HORSES

When I was a boy here,

traveling the fields for pleasure,

the farms were worked with teams.

As late as then a teamster

was thought an accomplished man,

his art an essential discipline.

A boy learned it by delight

as he learned to use

his body, following the example

of men. The reins of a team

were put into my hands

when I thought the work was play.

And in the corrective gaze

of men now dead I learned

to flesh my will in power

great enough to kill me

should I let it turn.

I learned the other tongue

by which men spoke to beasts

—all its terms and tones.

And by the time I learned,

new ways had changed the time.

The tractors came. The horses

stood in the fields, keepsakes,

grew old, and died. Or were sold

as dogmeat. Our minds received

the revolution of engines, our will

stretched toward the numb endurance

of metal. And that old speech

by which we magnified

our flesh in other flesh

fell dead in our mouths.

The songs of the world died

in our ears as we went within

the uproar of the long syllable

of the motors. Our intent entered

the world as combustion.

Like our travels, our workdays

burned upon the world,

lifting its inwards up

in fire. Veiled in that power

our minds gave up the endless

cycle of growth and decay

and took the unreturning way,

the breathless distance of iron.

But that work, empowered by burning

the world’s body, showed us

finally the world’s limits

and our own. We had then

the life of a candle, no longer

the ever-returning song

among the grassblades and the leaves.

Did I never forget?

Or did I, after years,

remember? To hear that song

again, though brokenly

in the distances of memory,

is coming home. I came to

a farm, some of it unreachable

by machines, as some of the world

will always be. And so

I came to a team, a pair

of mares—sorrels, with white

tails and manes, beautiful!—

to keep my sloping fields.

Going behind them, the reins

tight over their backs as they stepped

their long strides, revived

again on my tongue the cries

of dead men in the living

fields. Now every move

answers what is still.

This work of love rhymes

living and dead. A dance

is what this plodding is,

a song, whatever is said.