Just as was the case when I read Bly's A Light Around the Body a few weeks ago, I've never been all that into W.S. Merwin's work. Of course, this morning when I picked up The Drunk in the Furnace, I was pleasantly pleased with what I read. Take, for instance, the "Fog-Horn," which develops a beautiful and heartbreaking conceit in the tenor of the Deep Image movement:
Fog-Horn
Surely that moan is not the thing
That men thought they were making, when they
Put it there, for their own necessities.
That throat does not call to anything human
But to something men had forgotten,
That stirs under fog. Who wounded that beast
Incurably, or from whose pasture
Was it lost, full grown, and time closed round it
With no way back? Who tethered its tongue
So that its voice could never come
To speak out in the light of clear day,
But only when the shifting blindness
Descends and is acknowledged among us,
As though from under a floor it is heard,
Or as though from behind a wall, always
Nearer than we had remembered? If it
Was we that gave tongue to this cry
What does it bespeak in us, repeating
And repeating, insisting on something
That we never meant? We only put it there
To give warning of something we dare not
Ignore, lest we should come upon it
Too suddenly, recognize it too late,
As our cries were swallowed up and all hands lost.
That first sentence is killer.
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