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Elms | The Dream | War | Peace | The Shade
C.K. Williams, Pulitzer Prize Winning Poet, was born in Newark, New Jersey, in 1936, "... but one's first birth is rather boring or at least ordinary, isn't it? Even to oneself? I prefer to think of having had several comings into the world: maybe the first real one was the dusk when I was seven or so and first breathed the scent of trees and new grass and realized what a sensuous place the world was. Certainly another would be when I wrote my first poem..." he has said. C.K. Williams is the author of numerous books of poetry, including The Singing, which won The National Book Award in 2003; Repair (also from Farrar, Straus, and Giroux, 1999), which won the 2000 Pulitzer Prize; The Vigil (1997); A Dream of Mind (1992); Flesh and Blood (1987), which won the National Book Critics Circle Award; Tar (1983); With Ignorance (1997); I Am the Bitter Name (1992); and Lies (1969). Williams has also published a memoir: Misgivings (2000) and a book of essays: Poetry and Consciousness; plus five works of translation: Selected Poems of Francis Ponge (1994); Canvas, by Adam Zagajewski (with Renata Gorczynski and Benjamin Ivry, 1991); The Bacchae of Euripides (1990); The Lark. The Thrush. The Starling (Poems from Issa, 1983); and Women of Trachis, by Sophocles (with Gregory Dickerson, 1978). Among his many other awards and honors are an American Academy of Arts and Letters Award, a Guggenheim Fellowship, the Lila Wallace-Reader's Digest Award, the PEN/Voelcker Award for Poetry, and a Pushcart Prize. Williams spends part of the year in Paris and teaches in the creative writing program at Princeton University.
C.K. Williams's compelling poetry is often characterized by long meditative lines which engage the reader in a moral awareness of relationships within society and between the self and other. His poetry often possesses a disarming immediacy -establishing an intimate rapport with the reader's psyche. The poems are deeply thoughtful and thought provoking. Williams has said, "My poems have a double function for me: they are about consciousness, in a more or less direct way, and they're involved just as much with the social, moral world with which my consciousness is necessarily concerned." When interviewed onthe PBS News Hour in November of 2003 upon winning the National Book Award for The Singing he said; "Poetry is part of the moral resonance of the world's urgency. It adds to the moral respository of the human conscience and is part of the existence of moral resonance in the world."
Cover art for Repair by Jed Mauger Williams. (c) 1999 by the artist. All rights reserved.
Sample poems of C.K Williams follow here by permission of the author.
Copyright © 1994-- 2003 by C.K. Williams, Farrar Straus & Giroux: NY. All rights reserved.
All morning the tree men have been taking down the stricken elms skirting
the broad sidewalks.
The pitiless electric chain saw whine tirelessly up and down their pierc-
ing, peratic scales
and the diesel choppers in the street shredding the debris chug feverishly,
packing trukload after truckload with the feathery, homogenized, inert
remains of heartwood,
twig and leaf and soon the black is stripped, it is as though illusions of
reality were stripped:
the rows of naken facing buildings stare and think, their divagations more
urgent than they were.
"The Winds of time," they think, the mystery charged with fearful clarity:
"The winds of time
All afternoon, on to the unhealing evening, minds racing, "Insolent,
unconscionable, the winds of time
How well I have repressed the dram of death I had after the war when
I was nine in Newark.
It would be nineteen forty-six; my older best friend tells me what the
atom bomb will do,
consume me from within, with fire, and that night, as I sat, bolt awake,
in agony, it did:
I felt my stomach flare and flame, the edges of my heart curl up and
char like burning paper.
All there was was waiting for the end, all there was was sadness, for in
that awful dark,
that roar that never ebbed, that frenzied inward fire, I knew that everyone
I loved was dead,
I knew that consciousness itself was dead, the universe shucked clean of
mind as I was of my innards.
All the earth around me heaved and pulsed and sobbed; the orient and
immortal air was ash.
Jed is breathlessly, deliriously happy because he's just been deftly am-
bushed amd gimmed down
by his friend Ha Woei as he came charging headlong around the corner
of some bushes in the bois.
He slumps dramatically to the ground, disregarding the damp, black
gritty dirt he falls into,
and holds the posture of a dead man, forehead to the earth, arms and
legs thrown full-length east and west,
until it's time for him to rise and Ha Woei to die, which Ha Woei does
with vigor and abandon,
flinging himself down, the imaginary rifle catapulted from hnhis hand like
Capa's Spanish soldeir's.
Dinnertime, bath time, bedtime, story time, bam, bambambam, bam--
Akhilleus and Hektor.
Not until the cloak of night falls do they give themselves to the truces
nd forgivenesses of sleep.
We fight for hours, through dinner, through the endless evening, who
even knows how what about,
what could be so dire to have to suffer so for, stuck in one another's
craws like fishbones,
the cadavers of our argument dissected, flayed, but we go on with it, to
bed, and through the night,
feigning sleep, dreaming sleep, hardly sleeping, so precisely never touch-
ing, back to back,
the blanket bridged across us for the wintery air to tunnel down, to keep
us lifting, turning,
through the angry dark that holds us int he cup of pain, the aching dark,
the weary dark,
then, tow3ard dawn, I can't help it, though justice won't I know be served,
I pull her to me,
and with such accurate, gradeful deftness she rolls to me that we arrive
embracing our entire lengths.
A summer cold. No rash. No fever. Nothing. But a dozen times during
the night I wake
to listen to my son whimpering in his sleep, trying to snort the sticky
phlegm out of his nostrils.
The passage clears, silence, nothing. I cross the room, groping for the
elusive creature of his breath and my heart lunges, stutters, tries to race
I don't know from what, from my imagination, from life itself, maybe
from understanding too well
and being unable to do anything about how much of my anxiety is always
Whatever it was, I left it when the dawn came. There's a park near here
where everyone who's out of work in Qur neighborhood comes to line
up in the morning.
The converted school buses shuffling hands to the cannery fields in Jersey
w;ere just raffling away when I got there
and the small-time contractors, hiring out cheap walls, cheap ditches,
were loading laborers onto the sacks of plaster and concrete in the backs
of their pickups.
A few housewives drove by looking for someone to babysit or clean cellars
then the gates of the local bar unlaced and whoever was left drifted in
out of the wall of heat
already rolling in with the first fists of smoke from the city incinerators
.It's so quiet now, I can hear the sparrows foraging scraps of garbage on
The stove husk chained as a sign to the store across the street creaks in
the last breeze of darkness.
By noon, you'd have to be out of your mind to want to be here: the park
will reek of urine,
bodies will be sprawled on the benches, men will wrestle through the
surf of broken bottles,
but even now, watching the leaves of the elms softly lifting toward the
day, softly falling back,
all I see is fear forgivng fear on every page I turn; all I knokw is every
time I try to change it,
I say it again: my wife, my child
my home, my work, my sorrow.
If this were the last morning of the world, if time ahd finally moved
inside us and erupted
and we were Agamemnon again, Helen again, back on that faint, be-
where even the daily survivals were giants, filled with light, I think Id
still be here,
afraid or not enough afraid, silently howling the names of death over the
grass and asphalt.
The morning goes on, the sun burning, the earth burning, and between
them, part of me lifts and starts back,
past the wash of dead music from the bar, the drinker reeling on the
curb, the cars coughing alive,
and part, buried in itself, stays, forever, blinking into the glare, freezing.
Copyright © 1994-- 2003 C.K. Williams. All rights, including electronic, reserved by the author.
Printed here by permission of the author from the various collections named above.
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