The Swan

Did you too see it, drifting, all night, on the black river?
Did you see it in the morning, rising into the silvery air –
An armful of white blossoms,
A perfect commotion of silk and linen as it leaned
into the bondage of its wings; a snowbank, a bank of lilies,
Biting the air with its black beak?
Did you hear it, fluting and whistling
A shrill dark music – like the rain pelting the trees – like a waterfall
Knifing down the black ledges?
And did you see it, finally, just under the clouds –
A white cross Streaming across the sky, its feet
Like black leaves, its wings Like the stretching light of the river?
And did you feel it, in your heart, how it pertained to everything?
And have you too finally figured out what beauty is for?
And have you changed your life?

– Mary Oliver

From a Hyperallergic.com online review:

“Everywhere is the wait and the gathering,” concludes “Resort.” A kind of soporific haze has seeped into de Chirico’s imagination, asserted through evocations of sleeping and dreaming. Even the violence and ambiguous sexual imagery of “The Mysterious Night” yield to a final note of definitive somnolence: “Everything sleeps; even the owls and the bats who also in the dream dream of sleeping.”

“My room,” he writes, “is a beautiful vessel,” and from there he propels his imagination outward across space and time, geography and history. Indeed, “faraway” (lontani, lontano) is one of his favorite adjectives. He daydreams of Mexico or Alaska and invokes a future-oriented “avant-city” and a distant day where he is immortalized, albeit in an old-fashioned mode as a “man of marble.”

The paintings of Giorgio de Chirico invariably call to mind a cluster of adjectives: haunting, enigmatic, evocative, poetic. But unlike many artists whose poetry remains wordless and confined to the canvas, de Chirico was also a writer whose texts have been praised and even translated by such art-world luminaries as Louise Bourgeois and John Ashbery. A new collection provides us with more of de Chirico’s writings. Translated into English by Stefania Heim, Geometry of Shadows presents the relatively compact totality of the artist’s extant poems and poetic fragments written in Italian, complementing his memoirs and the novel Hebdomeros (in French), which have been available in English for some time.