, / O Saviour blest]
Just for the fun of it, “O Saviour blest”
“A”-3
An “Objectivists” Anthology, ed. LZ.
Le Beausset, France and NY: To, Publishers, 1932.
Title: In OA:
Third and Fourth Movements: "Out of the voices"
9.1 cool hour] cool hour of rest
9.2 Your
dead mouth] It is your dead mouth
9.3 Ricky,]
Rickey,
9.4 Automobiles
speed / Past the cemetery,] Automobiles speed past the cemetery, / No gage
measures,
9.6 turns.
/ Sleep,] turns, / Sleep
9.10 The
cat, paw brought back] The cat? Paw brought back [OA Errata corrects: back.]
9.12 Puss—.
/ “Who smelt gas?” / “—Would I lie! / “No crossin’ bridges, / Rick’— / No
bridges, / “—God’s gift to woman!” / Out of memory / A little boy, / It’s
rai-ai-nin’, // Ricky, / Coeur de Lion. // Lion-heart, / A horse bridled— /
Trapping rise, / Princelet / Out of history. // Trappings / Rise and surround /
Two dark heads, / Dead, straight foreheads, // The beautiful / Almost sexual //
Brothers.]
Leg, crooked; [OA
Errata corrects: crocked]
Shape: elbow.
“Puss—puss—she doesn’t know
Her seat from her elbow.”
“Who smelt gas?
What, What?”
“Where is the Scotch?” “Would I lie!”
(Spilt—in a bush, a way back
from the running-board).
“No crossin’ bridges, Rick,
No, no bridges, not after midnight!
“God’s-gift-to-’oman! When
’S after midnight
It’s all after midnight once
There’s a midnight,
It’s all a matter of
Determining—
’Stand?!—My boy! Has the
American tragedy in his lap—
Tool’s tarpaulin in
A tool chest,
Only not just
Tarpaulin,
Slicker, something
For seamen (semen)
That’s to say, allow me to
Introduce—“Fishskin!”
How’s the old naval (navel)
Encounter, otherwise
Clean as
Sapolio!”
Out of memory, a little boy—Rain alights:
It’s ai-ai-nin’, Ricky, Coeur de Lion.
What is in a name?
“Lion-heart”, a horse bridled,
Trappings rise and surround
Princelet out of history;
And more trappings, churning,
Rise and surround,
Dark hair, two dark heads,
On white pillows, tall (dead)
Straight foreheads, the beautiful
Almost sexual brothers.
10.16 I,
Arimathaea, / His mirror, / Lights either side—] I, Arimathaea / His
mirror! lights either side, / Lord God!
10.19 Go, / Beg His corpse] “Go, my soul / Beg you His corpse!” [placed before the preceding stanza beginning:
I, Arimathaea…].
10.21 —Wish
I had been broken!] Wish I / The Glass had been broken!
10.23 We
will not motor.]
We will not motor:
So’s your old—!
Your precursor who was,
Brought up in court,
He pays the speed-fine.
10.24 Dead
mouth] this entire last segment to
the end is indented.
11.4 Not
yours— / A broken stanchion.] Mes parents,— / Stanchion broken // Not
yours—’
11.6 Of
leaves,] ( As / of leaves)
11.8 Pansy
over the heart, dicky-bird.’] Pansy-over-the-heart, ricky-bird—
“A”-4
An “Objectivists” Anthology, ed. LZ.
Le Beausset, France and NY: To, Publishers, 1932.
12.1 The
opening lyric (12.1-12) has been entirely reworked from the OA version:
Carousel,
Giant sparkler, boats,
(Carousel) lights of the river,
(Horses turning)
tide turning,
Lights that matter,
Lights of the pier below
From the hill-lights,
Lights of lamps off the tree-green
Lamposts from level of a light
In a truck pulled (song)
Lanterns swinging from horses,
Horses’ sides gleaming lights
From levels of water
12.13 home]
home,
12.16 The
Last Supper light] Last Supper Lights
12.17 Our
beards’] Are our beards’
12.19 us,]
us.
12.22 We
prayed,] We have prayed, [preceded by
stanza break].
13.10 Fierce
Ark!...] LZ extensively rearranged
the rest of this movement, as well as cutting a substantial section. The
following indicates the order of passages and lines as in OA, with textual
variants indicated separately; page and line numbers as in the final text. OA Errata corrects the misplacement of lines
13.4-9, which should be as in final text:
Dead loved stone of our Temple walls [to] They assailed us— (13.13-13.22)
Fierce Ark! [to] (Red hair in intaglio) (13.10-12)
Religious, snarling monsters [to] — In the dark run towards me / Shimaunu-Sān ,
my clear star (13.23-14.11)
All turtle-doves have pledged [to] —
Yehoash. (14.12-18)
[Deleted section:]
Were he alive to forgive
Misuse of his “jargon”.
Misrepresented (also) in an Anthology of—
Of the time,
By a translation;
Surely not for lack of a
postage-stamp— [OA
Errata corrects terminal hyphen]
The story runs—‘Even his
trousers, even
his trousers,
They,
too left him’—
The Editor.
Perhaps he might repeat:
“I shall skip a pale and
Subtle poet who was not in fact
Lazy, but the meaning of whose
Painfully inarticulate soul forbids
Me to use him for any purpose, however,
Respectful.”—The Editor, (in a journal,—
Associations: we had a menorah, and
It is, indeed, an honor to be circumcised)
June 1927
“And to the Sun, I bow [to] Flames in last redness, allow me of your / light—“
(14.24-15.5)
“Yehoash”: (15.10)
Song’s kinship [to] “Deep roots hammer lower” (14.19-23)
“I will gather a chain [to] Never a memory remain” (15.25-16.2)
For the story of it:
My father’s precursors [to] “Treasures turned to sand” (15.6-9)
“My petted birds are dead.” (15.24)
The courses we tide from [to] Song drifts from the noises (15.11-23)
[Notes: In the deleted passage, “an Anthology of—“ refers to An Anthology
of World Poetry, edited by Mark Van Doren (1928), which in the Hebrew
poetry section includes one translation or imitation from the Japanese by Yehoash
translated from the Yiddish by Marie Syrkin, the future wife of Charles
Reznikoff. “The Editor” also refers to Van Doren, who published an article,
“Jewish Students I Have Known,” in The
Menorah Journal (June 1927), in which he refers to Zukofsky in the passage
quoted.]
13.8 lightened]
lightened,
13.11 stomach]
stomach—
13.12 (Red
hair in intaglio)] Red hair in intaglio—
13.13 loves
stones] loved stone
13.14 tessellation,]
tesselation,
13.17 Hear—
/ He calleth for Elias— / A
clavicembalo!] “He calleth for Elias”
/ (Clavicembalo!)
13.20 Deafen
us, God, deafen us to their music,] God, deafen us to their music
13.21 to
the ostracized, / They assail us—] to the / ostracized / They have mouthed:
13.23 ‘Religious,
snarling monsters’—] Religious, snarling monsters
13.24 And
have mouthed a jargon:] Our own children have created a jargon:
13.25 blows,
light, on quiet water] blows light upon quiet water,
13.26 travel]
travel,
14.2 in
the dawn,] at the dawning,
14.9 blossoms,]
blossom,
14.10 towards
me] towards me—
14.12 All
turtle-doves have pledged] Pledged have all turtle-doves
14.18 — Yehoash. / Song’s kindship,]
“Yehoash”: song’s kinship,
14.20 strike.]
strike
14.24 “And
to the Sun, I bow. / On the gray mountains,] “And to the Sun! I bow. / On
the gray / Mountains when you lie
14.27 crags,]
crags
15.1 Bestower—
/ Of man and tree and sand,] Bestower of man and tree and sand, [no stanza break following].
15.5 light—”]
light”
15.6 My
father’s precursors] For the story of it: / My father’s precursors
15.7 dinghies,
chanted the Speech.] dingheys, chanted the Speech,
15.10 Yehoash,— / The courses we tide from.]
The courses we tide from— [no stanza
break following].
15.14 Wechmar,]
Vechmar,
15.22 A
carousel—Flour runs.] Carousel—flour runs—
“A”-5
An “Objectivists” Anthology, ed. LZ.
Le Beausset, France and NY: To, Publishers, 1932.
Title In OA: Fifth and Sixth Movements: “And
I:”
17.1 night.]
(night).
17.2 Leaves,
autumn.] In one hand, a leaf / So that after a time / all’s autumn.
17.3 thread
the middle.] Thread: idle down the brown leaf.
17.4 A
cigarette, / Leaf-edge, burning / obliquely urban, / the branches of trees air
/ comfort.] heavily reworked and a
substantial section cut as follows:
In the next hand, a cigarette.
Approach brown leaf-edge with burning
Above which will be printed (as above ashes)
in autumn brown
Horizontal lettering
Held vertically
Held—held obliquely—
The city’s university rise
trees’ branches space—
airing out—
DUNHILL
Comfort.
And palestra: Youths—
A wheel—women, trainmen—a wheel,
Felly, marble-blue, chisel-wedge, iron spoke,
Miner’s legs,
Mill-oatmeal (that is how
Music first came into our family),
Ricky Coeur de Lion, carousel horse;
17.9 Kay:
The heart has the imagination, / In case of emergency follow the next lunatic.]
Kay: Flowers over the heart, / Offal (I’m kiddin’ sure) / Offal-and-What, the
imagination, / In case of emergency follow the / next lunatic.
17.11 I:
Ask Faust, the reason we’re not further along— / Go-ethe, alias MacFadden— /
He-er vent Hel-ee-na squat from our sidewalks. // One’s thought]
The reason we’re not further along (But this is a swell sun,
brother
comrade,)
Ask Faust aquaplaning, Go-ethe, his spiritual (whew)!
MacFadden,
(Hu!) he-er vent Hel-ee-na squat from our Sidewalks,
(Ritornelle)
Ye
Daughters:
Pledged turtle doves, (Yehoash) ripped up
Pebble-stones of our tesselation,
Liveforever! flower in flower heart;
Design [stanza
break following].
17.17 Our
voices:] Two voices:
17.19 The courses] the courses
17.20 “Let
it go at that, they are a light matter.”] OA Errata corrects missing line.
18.2 One
song / Of many voices:] And I: / I shall continue one song / Tho’ its sound
go two ways, / My two voices [no stanza
break following].
18.5 (Plaint, clavicembalo)—] (Plaint Clavicembalo)—
18.8 knees] knees,
18.10 (New York, tonight,] (Yet, N.Y. tonight,
18.11 trefoil);] trefoil;
18.16 grave-turf);] grave-turf;
18.20 And
leaves blowing] And day, leaves blowing
18.21 For I
have seen self-taunt / tracked down in the mirror, / And besides it, asleep,
the face open, / Edges of no one like it: Everlasting. / And one afternoon: a
field, / Two windows spacing a wall, / A heavy bulk move back of / the windows—
/ A field behind brick wall, painted / with gigantic green elves, Wrigleys in /
rubric— / “Eveline! Eveline!” —Madam, / As against the Fine Arts’ Dogma / The
sad clothes line, or / Your laundered conception / of the B.V.D.]
For
I have seen it, I, writhed, self-taunt
tracked itself down in the mirror,
And
then, Sleep, yet the face open,
the Flower, sea of Waves Shut, clam,
looking [OA Errata corrects: locking]
Outward
The
edges of no one like it looking; everlasting;
Of an afternoon. Surrounding: a field, two fields,
Two windows breaking a wall,
A wall spacing two windows,
A heavy bulk which is she
moving back from the windows,
A field, and near left, gigantic in rubric,
green elves, Wrigleys in rubric;
“Eveline! Eveline!”
The bulk which is she moves and moves back
from a window
Immaculata concepcione B. V. M. the Fine Arts’ dogma
Pope Pius IX,
(Sad clothes line)
But, Madam, your laundered conception
of
the B. V. D.!
19.10 That day, / And the Jews eating unleavened bread;] (That Day the
Jews eating not-leavened bread)
19.12 Ramshackle
field-weed:—] And behind ramshackle / Hid (chest to chest ; Horse) /
Field-weed,
19.13 “—Lie
down / I’ll marry you!”] Lie down you, I’ll marry you!
19.15 The answer: / Do you think we are
sailors?] (Said:) // Do you think we are sailors? [no stanza break following].
19.19 birds,]
birds.
19.21 tormented
red, / (No glasses between eyes and bark) / Face to bark.] plein de rouges
tourmentes— / Rimbaud (no glasses stopping form bark touch); / Forehead to
bark, face to bark: [no stanza break
following].
19.24 The
answer: // Under sky / The winds breathe in the fields. / Standing there chest
to chest,] Under sky clarities / Winds’ intercourse with the fields, /
Breath, love hardly over, trembling.
20.1 One
horse / Walked off,] Walking out:
20.3 sunlight]
sunlight,
“A”-6
An “Objectivists” Anthology, ed. LZ.
Le Beausset, France and NY: To, Publishers, 1932.
21.1 Environs,
the seas of —,] Violets’ swath,
field weed around ramshackle, / Environs, always the sea of — [OA Errata corrects: Violet’s]
21.3 The
small note with or without a stroke across the stem;] The note’s stem
itself crossed (or uncrossed); [no stanza
break following].
21.4 Beata
Virgo Maria, when sunlight / Runs over Mrs. Green,] Blessed, O B. V. M.,
when upon Mrs. Green / Sunlight runs over,
21.7 daughter:
“Eveline!”] daughter Eveline
21.9 song,]
song
21.10 hoiden]
hoyden
21.12 And
those] Those
21.12 completion
in a / voice, their own voice sounding] completion, in a voice, their / own
voice sounding—
21.14 Melody,
sequence] Melody, sequence, concepcione, melody,
21.15 you
would be;] you would be,
21.19 blood] blood—
21.20 And the measures (travel outward)] It is that the measures travel
outward,
21.22 comes]
which comes
21.23 people,]
people—
21.24 common
level,] common / level [stanza break
following].
22.1 Each,
at best, obbligato to the other,] Each at his best obligato of the other;
22.2 Everyone
tired] Tiredness
22.2 differences,]
differences;
22.3 Crosses
or uncrossed,] Crossed, (or uncrossed),
22.4 Practicing
word sleight—] Saying, a play of word sleight:
22.5 ‘The
sea of necessity, yes,] Yes, the sea of necessity, yes,
22.6 his]
his balls
22.7 lightning
rod,] lightning rod—
22.8 ask
me where’—] ask me where— / Ball of imperialism, out of / the wave-games /
nations— //
22.11 But
who would say—] As who should say—
22.13 Fathers,
wherever they put their hats,] Fathers (wherever they put their Hats)
22.14 Spiralled
with tessellation] Spiralled, tesselation
22.20 music]
music:
22.21 (Fate—fate—fate—void unable to write / a melody—]
Void—fate—fate—fate but unable to write a melody,
22.23 Ludwig
and Goethe] Ludwig Van and Go-ethe
22.24 Forms
only in snatches, / Words rangeless, melody forced by writing,] Words
rangeless, forms only in snatches, / Melody stopped by dramatic writing,
22.25 past
each other)—] past each other:— [no
stanza break following].
23.6 center
leaf,] center leaf
23.7 the
sea,] the sea
23.8 The
ears, doors;] The ears—doors
23.9 The
words—] The words—shutting themselves visibly—
23.17 The
song—omits? / No, includes Kay, Anybody. / Ricky’s romance / Of twenty-three
years, in / Detail, continues]
The song out of the voices,
Together! Come ye daughters,
Bring the music!
Environs, (Ricky) the great Magnus
Has married earth’s daughters;
Captain of industry his pit is their sea.
(One)
Two) Kay: Anybody, but a particular Anybody.
His environs? (it’s a joke, Ricky,) but in eternity
he marries the flower,
Or following a real fiction his attitude towards the flower
exercises influence
Three) Your romance, Ricky
In twenty-three years, (environs) in
Detail continue, [no stanza break
following].
23.22 He—a—pyjamas
off—] Nordic boy—pyjamas off—
23.24 ta-ta,]
ta-ta
23.26 “I
beg your pardon] no stanza break following.
23.27 I’ve
a— “h” begins the rhyme here,] I’ve a h begins rhyme here,
24.4 The
sailors in the carousel / looking for a place to bury—Ricky; / Seaweed, fellow
voters, and / spewn civic sidewalks.]
Four) Where
the sailors—carousel,
looking for a place to
bury—Ricky:
For the story of it, I,
my father’s precursors,
Veit B. while the mill
was grinding
Slew,
slugs from the sea-weed,
Yeh—this’s
the slew,
Here,
Fellow Voters, in the sea
The
artificiality of your economic extinctions
expose
spewn—civic sidewalks
24.9 Thus
one modernizes / His lute,] Five) / One’s got to modernize / His lute
24.11 Not
in] Not by
24.11 another;]
another,
24.12 Words]
Our words
24.14 Flute—]
Flute,
24.15 Tho
his melody] (Tho’ his melody
24.15 century—]
century,
24.16 And,]
Tho’
24.17 dullness—]
dullness)
24.17 But
when we push up the daisies, / The melody! The rest is accessory:]
Is one identified—
a
hundred years?
Thus outline we our matter,
These movements 1, 2, 3, 4, 5,
Sour
taste,
Sailors, we, pushing up the daisies,
Sea,
Obligato,
the melody, obligato,
The
melody, the rest are accessory,—
Kay,
but Anybody (caps) a particular,
Suspension,
24.20 My
one voice. My other: is] Says you! my one voice; my other—is
24.22 nature
as creator] naturans
24.23 perfect]
perfect,
24.26 a
particular,] his life, a particular,
24.28 And
that other century / Mentioned thru trains’ run over trestle / one Easter
Sunday:] Kay, a particular, / Ludwig Van and Go-ethe / Of one century— [this second line placed below; see OZ text
at 25.7].
25.2 filled
a barrel with] fills a barrel of
25.3 And
sent it to Italy. The Great Boot / Filled a barrel with— / Its’ hard to
say—parts—the men of parts]
And sends it to Italy (observed from the Alps by
Go-ethe),
The Great Boot fills a barrel with parts,
The men of parts, grant that they were that,— [OA Errata corrects: grand]
(Ahi
quanto a dir) ah, how hard it is to say—
25.6 barrel]
barrel,
25.7 And
sent it to Napoleon— / Stressing, ‘This is what we did to your soldiers![’]
] And sends it to Napoleon—“This / Is what we did to your soldiers”— / (Heard
with trains’ run over trestle / one Easter Sunday)
25.9 And
that’s history, contention, / A cheeseless mousetrap. Fills up spaced paper.”]
“That’s history”—fills up spaced paper / and contention— / “A cheeseless
mousetrap, that’s history”—
25.11 kind
of particular.] kind of particular—you said it!
25.12 We
are] But we are
25.13 to be
unemployed,” says / Henry.] to be unemployed.”
25.19 needs
it.] OA Errata corrects terminal
quotation mark.
25.24 If
goods don’t sell, / It’s because they’re no good] If goods don’t sell,”
says Henry, / “It’s because they’re no good [OA Errata corrects misplaced quotation marks].
25.27 (Disposed
of: the short change of labor.)] Disposed of: the short change of labor.
25.28 labor,]
Labor,
25.30 anything,”]
anything
25.31 Says
Henry,] placed after the next line in
OA; see next.
25.32 “Than
there are who don’t know what to do, / I am in the business] Than there are
who don’t know what to do.” / Says Henry, / “I am in the business
26.13 Ricky!—]
Ricky!
26.14 rise
on the heights,] have risen in heights,
26.15 Turrets
with windows delight] All turrets with windows delight,
26.16 garnered]
are garnered
26.21 spring,]
spring season,
26.22 a new
coat / He loses his job—] a new coat, (he loses his job)—
26.26 “That’s poetry, he was told.] “That’s
poetry”, he was corrected.
26.27 isn’t
it,” said Henry,] isn’t it,” / said Henry,
26.30 say
anything.”] say anything,” / says Henry. [no stanza break following].
27.7 moves—]
moves,
27.8 A
line,] Lines,
27.9 “When
you’re phosphates, / They’ll look you up and discover— / J. S. B. was a Latin
instructor— / Some individual your were!”, / Croaked Mr. Anybody.] OA Errata notes there should be stanza break
before the following:
Laughter. Kay, naked,
Pyjamas flung thru the crook of his elbow:
Zoo-kaw-kaw-someone opens his mouth and you copy,
When you’re phosphates, they’ll look you up and discover
For six yours you was out of a job—
But J.S.B.—Polyphony—’e was a Latin instructor—
Ye daughters!—tiaras, tantrum,
tiaras—or taught ’em
something of that sort or other—
Six jobs, six themes at once and fughatta, and all music—
The sea, yeh, yeh, the sea.
But who are we—
Pshaw, says who,
The unholiest is holy—
But I, says Kay, says Kay,
(Innocent as a kid calling himself by his
praenomen,
Mark an individual)
Pshaw, an aphorism.
All aphorisms dogs cuddling to lamposts;
Sorry, so sorry, for sad people, an author, ditto, soft
minded—
Good night, Anybody!
27.14 Tastes:]
Shift. / Tastes:
27.14 overalls,]
overalls
27.20 To
find a thing, all things.] To find a thing, all things [no stanza break preceding].
27.23 Greeting
myself, despite glasses,] Greeting, myself, Rimbaud / with glasses,
27.24 earth
a rose,] earth spread a rose,
27.25 particle]
particle,
27.26 The
palm open,] The palm of the hand lie open
28.7 see]
see,
28.9 Thee] thee
28.11 a
full wardrobe and, after] one full clothes closet and, when
28.12 here,
entirely to yourself,] here is entirely to yourself
28.13 ’s a
closet] A closet
28.14 The time]
And the time
28.15 By
Mazola,] By Mazola
28.16 The
heyday of revivals of western movies, / After the cowboys] The heyday
revival of western movies / Immediately after the cowboys
28.18 angels,]
angels
28.19 Seriously,]
Seriously:
28.20 The
young lady, remorseful, having brought] The young lady remorseful who had
brought
28.21 by
taking to smoking] by having taken to smoking—
28.22 Wore
the gray stockings again] You know the gray stockings
28.26 Glory of the Seas by Free Wash out of Tan Seamen, / vs. Temper
Awake by Splashed out of Sleep,] Glory of the Seas by Free
Wash out of Tan Seamen, / Temper Awake by Splashed out of Sleep— [OA Errata corrects: wash].
28.28 I’ll
grant you dogs— / But a horse, / That’s an animal!] I’ll grant you dogs, /
But a horse / That’s / an animal.
29.3 —gaging
her speed.] and thus he gaged her speed. [no stanza break following].
29.5 The
time was Arcy Bell:] The time was: Arcy Bell,
29.6 nigger]
nigger.
29.7 Had]
As had
29.7 country
home] country (summer) home
29.8 patch
on which] patch outside on which
29.19 he
‘conveniently did shoot them’ / In the few hours we were not worked / in the
Post Office together,] he conveniently did shoot them / (In the spare hours
when we did not / work in the P.O. together,
29.12 with
his projection of / forehead—] promontory of forehead—
29.14 slight,
plus inherited New England / seafaring suavity—] and inherited New England,
/ slight, / seafaring suavity
29.16 aw-alwls,]
awls
29.17 oi-oi-ly
edge of a feather!] oily edge of a feather . . .
29.18 agin’
the wall!] ’gainst the wall,
29.19 Shoot
high yaller / Agin’ the wall!”] Shoot high yaller ’gainst the wall . . .”)
29.22 And
Eliza Jane, his friend’s wife / who was invited only with her husband, / That
they paired off always / As individual families,] And Eliza Jane (her kids:
“here lies a Jane!”), his friend’s wife / who came only on invitation, / That
they walked only with their hubbies,— / Two individual families, [OA Errata corrects: friends].
30.1 golf-course.]
golf / course.
30.2 I
tell you this man had vistas:—] But I tell you this man had vistas:
30.5 entrees.]
entrées.
30.7 And
the—the—the] And they—they—the
30.10 twenty-five
dollar] $25
30.11 Their
children got jobs because “they didn’t] Those who were their grandchildren
/ Who got jobs because “They didn’t
30.13 Uncle]
Unk
30.15 ‘hertical,’]
heretic,
30.17 The
heretics sought perfection, Blessed Virgin Mary, as tho / your lips were]
The heretics, seeking perfection, B.V.M., as if your / word were
30.20 But,
naturally,] Naturally,
30.21 time]
time when
30.27 The
women held] The women holding [no
stanza break preceding].
30.28 was
buttressed by women.] buttressed by women—
30.29 The
star, Venus, bathed / In the sunsets / of elegant, imperial islands—] Venus
au bain— / How are the sunsets / in elegant, imperial islands,
31.2 Mr.—‘we
own your, this government / benefits by our protection. . .’—] Mr.
We-Our-your, This-Government— / Benefits-By-Our-Protection Man?
31.4 And
in Haiti / Mars] West also in Haiti? / And does Mars
31.7 Tinkered]
Tinker
31.8 Stars.]
Stars?
31.9 An
accent, not any one nation’s] Their accent, not any one nation’s,
31.12 A
passion] The grand passion
31.13 A
vague] The vague
31.14 Aging
eyes, impish, overhanging / Carafes on bars / Under leaves serrated in falls, /
And at theatricals.] Aging eyes wandering impish, / (Overhanging, carafes
on bars, / Leaves serrated in falls, / Theatrical scenery)
31.20 And
above terraces of the city, a hill,] Or above the terraces of the hill
city, [no stanza break preceding].
31.23 ‘Disturbed?’
‘What’s in the underbrush?’] Disturbed? What’s in the underbrush?
31.24 belly,]
belly.
31.25 White
teeth perhaps] (White) / Teeth . . . perhaps . . .
32.10 pulp-wood]
pulp wood
32.11 Tho]
Tho’
32.11 pulp-wood.]
pulp-wood;
32.23 New
York,] N.Y.,
32.25 At
Lake Michigan in Chicago, / Left a note] Stopped by Lake Michigan, Chicago,
/ And left a note
32.28 A
roof, like a green sea, of a desert shack in Nevada,] Green sea roof:
desert shack in Nevada—
33.1 a
city] a city.
33.2 Divorced]
Was, divorced
33.3 Was
advised in the night life] Advised in the night-life
33.5 highway.]
highway,
33.6 highway.]
highway,
33.7 roads.]
roadways.
33.10 there’s
nothin’ in it; / The Treasury is like a spittoon, / Except that you’ve got to
fill it with taxes; / So there’s no reason] there’s nothin’ in it: / You’ve
got to fill the Treasury spittoon / with taxes, / And no reason
33.16 to
laugh] to laugh—
33.17 Bust
up] Bust-up
33.18 Henry
didn’t—] Henry didn’t have ’em:
33.19 gravy,—]
gravy,
33.21 I had
’em, kept ’em] I had ’em kept ’em
33.22 wanted
’em. You bet they wanted ’em.]
wanted ’em, you bet they wanted ’em.” [stanza
break following].
33.23 But
in peace times / You’ve got to use things,] Was advised: / “You’ve got to
use things, too,
33.26 the
other fellow has.—] he’s got it.”
33.27 Yes,
I’m retired.”] Retired. [no stanza
break following].
34.2 one
word:] one word in a chorus / falling
34.4 Then]
lacking and no stanza break.
34.5 “A
— sole, a — sole] A sole, a sole
34.7 Two
— pis two — pis / Two pistols on his
knee”] Two pis two pis / Two pistols on
his knee [no stanza break
following].
34.9 Every
day’s a love day to a sailor,] So everyday’s a love day to a sailor
34.10 Who’s]
And who’s
34.11 Show
me him and I’ll show you he’s paler / ’N yaller b’sides his bunting flag unfurrled]
Wand’r a sailor (example he of paler / Than yaller ’gainst his bunting flag
unfurled:
34.14 Dem
Rooshans ain’t rational, why! / De damn fools] “Dem Rooshuns ain’t
rational, / Why de damn fools [no stanza
break preceding].
34.16 An’
make ’t—phwhat nerve!—] And make ’t (phwat nerve!)
34.17 Bolshewiki;
wher’ do they git that stuff—] Bolshewiki wher’d they git that stuff”
34.18 “Asunder!”]
The voice of one word / falling— / “Asunder!” [no stanza break following and indented].
34.25 Indians]
Indians,
35.1 Employed]
Indians employed
35.2 white
men:] white men,
35.4 Indian’s
counsel proceeded cautiously,] asked cautiously the Indian’s counsel,
35.16 when
incited. Beyond] when incited.
35.17 Parched
earth and fog here: / Type of mind faking a thirst for itself— / Land’s jest—]
Earth parched, yet fog, / Minds faking a thirst for themselves— / Land’s jest:
35.20 ‘hard’
poetry—] “hard poetry”,
35.21 theatrical
rock—] theatrical rock,
35.22 Living
in a tower beyond rock,] A tower, of course, theatrical rocks and a tower—
35.23 Sophocles.]
Sophocles— / Rhymes . . . / Friends’ ends . . . / Siss abyss . . . / Tough
trough . . .
35.24 While
in the sea] lacking.
35.26 In
the sun as they sank.] In the sun as they sink— / Pacific— / We have no
need for sounded contacts, / We don’t have ’em.
35.27 Returned,]
Achieved: [no stanza break preceding].
36.1 To
adequate] And adequate
36.1 “Camels”;]
“Camels”
36.2 New
York] N.Y.
36.3 Bay
water viscous / where the waves mesh;]
Water as white spun glass
Where
the waves mesh,
The waters cushion the coast rocks.
DUNHILL
Comfort
Achieved:
Thought—
36.5 To
her and / Her mother half-blind;] Katja, / Mother aveugle,
36.7 Stone
sculpture, head against white, streaked wall paper, / water-marked,] Stone
sculpture (head) against streaked wall paper, white / and water-mark,
36.10 at
night waking] waking at night
36.11 trai-n,
ca-ar,] trai-n ca-ar,
36.12 Or
waked to make,] Being waked to make,
36.13 Michelangelo,]
Michael Angelo,
36.15 We
sang Le Roi] Singing: le Roi [no
stanza break preceding].
36.16 Red
piano under the stone head,] (Red piano under the stone head)
36.17 I
love”—] I love,”
36.19 “Waken
my fair one from they slumber,” / “The gentle mother that thee bore,”]
“Waken my fair one from thy slumber,” / Singing . . . / Tiny baby head . . . /
does not hear . . . ca-ar trai-n / “The gentle mother that thee bore,” [no stanza breaks preceding or following].
36.21 Or
another night,] And together another night
36.22 Mary
with us, “Noël est revidici, chantons, Noël, Noël,”] Mary Marie: “Noel est
revidici, chantons, Noel, Noel,”
36.24 Road,]
Rd,
36.25 New
York] N. Y.
36.25 steeples
not steeples] steeples (not steeples . . .)
36.26 turret
lights not turret lights. By day] turret lights (not turret lights . . .),
by day, marble-blue
36.27 spires,
roofs,] spire-roofs
36.28 A
bridge. . . cobweb, no, a bridge, if you look hard;] A bridge crosses
(cobweb, no, a bridge, if you look hard);
37.3 “J.S.B.,]
Katja, “J.S.B.,
37.3 that
Chorale] the Chorale,
37.7 Sounded
contacts,] (sounded contacts)
37.10 J.S.B.
just stands up?”] J.S.B, just stands up?”—
37.11 round]
around
37.13 passed
in black, like / Hooded cameras, as if photographing / the world.] pass
under black, / Cameras that walk, as if to photograph / the world.
37.18 Revel]
Revel—
37.24 so
good] as good
37.27 always,]
always.
37.30 five
years after the Passion,] after the Passion, / Set to music five years
after the Passion,
38.1 And
not performed till nine years later] But performed not till 9 years later
38.3 audience:]
audience, [stanza break following].
38.5 Harlem.—]
Harlem:
38.6 All
about a maiden coffee-bidder—] All about a maiden / Who was a
coffee-bidder—
38.10 Beginning]
stanza break following.
38.12 Quiet—cut
the gab—] Be still please, cut the gab—
38.15 Forgetting
/ I said: / Can] I forget— //
Said: // Can`
38.22 At eventide // Venus come up // How
shall I—] At eventide, cool hour of
rest // Who rests? // That is Venus come up! // And I, / How shall I—
38.25 grave’s
turf,] grave turf,
38.26 With
all this material / to what distinction—] With all this material? // To
what distinction, // Horses, she saw? // My—
“A”-7
Poetry 37.5 (Feb. 1931).
An “Objectivists” Anthology, ed. LZ.
Le Beausset, France and NY: To, Publishers, 1932.
Title In
OA: Seventh Movement: "There are different techniques"
39.6 them;]
them,
39.6 Blood
red] in Poetry printing throughout:
Blood-red
39.9 “Street
Closed”] Poetry printing has a
preceding stanza break.
39.11 and
the jiggers] and, the jiggers [Poetry
printing without comma].
39.12 cut
out.] cut out,
39.13 tho]
tho’ [throughout OA spelled this way, but
Poetry printing as in final text].
39.13 here,
pass] here pass
39.19 arrear?]
arrear?)
39.22 gut,]
gut
40.6 of
orchards] OA Errata corrects: or
orchards.
40.9 see?)]
see?
40.10 close,]
in Poetry: close;
40.19 We’ll]
in Poetry: we’ll
40.19 fellow]
follow [Poetry printing: fellow].
41.3 necks
’ve] necks ’ave
41.14 logs]
OA Errata corrects: legs.
41.27 blossoms
red,] in Poetry: blossoms red.
41.29 (creaked
— / wind —) — SUN —] (creaked — wind —) / — SUN [OA Errata corrects hyphen after creaked; Poetry printing as in final text].
42.1 months’]
in Poetry: month’s
42.4 OA
lacks break between preceding line, but Poetry printing as in final text.
42.10 other.]
in Poetry: the other,
42.13 Bother,]
“Bother,
42.17 who
will?] in Poetry: Who will?
“A”-8
New Directions 1938, ed.
James Laughlin.
43.21 instrument)]
instrument),
44.1 "Pray
we our Lord"] To bury Lord Jesu together / To bury the song and Lord
Jesu / "Pray we our Lord," the State's forget-me-nots
45.26 "Equal
right . . presupposes inequality] "Equal right . . 'bourgeois right' . . presupposes inequality,
45.27 not] not
45.28 exploitation]
exploitation
46.12 antagonism.]
antagonism . .
46.16 The
mind] That our mind
47.6 No
thought exists] Workers, no thought of a system exists
47.26 The
facts] But the facts
48.1 to
reject] not to affirm
48.9 Pace
them] Pace them / In revolution are the same!
48.10 Railways
and highways have tied] the original
first stanza of this May Day song has been deleted:
Workers and farmers unite
You have nothing to lose
But your chains
The world is to win
This is May Day! May!
Your armies are veining the earth!
48.14 This
is May] This is May Day! May!
48.20 This
is May] This is May Day! May!
48.26 This
is May] This is May Day! May!
49.1 March
/ From hirer unchained / till your gain / Be the / World's]
March comrades in revolution
From hirer unchained
Till
your gain
Be
the freedom of all
The World's May Day! May!
May of the Freed of All the Earth!
50.4 assume!]
assume:
52.8 hummingbird]
humming-bird [ditto at 52.11].
53.10 ‘come
over’] ‘come over.’
59.1 bodyguard’s]
body-guard’s
59.9 Two
time] Two-time
59.19 six
months,] six months
62.22 lily-pads,]
lily-pads.
65.25 And
loved so long,] And loved, solong,
65.28 Constant,]
Constant, virgin, palm wiping her lips
Insulted by love, and
Fled, rightly, from the German movies,
Such as "The Love Pirate"
With its wail! navel-music.
Who spent her love on no one.
66.11 This
linen table napkin—] three lines
deleted from the beginning of this section: If Lady Greensleeves, at fifty,
would stop looking / Down at her instep to attract the youngest / Male guest's
attention
66.16 Its
landscape depicts a bull,] This napkin copied by a W.P.A. worker. / (The
best American photographers are W.P.A. workers.) / Its landscape depicts a
bull, too—
67.6 everything.]
everything,
67.22 Visitors,
by] Visitors by
70.16 Is
the vis inertia of class history]
this section continues:
The habits of thought ruled by the
more impressive affairs of its
lives:
Imagination and inertia
Equal hernia.
"He who does not work shall not eat."
In the U.S.S.R. the principle
of socialism is being realized:
"From each according to his ability,
To each according to his work."
70.22 Without
disputing their accounts.] originally
followed by the stanza now at 71.7-12.
70.23 1655.
All Jews are ordered to depart / From this place.] 1655. N.Y. Wages of a
servant girl, $3.50 per month. / (And now!) / 1655. All Jews are ordered to
depart / From this place. (N.Y.)
71.6 Put
away your green paper accordion:] see
note at 70.22; in place of this stanza was the following deleted stanza:
1735. Sons of Liberty, / John Lamb, Wm. Bradford, Hugh Gaines, John Holt, /
(Gazette Spy).
72.22 Have
got to experience it / on their bodies.] This conceited lot have got to
experience it / on their bodies, and / Every further step must be forced upon
them / by a defeat.
72.24 Yet,
like everything in America,] Yet, like everything in America, / Driven by
natural necessity,
73.1
Democracy] 1828. Democracy
74.8 what
it is in] what it is, in
74.12 production.]
production;
74.16 material.
Each] material—each
75.7 Make]
Made
75.12 The
way the North] And 1862. Marx to
Engels: / The way the North
75.13 Might
have been expected] Might have been expected / From a bourgeois republic,
75.21 All
Lincoln's Acts . . / conditions] All Lincoln's Acts . . mean / pettifogging
conditions
75.29 Parisian
gentlemen . . / Babble science and know nothing.] Parisian gentlemen . .
heads full of Proudhon's phrases. / They babble about science and know nothing.
76.2 Scorn
all revolutionary action / Which can
be carried by political means]
They scorn all revolutionary action,
/ Action arising out of the class struggle itself . . / All . . which can be
carried by political means
76.3 as
the legal limitation of the working
day] (e.g., the legal limitation
of the working day).
76.6 Curiously enough] The slogan . .
organization for the struggle against capital, / And curiously enough
76.8 (in
Baltimore.)] (in Baltimore) / By the correct instinct of the workers.
76.25 ‘occupy’
. .] no stanza break following.
78.17 world,]
world.
79.30 sales.]
sales;
80.16 Once
more . . under] Once more we are under
80.23 That
our . . civilization] That our so-called civilization
81.1 (Brooks:
men work] (Brooks: Mostly men work
81.20 mirrors.]
mirrors,
83.11 with
what / is about us.] no line break.
83.13 born
/ here (in New York)] no line break.
83.24 for
three acts.] for three acts— / Which has nothing to do with it.
84.12 graveyard
/ shift,] no line break.
84.26 by-product—]
by-product,—
85.6 Wherever
I sit] Wherever I sit, said Morris Raphael Fable
85.26 wolf
from the door] wolf off from the door
86.4 And
tip off his friends who retrieve / The state of Pennsylvania]
And tip off his friends, who like him believe
That, in a democracy, window-breaking is a function.
Tell them to tell him that we are all writing this book
Of the state of Pennsylvania
To be called "IT IS OURS."
86.6 Like
the present governor of that State,] Likewise to the present governor of
that State, / What if he doesn't stay finally in our company,
88.6 stream-line.]
streamline.
88.27 hat]
hath
89.1 With
wit or steel?]
With wit or steel?
These claim to have conquered Marxism
For eighty years in the hearts of the workers—
And the proof that they won't:
The Union of Soviet Socialist Republics,
Shock worker of Marxist Workers thruout the world.
89.7 Or
any possible alliance of enemies.] this
stanza continues: And we arm, not to match strength with them / But to keep
them from matching strength with us / With impunity. —Commissar for the
Workers.
89.17 come
out] still come out
90.3 to
distract minds? / Boost figures] to distract minds, what? / Boost your
figures
90.18 cite
Lenin:] cite Lenin: / When I ‘became a speaker’
90.23 flattered
by country.’] flattered by country.’ / Yankee or Slav, the Communist speaks
to, / Speaks for, the masses.
91.6 Untiring
action,] Untiring Party action,
91.19 Good
day,] Good day, comrades,
91.21 the
International] the Communist International
91.26 attributes
all society] attributes all phenomena in society
92.11 egg
of ideas] egg of bourgeois ideas
93.9 Jenny]
Johnny
94.4 motors.]
General Motors.
96.15 Township]
township
97.5 who’s]
who’d
97.20 had
asked): // The gas station] no stanza
break.
98.23 The
Manifesto?] The Manifesto of the party itself?
98.25 dinner
the year after,] dinner early the year after,
99.4 home,]
home.
100.7 More
than one civil war:] no stanza break
preceding.
103.24 Molinare]
Molinaro
104.16 thru]
through
104.25 shard]
shards
104.29 you.]
you
