Autumn   

John Clare

Syren of sullen moods and fading hues,
Yet haply not incapable of joy,
Sweet Autumn! I thee hail
With welcome all unfeigned;

And oft as morning from her lattice peeps
To beckon up the sun, I seek with thee
To drink the dewy breath
Of fields left fragrant then,

In solitudes, where no frequented paths
But what thy own foot makes betray thy home,
Stealing obtrusive there
To meditate thy end:

By overshadowed ponds, in woody nooks,
With ramping sallows lined, and crowding sedge,
Which woo the winds to play,
And with them dance for joy;

And meadow pools, torn wide by lawless floods,
Where water-lilies spread their oily leaves,
On which, as wont, the fly
Oft battens in the sun;

Where leans the mossy willow half way oer,
On which the shepherd crawls astride to throw
His angle, clear of weeds
That crowd the water's brim;

Or crispy hills, and hollows scant of sward,
Where step by step the patient lonely boy
Hath cut rude flights of stairs
To climb their steepy sides;

Then track along their feet, grown hoarse with noise,
The crawling brook, that ekes its weary speed,
And struggles through the weeds
With faint and sullen brawl.

These haunts I long have favoured, more as now
With thee thus wandering, moralizing on,
Stealing glad thoughts from grief,
And happy, though I sigh.

Sweet Vision, with the wild dishevelled hair,
And raiment shadowy of each wind's embrace,
Fain would I win thine harp
To one accordant theme;

Now not inaptly craved, communing thus,
Beneath the curdled arms of this stunt oak,
While pillowed on the grass,
We fondly ruminate

Oer the disordered scenes of woods and fields,
Ploughed lands, thin travelled with half-hungry sheep,
Pastures tracked deep with cows,
Where small birds seek for seed:

Marking the cow-boy that so merry trills
His frequent, unpremeditated song,
Wooing the winds to pause,
Till echo brawls again;

As on with plashy step, and clouted shoon,
He roves, half indolent and self-employed,
To rob the little birds
Of hips and pendent haws,

And sloes, dim covered as with dewy veils,
And rambling bramble-berries, pulp and sweet,
Arching their prickly trails
Half oer the narrow lane:

Noting the hedger front with stubborn face
The dank blea wind, that whistles thinly by
His leathern garb, thorn proof,
And cheek red hot with toil.

While oer the pleachy lands of mellow brown,
The mower's stubbling scythe clogs to his foot
The ever eking whisp,
With sharp and sudden jerk,

Till into formal rows the russet shocks
Crowd the blank field to thatch time-weathered barns,
And hovels rude repair,
Stript by disturbing winds.

See! from the rustling scythe the haunted hare
Scampers circuitous, with startled ears
Prickt up, then squat, as bye
She brushes to the woods,

Where reeded grass, breast-high and undisturbed,
Forms pleasant clumps, through which the soothing winds
Soften her rigid fears,
And lull to calm repose.

Wild sorceress! me thy restless mood delights,
More than the stir of summer's crowded scenes,
Where, jostled in the din,
Joy palled my ear with song;

Heart-sickening for the silence that is thine,
Not broken inharmoniously, as now
That lone and vagrant bee
Booms faint with wearp chime.

Now filtering winds thin winnow through the woods
In tremulous noise, that bids, at every breath,
Some sickly cankered leaf
Let go its hold, and die.

And now the bickering storm, with sudden start,
In flirting fits of anger carps aloud,
Thee urging to thine end,
Sore wept by troubled skies.

And yet, sublime in grief, thy thoughts delight
To show me visions of most gorgeous dyes,
Haply forgetting now
They but prepare thy shroud;

Thy pencil dashing its excess of shades,
Improvident of waste, till every bough
Burns with thy mellow touch
Disorderly divine.

Soon must I view thee as a pleasant dream
Droop faintly, and so sicken for thine end,
As sad the winds sink low
In dirges for their queen;

While in the moment of their weary pause,
To cheer thy bankrupt pomp, the willing lark
Starts from his shielding clod,
Snatching sweet scraps of song.

Thy life is waning now, and silence tries
To mourn, but meets no sympathy in sounds.
As stooping low she bends,
Forming with leaves thy grave;

To sleep inglorious there mid tangled woods,
Till parch-lipped summer pines in drought away,
Then from thine ivied trance
Awake to glories new.

Isola di Rifiuti: Fairfield Porter’s James Schuyler

Past is past, and if one
remembers what one meant
to do and never did, is
not to have thought to do
enough? Like that gather-
ing of one of each I
planned, to gather one
of each kind of clover,
daisy, paintbrush that
grew in that field
the cabin stood in and
study them one afternoon
before they wilted. Past
is past. I salute 
that various field.

 On Poliquin's 'Breathless Zoo'

One example is a recent exhibition of taxidermied polar bears culled from homes, museums, and collections around the U.K. Long a powerful symbol of strength and solitude, now a mnemonic for the losses wrought by climate change, the polar bears in the exhibition, “briefly together but solitary,” illustrate for Poliquin the emotional potency of preserved dead animals and the inexorable intellectual and cultural ideologies that determine how and why they are killed, prepared, and displayed. In this exhibition, she sees our attention drawn critically to both an outdated British cultural imaginary of conquest and mastery as well as to the uncanny displacement of the natural world, which serves as a reflection of the “wistfulness,” “waiting,” “loneliness,” and “absence” that filters our relationship to the environment in crisis. These two moments of history called up by the doubly displaced polar bears crystallize some basic questions of taxidermy as practice and artifact: is it symbolic or individual? Victimized or saved? Animal or object? Poliquin suggests that it is the polar bears’ “ambiguity that makes them such potent objects.”