"...solitude, which has been mostly useful."

Oil & Steel

by Henri Cole

My father lived in a dirty-dish mausoleum,
watching a portable black-and-white television,
reading the Encyclopaedia Britannica,
which he preferred to Modern Fiction.
One by one, his schnauzers died of liver disease,
except the one that guarded his corpse
found holding a tumbler of Bushmills.
"Dead is dead," he would say, an antipreacher.
I took a plaid shirt from the bedroom closet
And some motor oil—my inheritance.
Once I saw him weep in a courtroom—
neglected, needing nursing—this man who never showed
me much affection but gave me a knack
for solitude, which has been mostly useful.

"Oil & Steel" by Henri Cole from Pierce the Skin. © Farrar Straus & Giroux, 2010.

Trust

by Thomas R. Smith

It's like so many other things in life
to which you must say no or yes.
So you take your car to the new mechanic.
Sometimes the best thing to do is trust.

The package left with the disreputable-looking
clerk, the check gulped by the night deposit,
the envelope passed by dozens of strangers—
all show up at their intended destinations.

The theft that could have happened doesn't.
Wind finally gets where it was going
through the snowy trees, and the river, even
when frozen, arrives at the right place.

And sometimes you sense how faithfully your life
is delivered, even though you can't read the address.

"Trust" by Thomas R. Smith, from Waking Before Dawn. © Red Dragonfly Press, 2007.

"She is his responsible soul broken free"

Retriever

by Faith Shearin

My father, in middle age, falls in love with a dog.
He who kicked dogs in anger when I was a child,
who liked his comb always on the same shelf,
who drank martinis to make his mind quiet.

He who worked and worked—his shirts
wrapped in plastic, his heart ironed
like a collar. He who—like so many men—
loved his children but thought the money

he made for them was more important
than the rough tweed of his presence.
The love of my father's later years is
a Golden Retriever—more red

than yellow—a nervous dog who knows
his work clothes from his casual ones,
can read his creased face, who waits for
him at the front door—her paws crossed

like a child's arms. She doesn't berate him
for being late, doesn't need new shoes
or college. There is no pressure to raise her
right, which is why she chews the furniture,

pees on rugs, barks at strangers who
cross the lawn. She is his responsible soul
broken free. She is the children he couldn't
come home to made young again.

She is like my mother but never angry,
always devoted. He cooks for his dog—
my father who raised us in restaurants—
and takes her on business trips like

a wife. Sometimes, sitting beside her
in the hair-filled fan he drives to make
her more comfortable, my father's dog
turns her head to one side as if

thinking and, in this pose, more than
one of us has mistaken her for a person.
We would be jealous if she didn't make
him so happy—he who never took

more than one trip on his expensive
sailboat, whose Mercedes was wrecked
by a valet. My mother saw him behind
the counter of a now-fallen fast food

restaurant when she was nineteen.
They kissed beside a river where fish
no longer swim. My father who was
always serious has fallen in love with

a dog. What can I do but be happy for him?

"Retriever" by Faith Shearin, from The Owl Question. © Utah State University Press, 2002.

I love this. What does it mean?

Ocean

by Jason Shinder

Stupid Hope) --

Goodbye again. Say there is a little song in my head

and because of it I can't sleep or change my mind
about the future. Now the song runs all the way down

to the beach where I sit as if the sky

were my room now. No one, not even you,
can hear me singing. Not even me.

As if the music rose from the mouth of the ocean.

No mouth. Like rain before it reaches us.
Like wind twirling dresses on the clothesline.

Who has no one has the history of the ocean.

Lord, give me two more days. So that
the last moments may be with someone.

"Ocean" by Jason Shinder, from Stupid Hope. © Graywolf Press, 2009.

A Ritual to Read to Each Other

A Ritual To Read To Each Other

If you don't know the kind of person I am and I don't know the kind of person you are a pattern that others made may prevail in the world and following the wrong god home we may miss our star. For there is many a small betrayal in the mind, a shrug that lets the fragile sequence break sending with shouts the horrible errors of childhood storming out to play through the broken dyke. And as elephants parade holding each elephant's tail, but if one wanders the circus won't find the park, I call it cruel and maybe the root of all cruelty to know what occurs but not recognize the fact. And so I appeal to a voice, to something shadowy, a remote important region in all who talk: though we could fool each other, we should consider-- lest the parade of our mutual life get lost in the dark. For it is important that awake people be awake, or a breaking line may discourage them back to sleep; the signals we give--yes or no, or maybe-- should be clear: the darkness around us is deep. William Stafford

I've still want to go to Greece

Grecian Temples

by George Bilgere

The White Museum) --

Because I'm getting pretty gray at the temples,
which negatively impacts my earning potential
and does not necessarily attract vibrant young women
with their perfumed bosoms to dally with me
on the green hillside,
I go out and buy some Grecian Hair Formula.

And after the whole process, which involves
rubber gloves, a tiny chemistry set,
and perfect timing, I look great.
I look very fresh and virile, full of earning potential.
But when I take my fifteen-year-old beagle
out for his evening walk, the contrast is unfortunate.
Next to me he doesn't look all that great,
with his graying snout, his sort of faded,
worn-out-dog look. It makes me feel old,
walking around with a dog like that.

It's not something a potential employer,
much less a vibrant young woman with a perfumed bosom
would necessarily go for. So I go out
and get some more Grecian Hair Formula—
Light Brown, my beagle's original color.
And after all the rigmarole he looks terrific.
I mean, he's not going to win any friskiness contests,
not at fifteen. But there's a definite visual improvement.
The two of us walk virilely around the block.

The next day a striking young woman at the bookstore
happens to ask me about my parents,
who are, in fact, long dead, due to the effects of age.
They were very old, which causes death.
But having dead old parents does not go
with my virile, intensely fresh new look.

So I say to the woman, my parents are fine.
They love their active lifestyle in San Diego.
You know, windsurfing, jai alai, a still-vibrant sex life.
And while this does not necessarily cause her
to come dally with me on the green hillside, I can tell
it doesn't hurt my chances.

I can see her imagining dinner
with my sparkly, young-seeming mom and dad
at some beachside restaurant
where we would announce our engagement.

Your son has great earning potential,
she'd say to dad, who would take
a gander at her perfumed bosom
and give me a wink, like he used to do
back when he was alive, and vibrant.

"Grecian Temples" by George Bilgere, from The White Museum. © Autumn House Press, 2010.

symbols - Oddray - Beliefnet Community

symbols - Oddray - Beliefnet Community

Sometimes I say that, too.

Something Else

by Nin Andrews

Southern Comfort) --

Sometimes you say I'm something else,
and you mean I'm good, really good,
but honey, don't say that, please?
Reminds me how my dad used to say,
I'm just not myself today.
As if here were some kind of imposter dad.
Then he'd ask things like:
Why don't you go play with James?
Has the dog had his walk yet?
Will you kindly get out of my cotton-pickin' hair?
Sometimes he'd come home from work
carrying his hat and a brown paper bag,
and I'd know he wasn't my dad.
There were at least three daddies then,
sort of like daddy A, B, and C.
Like that TV show. Which will it be,
bachelor 1, 2, or 3?
My mom often said he wasn't the man
she married. And I thought about that.
How, when they were married,
I wasn't me, either. I wasn't anyone.
I didn't like to dwell on that.
It kind of gave me the creeps,
but I liked to ask,
Were you really in love then?
Of course, she'd say.
Did you hold hands?
Yes.
Kiss in public? Sit on his lap?
Yes, yes, I did all that. Once
She even showed me photos
she kept in her lingerie drawer
beneath her slips and silky things
she never wore anymore: him
in his spats and slick-shined hair,
her in a pink crinoline cocktail dress
with her long bangs clipped back
in pearly barrettes. Not a thought
in her head, except maybe
Don't I look swell? And
Love me. And he did.
Did he say so?
He said it every day.
He was something else back then.

"Something Else" by Nin Andrews, from Southern Comfort. © Caran Kerry Press, 2009

Wow

Hitchhiker

by Galway Kinnell

Imperfect Thirst) --

After a moment, the driver, a salesman
for Travelers Insurance heading for
Topeka, said, "What was that?"
I, in my Navy uniform, still useful
for hitchhiking though the war was over,
said, "I think you hit somebody."
I knew he had. The round face, opening
in surprise as the man bounced off the fender,
had given me a look as he swept past.
"Why didn't you say something?" The salesman
stepped hard on the brakes. "I thought you saw,"
I said. I didn't know why. It came to me
I could have sat next to this man all the way
to Topeka without saying a word about it.
he opened the car door and looked back.
I did the same. At the roadside,
in the glow of a streetlight, was a body.
A man was bending over it. For an instant
it was myself, in a time to come,
bending over the body of my father.
The man stood and shouted at us, "Forget it!
He gets hit all the time!" Oh.
A bum. We were happy to forget it.
The rest of the way, into dawn in Kansas,
when the salesman dropped me off, we did not speak,
except, as I got out, I said, "Thanks,"
and he said, "Don't mention it."

"Hitchhiker" by Galway Kinnell, from Imperfect Thirst. © Houghton Mifflin Company, 1994.

I don't like snow but I like Catherine.

SNOW: I

by C.K. Williams

Love About Love) --

All night, snow, then, near dawn, freezing rain, so that by morn-
ing the whole city glistens
in a glaze of high-pitched, meticulously polished brilliance, every-
thing rounded off,
the cars submerged nearly to their windows in the unbroken drifts
lining the narrow alleys,
the buildings rising from the trunklike integuments the wind has
molded against them.
Underlit clouds, blurred, violet bars, the rearguard of the storm,
still hang in the east,
immobile over the flat river basin of the Delaware; beyond them,
nothing, the washed sky,
one vivid wisp of pale smoke rising waveringly but emphatically
into the brilliant ether.
No one is out yet but Catherine, who closes the door behind her
and starts up the street.

"SNOW: I" by C.K. Williams, from Love About Love. © Ausable Press, 2001.

I Count

Susanna

by Anne Porter

Nobody in the hospital
Could tell the age
Of the old woman who
Was called Susanna

I knew she spoke some English
And that she was an immigrant
Out of a little country
Trampled by armies

Because she had no visitors
I would stop by to see her
But she was always sleeping

All I could do
Was to get out her comb
And carefully untangle
The tangles in her hair

One day I was beside her
When she woke up
Opening small dark eyes
Of a surprising clearness

She looked at me and said
You want to know the truth?
I answered Yes

She said it's something that
My mother told me

There's not a single inch
Of our whole body
That the Lord does not love

She then went back to sleep.

"Susanna" by Anne Porter, from Living Things: Collected Poems. © Zoland Books, 2006.

Put it on

Suits

by David R. Slavitt

William Henry Harrison and Other Poems) --

Each morning, as I confront my closet's array,
I have to admit again that the life I lead
is hardly good enough: I have not been named
ambassador to Malta; I am not on the board

of any college or large corporation; I shall not
receive a major prize today and pose
for photographers. Those suits, the shirts, the ties
are ready, but I am not, and the shoes are shined

as they wait for different occasions than I imagined
on the tailor's block, when I shopped for a dandified
future brighter than what I expect or deserve.
Even for weddings and funerals that require
a suit, I choose from the second best, reserving
that one for the dream into which I yet hope to awake.

"Suits" by David R. Slavitt, from William Henry Harrison and Other Poems. © Louisiana State University Press, 2006.

Related I Think

William Shakespeare

SONNET 73

That time of year thou mayst in me behold
When yellow leaves, or none, or few, do hang
Upon those boughs which shake against the cold,
Bare ruin'd choirs, where late the sweet birds sang.
In me thou seest the twilight of such day
As after sunset fadeth in the west,
Which by and by black night doth take away,
Death's second self, that seals up all in rest.
In me thou see'st the glowing of such fire
That on the ashes of his youth doth lie,
As the death-bed whereon it must expire
Consumed with that which it was nourish'd by.
This thou perceivest, which makes thy love more strong,
To love that well which thou must leave ere long.

Jim Harrison

Searchers

by Jim Harrison

Saving Daylight) --

At dawn Warren is on my bed,
a ragged lump of fur listening
to the birds as if deciding whether or not
to catch one. He has an old man's
mimsy delusion. A rabbit runs across
the yard and he walks after it
thinking he might close the widening distance
just as when I followed a lovely woman
on boulevard Montparnasse but couldn't equal
her rapid pace, the click-click of her shoes
moving into the distance, turning the final
corner, but when I turned the corner
she had disappeared and I looked up
into the trees thinking she might have climbed one.
When I was young a country girl would climb
a tree and throw apples down at my upturned face.
Warren and I are both searchers. He's looking
for his dead sister Shirley, and I'm wondering
about my brother John who left the earth
on this voyage all living creatures take.
Both cat and man are bathed in pleasant
insignificance, their eyes fixed on birds and stars.

"Searchers" by Jim Harrison, from Saving Daylight. © Copper Canyon Press, 2006.

Alexandria, 1953

by Gregory Djanikian

Falling Deeply Into America) --

You could think of sunlight
Glancing off the minarets,
You could think of guavas and figs
And the whole marketplace filled
With the sumptuous din of haggling,
But you could not think of Alexandria
Without the sea, or the sea,
Turquoise and shimmering, without
The white city rising before it.

Even on the back streets
You could feel it on your skin,
You could smell it in the aroma
Of dark coffee, spiced meat.

You looked at the sea and you heard
The wail of an Arab woman singing or praying.

If, as I can now, you could point
To the North Atlantic, swollen
And dark as it often is, you might say,
"Here lies Wrath," or "Truly God is great."
You could season a Puritan soul by it.

But you could fall into the Mediterranean
As though you were falling into a blue dream,
Gauzy, half unreal for its loveliness.
It was deceptively calm and luxurious.
At Stanley Bay, you could float
On your back and watch the evening sun
Color the city a faint rose.
You could drown, it was said,
Almost without knowing it.

"Alexandria, 1953" by Gregory Djanikian, from Falling Deeply into America. © Carnegie Mellon University Press, 1989.

From Lesa K. on Facebook

"He is the Paul McCartney of our family: better looking than the rest of us, always facing a different direction in pictures, and occasionally rumored to be dead."

-From Jonathan Tropper's "This is Where I Leave You"

She Dreamed of Cows

by Norah Pollard

Death & Rapture in the Animal Kingdom) --

I knew a woman who washed her hair and bathed
her body and put on the nightgown she'd worn
as a bride and lay down with a .38 in her right hand.
Before she did the thing, she went over her life.
She started at the beginning and recalled everything—
all the shame, sorrow, regret and loss.
This took her a long time into the night
and a long time crying out in rage and grief and disbelief—
until sleep captured her and bore her down.

She dreamed of a green pasture and a green oak tree.
She dreamed of cows. She dreamed she stood
under the tree and the brown and white cows
came slowly up from the pond and stood near her.
Some butted her gently and they licked her bare arms
with their great coarse drooling tongues. Their eyes, wet as
shining water, regarded her. They came closer and began to
press their warm flanks against her, and as they pressed
an almost unendurable joy came over her and
lifted her like a warm wind and she could fly.
She flew over the tree and she flew over the field and
she flew with the cows.

When the woman woke, she rose and went to the mirror.
She looked a long time at her living self.
Then she went down to the kitchen which the sun had made all
yellow, and she made tea. She drank it at the table, slowly,
all the while touching her arms where the cows had licked.

"She Dreamed of Cows" by Norah Pollard, from Death & Rapture in the Animal Kingdom. © Antrim House, 2009.

Not Swans

by Susan Ludvigson

Sweet Confluence) --

I drive toward distant clouds and my mother's dying.
The quickened sky is mercury, it slithers
across the horizon. Against that liquid silence,
a V of birds crosses-sudden and silver.

They tilt, becoming white light as they turn, glitter
like shooting stars arcing slow motion out of the abyss,
not falling.
          Now they look like chips of flint,
the arrow broken.
          I think, This isn't myth-

they are not signs, not souls.
                                        Reaching blue
again, they're ordinary ducks or maybe
Canada geese. Veering away they shoot
into the west, too far for my eyes, aching

as they do.

      Never mind what I said
before. Those birds took my breath. I knew what it meant. 

"Not Swans" by Susan Ludvigson, from Sweet Confluence: New and Selected Poems. © Louisiana State University Press, 2000.

Those who dwell on and long for sense-pleasure Are born in a world of separateness. But let them realize they are the Self And all separateness will fall away.

- Mundaka Upanishad

Whirlpool

by George Bilgere

In the morning, after much delay,
I finally go down to the basement
to replace the broken dryer belt.

First I unbolt the panels
and sweep up the dust mice and crumbling spiders.
I listen to the sounds of the furnace
thinking things over
at the beginning of winter.

Then I stretch out on the concrete floor
with a flashlight in my mouth
to contemplate the mystery
of the pulley-tensioner assembly.

And finally, with a small, keen pleasure,
I slip the new belt over the spindle, rise,
and screw everything back together.

Later, we have a birthday dinner
for my wife's grandmother, who is dying
of bone cancer. Maybe,
if they dial up the chemo, fine tune the meds,
we'll do this again next year.

But she's old, and the cancer
seems to know what it's doing.
Everyone loves her broccoli casserole.
as for the cake, it sits on the table,
a small brown mountain we can't see beyond.

That night I empty the washer,
throw the damp clothes in the dryer.
For half an hour my wife's blouses
wrestle with my shirts
in a hot and whirling ecstasy,

because I replaced an ancient belt
and adjusted the pulley-tensioner assembly. 

"Whirlpool" by George Bilgere. © George Bilgere.

This Longing

by Martin Steingesser

Brothers of Morning) --

                      ... awoke to rain
around 2:30 this morning
thinking of you, because I'd said
only a few days before, this

is what I wanted, to lie with you in the dark
listening how rain sounds
in the tree beside my window,
on the sill, against the glass, damp

cool air on my face. I am loving
fresh smells, light flashes in the
black window, love how you are here
when you're not, knowing we will

lie close, nothing between us; and maybe
it will be still, as now, the longing
that carries us
into each other's arms

asleep, neither speaking
least it all too soon turn to morning, which
it does. Rain softens, low thunder, a car
sloshes past. 

"This Longing" by Martin Steingesser, from Brothers of Morning. © Deerbrook Edition, 2002.

Remember the clear light, the pure clear white light from which everything in the universe comes, to which everything in the universe returns; the original nature of your own mind. The natural state of the universe unmanifest. Let go into the clear light, trust it, merge with it. It is your own true nature, it is home. - Tibetan Book of the Dead

Poem for a grey morning.

A Friend’s Umbrella

by Lawrence Raab

The History of Forgetting) --

Ralph Waldo Emerson, toward the end
of his life, found the names
of familiar objects escaping him.
He wanted to say something about a window, 
or a table, or a book on a table.

But the word wasn't there,
although other words could still suggest
the shape of what he meant.
Then someone, his wife perhaps,

would understand: "Yes, window! I'm sorry,
is there a draft?" He'd nod.
She'd rise. Once a friend dropped by 
to visit, shook out his umbrella
in the hall, remarked upon the rain.

Later the word umbrella
vanished and became
the thing that strangers take away.

Paper, pen, table, book:
was it possible for a man to think
without them? To know 
that he was thinking? We remember
that we forget, he'd written once, 
before he started to forget.

Three times he was told
that Longfellow had died.

Without the past, the present
lay around him like the sea.
Or like a ship, becalmed,
upon the sea. He smiled

to think he was the captain then,
gazing off into whiteness,
waiting for the wind to rise. 

"A Friend's Umbrella" by Lawrence Raab, from The History of Forgetting. © the Penguin Group, 2009.

One night

How long the sun and moon have been turning day and night, just to spend one night with You! - Rumi

Makes me want to read

“It is the hour when the light over the sink,  a fluorescent meant for washing dishes, suddenly usurps the fire of the dying sun...” — Jill Ciment, Heroic Measures

Exiled together

Revelation Must Be Terrible

Revelation must be terrible 
with no time left to say goodbye.

Imagine the moment staring at
the still waters with only the brief tremor of your body 
to say you are leaving everything 
and everyone you know behind.

Being far from home is hard, 
but you know, at least, we 
are exiled together.

When you open your eyes to the world
you are on you own for the first time.

No one is even interested in saving you now
and the world steps in to test the calm fluidity 
of your body from moment to moment,
as if it believed you could join 
its vibrant dance of fire and calmness 
and final stillness...

as if you were meant to be exactly where you are, 
as if like the dark branch of a desert river
you could flow on without a speck of guilt
and everything - everywhere would still be 
just as it should be,
as if your place in the world mattered 
and the world could neither speak nor hear the fullness 
of its own bitter and beautiful cry without the deep well 
of your body resonating in the echo...

knowing that it takes only that one terrible 
word to make the circle complete,
revelation must be terrible 
knowing you can never hide your voice again.

- David Whyte

Breakfast

Terms of Endearment

by Sue Ellen Thompson

The Leaving: New and Selected Poems) --

Sweet biscuit of my life,
I've been thinking of your smile
and how I'd steal a little bite
of it if you were here; of the delights

I've known in the alleyway between
the whitewashed storefronts of your teeth;
of how I've pressed one smithereen
after another of mille-feuille, mousseline

of late-night conversation upon your lips,
forever poised at the brink of kissdom,
their slightest sigh enough to lift
a tableskirt. Perfectest pumpkin

in the patch, your heft on mine
is what I crave, your brows so fine
I could not carve them with a steak knife.
You have the acorn eyes

of the football season, the ass
of an autumn afternoon, of boys en masse
in soccer shorts. Yours is the vast
contained candescence of a Titian under glass,

it is the gold leaf laid
by February sun, the lemonade's 
pale wash in August. Should you fade,
like sun on windowsills crocheted

with shadow, then suddenly gone dark,
your face will leave its watermark
upon this page, which is already part
of love's confection, our little work of art. 

Terms of Endearment" by Sue Ellen Thompson, from The Leaving: New and Selected Poems. © Autumn House Press, 2001.

I Know the Feeling

The Lonely Shoe Lying on the Road

by Muriel Spark

All the Poems of Muriel Spark) --

One sad shoe that someone has probably flung
out of a car or truck. Why only one?

This happens on an average one year
in four. But always throughout my 
life, my travels, I see it like 
a memorandum. Something I have 
forgotten to remember,

            that there are always 
mysteries in life. That shoes
do not always go in pairs, any more
than we do. That one fits;
the other, not. That children can 
thoughtlessly and in a merry fashion
chuck out someone's shoe, split up
someone's life.

            But usually that shoe that I 
see is a man's, old, worn, the sole
parted from the upper.
Then why did the owner keep the other,
keep it to himself? Was he
afraid (as I so often am with 
inanimate objects) to hurt it's feelings?
That one shoe in the road invokes 
my awe and my sad pity. 

"The Lonely Shoe Lying on the Road" by Muriel Spark, from All The Poems of Muriel Spark. © New Directions, 2004. 

Wherever you are is called Here

Lost 
 
Stand still. The trees ahead and bushes beside you
Are not lost. Wherever you are is called Here,
And you must treat it as a powerful stranger,
Must ask permission to know it and be known.
The forest breathes. Listen. It answers,
I have made this place around you,
If you leave it you may come back again, saying Here.
No two trees are the same to Raven.
No two branches are the same to Wren.
If what a tree or a bush does is lost on you,
You are surely lost. Stand still. The forest knows
Where you are. You must let it find you.
 
~ David Wagoner ~

Night Owl

Raccoon crosses road

7 am tail dragging

why out so late, you?

Morning Run

Just round and orange

early orb shines with few hints

of last nights tempest.

Attachment v. Love

We confuse attachment with love. Attachment is concerned with my needs, my happiness, while love is an unselfish attitude, concerned with the needs and happiness of others.... A relationship free of unrealistic grasping is free of disappointment, conflict, jealousy, and other problems, and is fertile ground for the growth of love and wisdom. - Kathleen McDonald, "How to Meditate"

For Snoopy

Thunder bursts on land.

Neighbors Japanese lanterns

dancing "nevermind".

Cool Poem for Today

Farewell to Teaching

by George Johnston

The Essential George Johnston) --

Knowing what I now know
would I have consented
to be born? Next question.
When it comes time to go
will I go forlorn or
contented? Ask again.
Anything in between
should be easier. O
K, what made up my mind
to come to Carleton? Work.
My kind of work was not
easy to come by, I
came by it at Carleton;
it was simple as that
and lucky, plain lucky.
I cannot account for luck
but I can be grateful.
What was my kind of work?
Presumably teaching,
whatever that may be.
Teaching is a kind of
learning, much like loving,
mutual goings-on,
both doing each to each;
mutual forbearance;
life itself, you might say.
Whatever teaching is
did I enjoy it? Yes.
Am I glad to leave it?
Even of life itself
enough is enough. Good-
bye Dow's Lake, goodbye Tower,
essays, papers, exams,
you I can bear to leave.
Bur how shall I improve
the swiftly-dimming hour?
I shall deteriorate
amid bucolic dreams
and gather in my fate;
there's lots worse ways than that.

Goodbye good friends. Alas,
some goodbyes are like death;
they bring the heart to earth
and teach it how to die.
Earth, here we come again,
we're going our to grass.
Think of us now and then,
we'll think of you. Goodbye.