Wednesday, November 20, 2013

"TRAVELING THROUGH THE DARK" by William Stafford

TRAVELING THROUGH THE DARK

Traveling through the dark I found a deer
dead on the edge of the Wilson River road.
It is usually best to roll them into the canyon:
that road is narrow; to swerve might make more dead.

By glow of the tail-light I stumbled back of the car
and stood by the heap, a doe, a recent killing;
she had stiffened already, almost cold.
I dragged her off; she was large in the belly.

My fingers touching her side brought me the reason—
her side was warm; her fawn lay there waiting,
alive, still, never to be born.
Beside that mountain road I hesitated.

The car aimed ahead its lowered parking lights;
under the hood purred the steady engine.
I stood in the glare of the warm exhaust turning red;
around our group I could hear the wildnerness listen.

I thought hard for us all—my only swerving—,
then pushed her over the edge into the river.


—William Stafford

"WHAT WORK IS"; By Philip Levine

WHAT WORK IS

By Philip Levine

We stand in the rain in a long line
waiting at Ford Highland Park. For work.
You know what work is--if you're
old enough to read this you know what
work is, although you may not do it.
Forget you. This is about waiting,
shifting from one foot to another.
Feeling the light rain falling like mist
into your hair, blurring your vision
until you think you see your own brother
ahead of you, maybe ten places.
You rub your glasses with your fingers,
and of course it's someone else's brother,
narrower across the shoulders than
yours but with the same sad slouch, the grin
that does not hide the stubbornness,
the sad refusal to give in to
rain, to the hours wasted waiting,
to the knowledge that somewhere ahead
a man is waiting who will say, "No,
we're not hiring today," for any
reason he wants.  You love your brother
now suddenly you can hardly stand
the love flooding you for your brother,
who's not beside you or behind or
ahead because he's home trying to
sleep off a miserable night shift
at Cadillac so he can get up
before noon to study his German.
Works eight hours a night so he can sing
Wagner, the opera you hate most,
the worst music ever invented.
How long has it been since you told him
you loved him, held his wide shoulders,
opened your eyes wide and said those words,
and maybe kissed his cheek? You've never
done something so simple, so obvious,
not because you're too young or too dumb,
not because you're jealous or even mean
or incapable of crying in
the presence of another man, no,

just because you don't know what work is.

TERMS TO KEEP IN MIND

TERMS TO KEEP IN MIND

The “I” of the poem is not the poet but someone who knows a great deal about the poet (Bell)

Narrative and lyric poetry

Prosody—rhythm of the human voice

Sound and rhythm

Image—uses concrete specific language (vs. abstract)

Metaphor or simile (like, as)

Tone and diction

Phrases—prepositional, participial

Chunking—syntactic units that drive the rhythm in a poem

Added or coordinated sentences (paratactic)

Subordinated sentences (hypotactic)

Noun style--nominalizations

Verb style—uses strong verbs

Lexicon—words

Plain colloquial rhetoric or conversational speech—one of American's great accomplishments (Bell)

Monosyllabic (Anglo-Saxon) words of one syllable

Polysyllabic (Latinate) words of more than one syllable

Adjectives are subjective, give evidence of the eye, the I of the poet (e.g., Sylvia Plath's poem)

Form (envelope)

Texture—"invisible stitching"

Stanza

Lineation—lines, linearity

Stress—rhetorical, accentual, or lexical (covered later)

Incantation or repetition

Parallel structure—adds stability

Tension—in a long sentence or in short choppy phrases (but all tension can equal no tension)

1st person singular, simple present tense—gives poem immediacy and strength

Alliteration—assonance and consonance
Sibilance

Rhyme—internal, end, or slant

Enjambment—line runs over (creating an orphaned line)

Caesura—mid-line break; punctuation creates a pause or stop

Anaphora—repeated word or phrase often at the beginning of a line

Kenning—creating a new word, "whistle-clean"

Volta or turn in a poem

Human body—a natural measure
Order and disorder, strain and tension, compression and elaboration— balancing opposites

"I strive for a transparency of surface," Kunitz tells us, "but I should be disappointed if my work yielded all its substance and tonality at first reading:"

"One thing that poems do," Bell reminds us, "is to give a phrase or sentence or thought more meaning. Or to find out how much more it meant all along." '


Carl Dennis recognizes that "the impulse to modify the tradition...is built into the tradition itself."

"TELL ME A STORY"; By Robert Penn Warren

TELL ME A STORY
By Robert Penn Warren

[A]
Long ago, in Kentucky, I, a boy, stood
By a dirt road, in first dark, and heard
The great geese hoot northward.

I could not see them, there being no moon
And the stars sparse. I heard them.

I did not know what was happening in my heart.

It was the season before the elderberry blooms,
Therefore they were going north.

The sound was passing northward.

[B]
Tell me a story.

In this century, and moment, of mania,
Tell me a. story.

Make it a story of great distances, and starlight.

The name of the story will be Time,
But you must not pronounce its name.


Tell me a story of deep delight.

REPLY TO A PERSONAL

REPLY TO A PERSONAL

Dear Beautiful Soul,

I do solemnly swear
what you read is what you get.

Spineless as a jellyfish,
I take more shapes than water,
writhe like a python, have
more selves than the Trinity.

With nothing to hold onto
I clench my fists. Almost
down and out, I can't go back
or ahead. Struggling to stand
on my own two feet,
I constantly waver.

Because I refuse to pick up
the pieces of the past,
I can't map out a future.
With no promises to keep,
I don't know what I'm waiting for.

Too stiff-necked to hang my head,
I'm ashamed to hold it up.
When I plop it on a pillow,
I wrestle against myself,
dark angel I can't pin down.

The nightmare I wake up to
is crazier than my dreams.
As for love, it's a wag without a tale.

In an instant of letting go,
Dad and Mom misconceived.
Since they've tucked in their toes,
I've been trying to forgive them.
Dad bequeathed no mansions,
Mom can't intercede from the grave.

My days are strings of words
ending in Gordian knots.
Crooked my lines, my pages
ungathered, and the book
of me is unbound. Want me?


"DRUGSTORE, 1958"; By Albert Goldbarth

DRUGSTORE, 1958
By Albert Goldbarth

"Just walk right in and demand your
money back." The father makes it sound
as obvious as gravity or the seasons: the boy
 has been shortchanged, the merchant
needs to rectify this, and a heaping of manly
insistence won't hurt; he'll wait
in the car while the boy attends to this mission.

But the boy is not so sure; he's ten and
skittery as a blown leaf in the world's winds.
Maybe he counted wrong, maybe his voice will
stick then squeal, maybe fuss should be priced
higher than a dime And how can a dime be
part of a dollar? He looks back at the car. They
aren't even made of the same material.

Monday, November 4, 2013

"Michico Dead"; by Jack Gilbert

Michiko Dead

Jack Gilbert

He manages like somebody carrying a box
that is too heavy, first with his arms
underneath. When their strength gives out,
he moves the hands forward, hooking them
on the corners, pulling the weight against
his chest. He moves his thumbs slightly
when the fingers begin to tire, and it makes
different muscles take over. Afterward,
he carries it on his shoulder, until the blood
drains out of the arm which is stretched up
to steady the box and the arm goes numb. But now
the man can hold underneath again, so that
he can go on without ever putting the box down.

"The Writer" poetic analysis

The first half is straightforward. His daughter is writing. He's a writer himself, so he knows what's involved with it--how you pour your heart into it. He hears her stop and start and stop and start. With each stop, he, the whole house (he suggests in that image) thinks she may have hit the wall or, in other words, run out of ideas or what she needed to say and ended up frustrated and sad, as we all are (as you are right this minute because you can't understand the poem) with writer's block. 
Now think of the starling (type of bird). He's telling us about something that happened before, literally. A starling got stuck in the bedroom and couldn't get out. They went in and opened the window (the sash) in hopes that the bird would find his way out. Like birds do, he kept banging against things in a panic trying to escape, and each effort left him banged up, bloody, maybe even dead. Then, finally, because he tried again, he found the window. 
Now put the two stories together. The poet's memory of that bird relates to how he's feeling about his daughter and hearing her typing, stopping, trying again. She's trying to express herself with her writing. She's "hitting the wall" as I said before, like the bird. Every now and then, something is stopping her, and the poet doesn't know if she'll be able to start again--if, like the bird, she'll survive this pause and lapse of thought without the frustration and pain of writer's block--and try again to soar through her writing. (Like the bird who finally takes off and makes it out the window and back into the sky.) 
He wants happiness and all things good for his daughter. He could walk in and tell her writing is not worth the heartache or the bother, but because she is typing so fast, he knows she's passionate about what she's trying to do. Instead of saving her the pain of being frustrated, he admires her for the fact that, like the bird, she keeps trying. He knows she's on her way to finding her own version of soaring through the sky through all these hard efforts, and he wishes that for her. 

"The Writer"; poem by Richard Wilbur"

In her room at the prow of the house
Where light breaks, and the windows are tossed with linden,
My daughter is writing a story.

I pause in the stairwell, hearing
From her shut door a commotion of typewriter-keys
Like a chain hauled over a gunwale.

Young as she is, the stuff
Of her life is a great cargo, and some of it heavy:
I wish her a lucky passage.

But now it is she who pauses,
As if to reject my thought and its easy figure.
A stillness greatens, in which

The whole house seems to be thinking,
And then she is at it again with a bunched clamor
Of strokes, and again is silent.

I remember the dazed starling
Which was trapped in that very room, two years ago;
How we stole in, lifted a sash

And retreated, not to affright it;
And how for a helpless hour, through the crack of the door,
We watched the sleek, wild, dark

And iridescent creature
Batter against the brilliance, drop like a glove
To the hard floor, or the desk-top,

And wait then, humped and bloody,
For the wits to try it again; and how our spirits
Rose when, suddenly sure,

It lifted off from a chair-back, 
Beating a smooth course for the right window
And clearing the sill of the world.

It is always a matter, my darling,
Of life or death, as I had forgotten.  I wish
What I wished you before, but harder.

"The Explosion" Poetic Analysis

Background
Philip Larkin wrote this poem in 1969 after hearing of a mining tragedy in the north of
England. He felt great sympathy for the miners and wanted to write this elegy in their
honour.

Summary
On the day of the explosion
Shadows pointed towards the mine where the men worked
The slagheap, the huge pile of dusty, gritty waste generated by mining, seemed to sleep in the
sunshine of the morning.

Note
We know from the title that the poem is about an explosion, now, having read the first
stanza, we know it's an explosion in a coal mine. The repetition of the word 'explosion' in the
first line reinforces the sense of foreboding. The alliteration in the first stanza creates a
gentle, peaceful atmosphere that is at odds with what we know will happen. The repeated 's'
sound is calming and creates a gentle, soothing mood. However, the hint of underlying
danger is created by referring to the slagheap 'sleeping' as if it were a dormant volcano a
drowsy monster. By personifying the pile of coal dust and shale in this way, Larkin adds to
the sense of menace something dangerous is lurking, something is threatening the miners.
The shadows pointing towards the pithead are sinister. This is a very dark image of a sunny
morning; the shadows are perhaps foreshadowing the impending deaths of the miners. The
language of the poem is deliberately casual and informal, 'On the day of the explosion' tells
us of a dramatic event in a deliberately understated way. The event is allowed
to speak for itself; the poet makes no attempt to stir our emotions with strong words. Note
the way the word 'explosion' stands out in the description of a calm, sunny, quiet morning.
There is no other mention of sound; everything is still at this point, even if there is a sense of
dread suggested by the mention of shadows and a sleeping slagheap.

Summary
The men came down the lane in mining boots,
Coughing and swearing and smoking pipes,
Filling the silent morning with noise.

Note
Into this calm, quiet, sunny morning come the miners. They are rough, uneducated men, Aoife O’Driscoll 2008 Page 3

coughing, swearing and ignoring the beauty and silence of the early morning. They have no
idea of their imminent deaths, naturally, but we do and the tension of the poem is mounting
with each stanza.

One of them chased rabbits, he didn't manage to catch them,
He came back with a nest of larks eggs he had found,
He showed them to the others and then put them back safely in the grass.

Note
This is a charming image of one of the young men playfully chasing rabbits and delightedly
showing a nest of eggs to his fellow miners. The details are touching and sweet and the
gentleness and playfulness only make the impending catastrophe more poignant. Although
Larkin is remaining a detached observer in this poem, his sympathy for the miners is clear.
He gives us positive images of them, moving details which bring them to life for us. Note the
use of verbs in this stanza, 'chased', 'lost', 'came', 'showed', 'lodged', all adding the the sense
of movement, of vibrancy and of life. Knowing as we do that this vibrancy, this life will soon
end, we are moved.

Summary
On they walked, bearded men in rough trousers,
Fathers, brothers, several members of the same family, laughing and calling each other by
their nicknames,
Through the tall, open gates to the mine.

Note
The miners pass by, but the word 'passed' is also used to talk of those who have died or
'passed away'. The men belong to a close-knit community, tied together by bonds of family
and friendship. We know this because they are referred to as fathers and brothers and use
nicknames when talking amongst themselves. They pass into the tall gates which may reflect
the gates of heaven or of hell. The gates are 'standing open', almost as if the miners are being
invited to their deaths. They walk through the gates, oblivious.

At noon, the earth shook, cows
Stopped grazing for a second when they sensed it, the sun
Was dimmed as if a scarf was held over it or a heat haze blurred its brightness

Note
The actual explosion is described in a very detached way. There is no mention of the noise,
the pain, the fear, the grief or the horror. Instead, Larkin only tells us that the cows stopped
grazing for a moment when they sensed the vibration and the sun appeared dim. The fact
that the cows continued grazing is proof that life goes on regardless. The sun dimmed
because the dust from the explosion rose into the air and created a haze or smog. It may also
be a reference to the description of Jesus' death in the Bible: the sun darkened when he died,
according to St. Luke. The simple language doesn't take from the emotional impact of the
tragedy, rather, it adds to it. We use our own imaginations to fill the gaps. The miners were
straightforward, simple men and it is only fitting that their deaths should be described in
language they could understand, in language they would find accessible.

Summary
The dead go to heaven to wait for us, they
Are sitting with God in comfort
We will meet them again in heaven

Note
This is a prayer from a funeral service, it may be in italics to emphasise that it is not the
poet's own words being used here but rather a quote from the Bible. It may also be because
Larkin – an agnostic - wants to distance himself slightly from the quote or it may be because
he is highlighting the significance of these words. The quote itself introduces a note of hope
in the midst of despair. The message is a comforting one and brings some solace to the
miners' wives.

Summary
 (These two stanzas run together in meaning so I will treat them as one for the purposes of
the notes.)
It was said that the wives saw these words as plainly as if they were written on the chapel
wall and that they also had a vision of their dead husbands walking towards them,
transfigured into golden images of brightness, larger than life and walking with the sun
glowing behind them, creating a halo of light.
The vision the wives have of their husbands is a glorious one, of men transformed into
heavenly beings, bathed in a golden light and larger than life. The sun, which had been Aoife O’Driscoll 2008 Page 5

dimmed at the moment of their deaths, now shines brighter than ever and surrounds them
with a halo.
One of the men in the vision is holding the eggs. The eggs are unbroken.


Note
There is hope now: the men are born again to a new life in the next world and the tone is
optimistic. It is significant, too, that the poet refers to all the wives as having the vision at the
same time: this strengthens the idea of community which the men shared in the second,
third and fourth stanzas.

This final line is important. The eggs are a symbol of new life, of continuity and of hope for
the future. They are unbroken and they, like the men, have been transformed into something
wonderful, a vision of immortality. Death is not the end.

Theme
The theme of this poem is the triumph of life over death. The men led hard lives and died
horribly yet the main message is one of hope, of a vision of immortality.

Tone
The tone of this poem is detached and impersonal at the start but a clear sense of the poet's
sympathy for the miners emerges as he gives us touching details of their lives. The ending is
optimistic: there is hope for the future.

Features of style
The language in this poem is simple and straightforward, Larkin wanted his poetry to
be accessible to all and deliberately wrote in a way that people could relate to.Even
when the sun itself is dimmed by the explosion, it is 'Scarfed as in a heat-haze', a
simple comparison with no great sense of drama. A scarf is an everyday object; the
poet uses such understated language to great effect. It reinforces the miners' simple
lives and the fact that they were ordinary men doing a difficult job.
The only divergence from this simplistic imagery is the description of the wives'
vision of the men. They are transformed into heavenly beings, larger than life, bathed
in a golden light.
The poem begins quietly, nothing moves until the men appear, they are loud and
active and fill the morning's silence with their talk and their activity.
All is silent and calm again after the explosion.
In the wives' vision, the men are moving again, walking towards them in an echo of
their journey in the earlier part of the poem.
The description of the men in the second, third and fourth stanzas is of larger than
life characters. In the wives' vision, they are actually larger than life; death has not
diminished them.
The eggs are an important symbol of hope, of continuity.
The first five stanzas end with full stops, as if the poet hopes to delay the catastrophe
by slowing down the poem. The pauses add to the sense of tension. The last line
stands alone and in so doing reinforces the hopeful note on which the poem ends.

The Explosion; poem by Philip Larkin

The Explosion

On the day of the explosion
Shadows pointed towards the pithead:
In the sun the slagheap slept.

Down the lane came men in pitboots
Coughing oath-edged talk and pipe-smoke
Shouldering off the freshened silence.

One chased after rabbits; lost them;
Came back with a nest of lark's eggs;
Showed them; lodged them in the grasses.

So they passed in beards and moleskins
Fathers, brothers, nicknames, laughter
Through the tall gates standing open.

At noon there came a tremor; cows
Stopped chewing for a second; sun
Scarfed as in a heat-haze dimmed.

The dead go on before us they
Are sitting in God's house in comfort
We shall see them face to face-

plain as lettering in the chapels
It was said and for a second
Wives saw men of the explosion

Larger than in life they managed-
Gold as on a coin or walking
Somehow from the sun towards them

One showing the eggs unbroken

Wednesday, October 23, 2013

"THE COLONEL", by Carolyn Forche

THE COLONEL
Carolyn Forche
What you have heard is true. I was in his house.
His wife carried a tray of coffee and sugar. His
daughter filed her nails, his son went out for the
night. There were daily papers, pet dogs, a pistol
on the cushion beside him. The moon swung bare
on
its black cord over the house. On the television
was a cop show. It was in English. Broken bottles
were embedded in the walls around the house to
scoop the kneecaps from a man's legs or cut his
hands to lace. On the windows there were gratings
like those in liquor stores. We had dinner, rack of
lamb, good wine, a gold bell was on the table for
calling the maid. The maid brought green mangoes,
salt, a type of bread. I was asked how I enjoyed
the country. There was a brief commercial in Spanish.
His wife took everything away. There was some talk of
how difficult it had become to govern. The parrot said
hello on the terrace. The colonel told it to shut up,
and pushed himself from the table. My friend said to
me with his eyes: say nothing. The colonel returned
with a sack used to
bring groceries home.
He spilled many human ears on
the
table. They were like dried peach halves. There
is no other way to say this. He took one of them in his
hands, shook it in our faces, dropped it into a water
glass. It came alive there. I am tired of fooling around
he said. As for the rights of anyone, tell your people
they can go f--- themselves. He swept the ears to the
floor with his arm and held the last of his wine in the
air. Something for your poetry, no? he said. Some of the
ears on the floor caught this scrap of his voice. Some of
the ears on the floor were pressed to the ground.

May 1978

Tuesday, September 24, 2013

Analysis of : AN OCCURRENCE AT OWL CREEK BRIDGE

ANALYSIS
AN OCCURRENCE AT OWL CREEK BRIDGE
Ambrose Bierce
Ambrose Bierce was an American writer (journalist, satirist, short story writer) who lived from 1842-1914 (or thereabouts, since he disappeared in Mexico somewhere around 1914).  His two best known works are "The Devil's Dictionary" (a dictionary of epic, satirical proportions) and the short story "An Occurrence at Owl Creek Bridge."  However, his works (available at Project Gutenberg) encompass many genres and themes and are entirely worth reading for analysis and pleasure.  In many ways, Ambrose Bierce is what you would get if you crossed Stephen King with Mark Twain.  There is humorous and sometimes biting satire, as well as the sort of terror that makes a story memorable for years and years.  "An Occurrence at Owl Creek Bridge" is of the latter variety.
The story takes place during the Civil War in the United States.  (The reader should note that Bierce, like Hemingway, was not just a keen observer of war, but also a participant.  Bierce fought for the Union Army during the war).  Peyton Farquhar, a Southern gentleman who was not a rebel soldier but nonetheless a slave owner and rebel sympathizer, is standing on Owl Creek Bridge, about to be hanged.  A brief flashback enlightens the reader as to why.  Farquhar, having been visited by a Union soldier in disguise, was lured into trying to sabotage the bridge.  After the flashback, the hanging commences.  As Farquhar begins to fall, the sensation of his death is described.  Then the rope breaks and Farquhar is freed.  He manages to free his hands, remove the noose from his neck, and swim for freedom.  The Union soldiers on the bridge fire at him, but he escapes.  He then wanders through the forest, eventually ending back at his home.  But just as he is about to embrace his wife who has come out to joyfully greet him, Farquhar is snapped back to reality.  He dangles from the bridge in his noose, dead.

There are a multitude of elements to this short story (about 6 pages in length) that make it stand out so much as Bierce's most exemplary piece of serious fiction.  First, and foremost, is the human element.  In this story, Bierce makes Farquhar human and sympathetic to the reader.  He is not described in any terms that make his death seem justified or fair.  He is only 35, good looking, has a "kindly expression," and is married with children.  For whatever reason, Farquhar could not be a soldier, but his convictions are such that he stands behind them and helps in whatever way he can.  In short, Peyton Farquhar is a principled, decent man (even if his principles are wrong).

Peyton's humanity is in direct contrast to the lack of humanity of those about to hang him.  All the Union (referred to as "Federal" in the story) soldiers around him are without character or personality.  They fill the role of shadowy executioners, without conscience or compassion.  They do their duty silently, efficiently.  Bierce even describes two of them as so still and expressionless that they "might have been statues."  Not only is there nothing human about these men, there seems to be nothing human about what they are doing.

This leads to the second element that makes the story striking, which is the duality of emotion.  The reader understands that the Union army is "in the right" as they fight the Civil War, yet Bierce asks the reader to examine how far "right" can go before it becomes "wrong."  The reader wants to sympathize with Farquhar not because Farquhar did anything right or noble, but because Farquhar is the only "human" in the story.  The reader "knows" Farquhar.  The reader feels pity and sympathy for Farquhar.  The reader feels pity and sympathy for Farquhar's wife who will never see her husband again, and his children who will never have their father.  Yet the reader knows that the "statues" are the ones in the right.  Farquhar is a slave owner.  He has tried to sabotage the bridge and prevent the Union army from victory and freeing the slaves.  He is wrong.  But when the reader looks through Farquhar's eyes, is put in touch with Farquhar's emotions, the heartstrings are tugged.  Maybe, just this once, the bad guy can escape, the reader thinks.  Maybe the bad guy isn't quite so bad.

And then the unimaginable happens.  Through some sort of benevolent twist of fate, Farquhar is given the chance to escape.  The reader sees everything with him, feels everything with him.  The bullets that narrowly miss him.  The cannon that misses him.  The sense of desperate struggle as Farquhar pulls himself from the river and begins the voyage home.  This slave owner and rebel abettor has captured the reader's sentiments.  The sympathy that Bierce built up for Farquhar in describing his humanity has spilled over and the reader is taken along for the ride.
Farquhar has been given a reprieve.  Yes, the reader says in agreement with fate, let's go home.

And then, just at the moment of triumphant joy, the reader and Farquhar are snapped back to cruel reality.  There will be no miraculous escape.  There is no second chance for evildoers.  And it is this element of, for lack of a better word, horror that makes the story so captivating.  Bierce has captured the reader through humanity, and now forces the reader to see that humanity in its most horrific form.  Horrific not just because of the cruelty and callousness of death, but horrific because of the glimpse of self this humanity has given the reader.  While the reader sympathizes with Farquhar, the reader feels he or she is on the side of the Union army.  If so, does that then make the reader part of the executioner's party?  Does the reader become one of the statues on the bridge, a mute observer to this ceremony of death?  Does the reader cross the boundary from "right" to "wrong"?  Just like his satirical works, Bierce forces the reader to look just below the surface and question exactly what thoughts and feelings are present and why.  If the reader feels bad, why?  What moral reason is there for that?  But if the reader feels good, why is that?  What moral reason exists for that as well?


If a person easily feels uncomfortable confronting human elements turned against him or herself, Bierce is definitely a writer to avoid.  In very much the same way that Stephen King's early works twisted reality just enough to make the terrifying plausible, so do many of the works of Ambrose Bierce.  "An Occurrence at Owl Creek Bridge" is just such a story.  Are right and wrong variables or absolutes?  Can humans be both right and wrong?  What makes "An Occurrence at Owl Creek Bridge" so chilling is that when the reader is done with it, "Yes" is the only possible answer to both questions.

Biography - Ambrose Bierce 1842-1914

Ambrose Bierce 1842-1914
In 1914, when he was seventy-one, Ambrose Bierce left the United States to report on the Mexican Revolution as an observer with the, rebel army of Pancho Villa.  One month after he arrived he wrote to a friend, "Pray for me—real hard." Shortly afterward Bierce disappeared, never to be seen again, and his mysterious fate has fascinated his biographers and his readers almost as much as the details of his misanthropic life.  Bierce was born the child of poor farmers at Horse Cave Creek, Meigs County, in southeast Ohio.  When he was four his family moved to a farm in Indiana, where he went to school.  His parents' religious fervor left him with a lifelong hatred of faith and piety; his unhappy childhood is partially reflected in his stories filled with deaths, maimings, and the separations of parents, children, and families.

When Bierce was fifteen he went to work as a printer's devil (apprentice) on an antislavery newspaper in Indiana.  Later he attended the Kentucky Military Institute for a year.  And in 1861, with the outbreak of the Civil War, he enlisted in the Union Army.  Bierce served with distinction throughout the war, rising from the rank of private to lieutenant and finally, to the rank of brevet major, He re-enlisted twice and fought in some of the greatest and bloodiest battles of the war: Shiloh, Chickamauga, Lookout Mountain, Missionary Ridge.

Following the war, Bierce went west, first working in the San Francisco Mint but gradually establishing a career as a journalist, polemicist, and fiction writer.  He spent the years from 1872 to 1876 in London, where his slashing brand of journalism won him fame and the title "Bitter Bierce.”  But he returned to California to write for William Randolph Hearst's San Francisco Examiner.  Bierce's writing, especially his fiction, was sardonic and obsessed with death.  It has been said that "Death" was perhaps "his only character".  In fact, the idea of death was not only central to Bierce's writing, it dominated his life.  His early and crucial experiences in the Civil War had brought him face to face with a horrible and futile slaughter that had destroyed his youthful, romantic optimism.  And in his later life Bierce was tortured by personal and professional disasters: friends and relatives fought bitterly with him; became estranged, committed suicide, died tragically.  He grew increasingly cynical and malevolent, his writing vitriolic, filled with invective.

Excerpts from his popular Devil's Dictionary appeared from 1881 to 1906; it was a collection of waspish, witty epigrams and definitions that reflected the tone and flavor of much of his work.  He defined "bride" as "a woman with a fine prospect of happiness behind her"; "Christian" as one who believes that the New Testament is a divinely inspired book admirably suited to the spiritual needs of his neighbor"; "birth" as The first and direst of all disasters." From 1867 until his disappearance, Bierce was a major figure in the development of American literal); realism.  He wrote essays, short stories, and major journalistic pieces.  He was called a 'West Coast Samuel Johnson," and his cynical and scathing newspaper articles were enormously popular But his finest achievement is found in his short stories, tales about men trapped in the labyrinths of endless struggle, blinded by folly and romantic hope, abandoned to ,a cold and brutal providence.

FURTHER READING: Collected Works of Ambrose Bierce, 12 vols., ed.  W.  Neale, 1909-1912; Ambrose Bierce: Skepticism and Dissent, ed.  L.  Berkove, 1980; The Letters of Ambrose Bierce, ed.
B. Pope, 1922, 1967; V.  Starrett, Ambrose Bierce, 1920; C.  Grattan, Bitter Bierce, 1929;
C. McWilliams, Ambrose Bierce: A Biography, 1929, 1967; P.  Fatout, Ambrose Bierce: The Devil's Lexicographer, 1951; P.  Fatout, Ambrose Bierce and the Black.  Hills, 1956; R.  0 'Conner, Ambrose Bierce: A Biography, 1967; M.  Grenander, Ambrose Bierce, 1971; S.  Woodruff, The Short
Stories of Ambrose Bierce, 1964; Critical Essays on Ambrose Bierce, ed.  C.  Davidson, 1982; L.  Berkove, Ambrose Bierce: A Braver Man than Anybody Knew, 1983; C.  Davidson, The Exper­imental Fictions of Ambrose Bierce, 1984; R.  Morris, Ambrose Bierce: Alone in Bad Company, 1995; L.  Berkove, The Moral Art of Ambrose Bierce, 2002; D.  Blume, Ambrose Bierce's Civil­ians and Soldiers in Context, 2004.

TEXT: Thies of Soldiers and Civilians, 1892.

AN OCCURRENCE AT OWL CREEK BRIDGE

AN OCCURRENCE AT OWL CREEK BRIDGE
By
Ambrose Bierce
A man stood upon a railroad bridge in northern Alabama, looking down into the swift water twenty feet below.  The man's hands were behind his back, the wrists bound with a cord.  A rope loosely encircled his neck.  It was attached to a stout cross-timber above his head, and the slack fell to the level of his knees.  Some loose boards laid upon the sleepers1 supporting the metals of the railway supplied a footing for him and his executioners — two private soldiers of the Federal army, directed by .a sergeant, who in civil life may have been a deputy sheriff.  At a short remove upon the same temporary platform was an officer in the uniform of his rank, armed.  He was a captain.  A sentinel at each, end of the bridge stood with his rifle in the position known as "support," that is to say, vertical in front of the left shoulder, the hammer resting on the forearm thrown straight across the chest — a formal and unnatural position, enforcing an erect carriage of the body.  It did not appear to be the duty of these two men to know what was occurring at the center of the bridge; they merely blockaded the two ends of the foot plank which traversed it.
Beyond one of the sentinels, nobody was in sight; the railroad ran straight away into a forest for, a hundred yards, then, curving, was lost to view.  Doubtless there was an outpost farther along.  The other bank of the stream was open ground — a gentle acclivity crowned with a stockade of vertical tree trunks, loop-holed for rifles, with a single embrasure through which protruded, the muzzle of a brass cannon commanding the bridge.  Midway of the slope between bridge and fort were the spectators — a single company of infantry in line, at "parade rest," the butts of the rifles on the ground, the barrels inclining slightly backward against the right shoulder, the hands crossed upon the stock.  A lieutenant stood at the right of the line, the point of his sword upon the ground, his left hand resting upon his right.  Excepting the group of four at the center of the bridge, not a man moved.  The company faced the bridge, staring stonily, motionless.  The sentinels, facing the banks of the stream, might have been statues to adorn the bridge.  The captain stood with folded arms, silent, observing the work of his subordinates, but making no sign.  Death is a dignitary who when he comes announced is to be received with formal manifestations of respect, even by those most familiar with him.  In the code of military etiquette silence and fixity are forms of deference.
The man who was engaged in being hanged was apparently about thirty-five years of age.  He was a civilian, if one might judge from his dress, which was that of a planter.  His features were good — a straight nose, firm mouth, broad forehead, from which his long, dark hair was combed straight back, falling behind his ears to the collar of his well-fitting frock coat.  He wore a mustache and pointed beard, but no whiskers; his eyes were large and dark gray, and had a kindly expression which one would hardly have expected in one whose neck was in the hemp.  Evidently this was no vulgar assassin.  The liberal military code makes provision for hanging many kinds of people, and gentlemen are not excluded.
The preparations being complete, the two private soldiers stepped aside and each drew away the plank upon which he had been standing.  The sergeant turned to the captain, saluted, and placed himself immediately behind that officer, who in turn moved apart one pace.  These movements left the condemned man and the sergeant standing on the two ends of the same plank, which spanned three of the crossties of the bridge.  The end upon which the civilian stood almost, but not quite reached a fourth.  This plank had been held in place by the weight of the captain; it was now held by that of the sergeant.  At a signal from the former, the latter would step aside, the plank would tilt, and the condemned man go down between two ties.  The arrangement commended itself to his judgment as simple and effective.  His face had not been covered nor his eyes bandaged.  He looked a moment at his "unsteadfast footing," then let his gaze wander to the swirling water of the stream racing madly beneath his feet.  A piece of dancing driftwood caught his attention and his eyes followed it down the current.  How slowly it appeared to move! What a sluggish stream.
He closed his eyes in order to fix his last thoughts upon his wife and children.  The water; touched to gold by the early sun, the brooding mists under the banks at some distance down the stream, the fort, the soldiers, the piece of drift — all had distracted him.  And now he became conscious of a new disturbance.  Striking through the thought of his dear ones was a sound which he could neither ignore nor understand, a sharp; distinct, metallic percussion like the stroke of a blacksmith's hammer upon the anvil; it had the same ringing quality.  He wondered what it was, and whether immeasurably distant or nearby — it seemed both.  Its recurrence was regular, but as slow as the tolling of a death knell.  He awaited each stroke with impatience and — he knew not why — apprehension.  The intervals of silence grew progressively longer; the delays became maddening.  With their greater infrequency the sounds increased in strength and sharpness.  They hurt his ear like the thrust of a knife; he feared he would shriek.  What he heard was the ticking of his watch.
He unclosed his eyes and saw again the water below him.  "If I could free my hands," he thought, "I might throw off the noose and spring into the stream.  By diving I could evade the bullets, and, swimming vigorously, reach the bank, take to the woods, and get away home.  My home, thank God; is as yet outside their lines; my wife and little ones are still beyond the invader's farthest advance."
As these thoughts, which have here to be set down in words, were flashed into the doomed man's brain rather than evolved from it, the captain nodded to the sergeant.  The sergeant stepped aside.
Peyton Farquhar was a well-to-do planter of an old and highly respected Alabama family.  Being a slave owner and like other slave owners a politician, he was naturally an original secessionist and ardently devoted to the Southern cause.  Circumstances of an imperious nature, which it is unnecessary to relate here, had prevented him from taking service with the gallant army which had fought the disastrous campaigns ending with the fall of Corinth,2 and he chafed under the inglorious restraint, longing for the release of his energies, the larger life of the soldier, the opportunity for distinction.  That opportunity, he felt, would come, as it comes to all in war time.  Meanwhile he did what he could.  No service was too humble for him to perform in aid of the South, no adventure too perilous for him to undertake if consistent with the character of a civilian who was at heart a soldier, and who in good faith and without too much qualification assented to at least a part of the frankly villainous dictum that all is fair in love and war.
One evening while Farquhar and his wife were sitting on a rustic bench near the entrance to his grounds, a gray-clad soldier3 rode up to the gate and asked for a drink of water.  Mrs. Farquhar was only too happy to serve him with her own white hands.  While she was gone to fetch the water, her husband approached the dusty horseman and inquired eagerly for news from the front.
"The Yanks are repairing the railroads," said the man, "and are getting ready for another advance.  They have reached the Owl Creek Bridge, put it in order, and built a stockade on the north bank.  The commandant has issued an order, which is posted everywhere, declaring that any civilian caught interfering with the railroad, its bridges, tunnels, or trains will be summarily hanged.  I saw the order"
"How far is it to the Owl Creek bridge?",  Farquhar asked...
"About thirty miles."
"Is there no force on this side the creek?"
"Only a picket post half a mile out, on the railroad, and a single sentinel at this end of the bridge."
"Suppose a man — a civilian and student of hanging — should elude the picket post and perhaps get the better of the sentinel," said Farquhar, smiling, "what could he accomplish?"
The soldier reflected.  "I was there a month ago," he replied.  "I observed that the flood of last winter had lodged a great quantity of driftwood against the wooden pier at this end of the bridge.  It is now dry and would burn like tow."
The lady had now brought the water, which the soldier drank.  He, thanked her ceremoniously, bowed to her husband, and rode away.  An hour later, after nightfall, he re-passed the plantation, going northward in the direction from which he had come.  He was a Federal scout.
As Peyton Farquhar fell straight downward through the bridge he lost consciousness and was as one already dead.  From this state he was awakened — ages later, it seemed to him — by the pain of a sharp pressure upon his throat, followed by a sense of suffocation.  Keen, poignant agonies seemed to shoot from his neck downward through every fiber of his body and limbs.  These pains appeared to flash along well-defined lines of ramification and to beat with an inconceivably rapid periodicity.  They seemed like streams of pulsating fire heating him to an intolerable temperature.  As to his head, he was conscious of nothing but a feeling of fullness — of congestion.  These sensations were unaccompanied by thought.  The intellectual part of his nature was already effaced; he had power only to feel, and feeling was torment.  He was conscious of motion.  Encompassed in a luminous cloud, of which he was now merely the fiery heart, without material substance, he swung through unthinkable arcs of oscillation, like a vast pendulum.  Then all at once, with terrible suddenness, the light about him shot upward with the noise of a loud plash; a frightful roaring was in his ears, and all was cold and dark.  The power of thought was restored; he knew that the rope had broken and he had fallen into the stream.  There was no additional strangulation; the noose about his neck was already suffocating him and kept the water from his lungs.  To die of hanging at the bottom of a river! — the idea seemed to him ludicrous.  He opened his eyes in the darkness and saw above him a gleam of light, but how distant, how inaccessible!  He was still sinking, for the light became fainter and fainter until it was a mere glimmer.  Then it began to grow and brighten, and he knew that he was rising toward the surface — knew it with reluctance, for he was now very comfortable.  "To be hanged and drowned," he thought, "that is not so bad; but I do not wish to be shot." No, I will not be shot, that is not fair."
He was not conscious of an effort, but a sharp pain in his wrist apprised him that he was trying to free his hands.  He gave the struggle his attention, as an idler might observe the feat of a juggler, without interest in the outcome.  What splendid effort! — what magnificent, what super-human strength!  Ah, that was a fine endeavor! Bravo!  The cord fell away; his arms parted and floated upward, the hands dimly seen on each side in the growing light.  He watched them with a new interest as first one and then the other pounced upon the noose at his neck.  They tore it away and thrust it fiercely aside, its undulations resembling those of a water snake.  "Put it back, put it back!" He thought he shouted these words to his hands, for the undoing of the noose had been succeeded by the direst pang that he had yet experienced.  His neck ached horribly; his brain was on fire; his heart, which had been fluttering faintly, gave a great leap, trying to force itself out at his mouth.  His whole body was racked and wrenched with an insupportable anguish!  But his disobedient hands gave no heed to the command.  They beat the water vigorously with quick, downward strokes, forcing him to the surface.  He felt his head emerge; his eyes were blinded by the sunlight; his chest expanded convulsively, and with a supreme and crowning agony his lungs engulfed a great draught of air, which instantly he expelled in a shriek!

He was now in full possession of his physical senses.  They were, indeed, preternaturally keen and alert.  Something in the awful disturbance of his organic system had so exalted and refined them that they made record of things never before perceived.  He felt the ripples upon his face and heard their separate sounds as they struck.  He looked at the forest on the bank of the stream, saw the individual trees, the leaves and the veining of each leaf — saw the very insects upon them: the locusts, the brilliant-bodied flies, the gray spiders stretching their webs from twig to twig: He noted the prismatic colors in all the dewdrops upon a million blades of grass.  The humming of the gnats that danced above the eddies of the stream, the beating of the dragonflies' wings, the strokes of the water spiders' legs, like oars which had lifted their boat — all these made audible music.  A fish slid along beneath his eyes and he heard the rush of its body parting the water.
He had come to the surface facing down the stream; in a moment the visible world seemed to wheel slowly round, himself the pivotal point, and he saw the bridge, the fort, the soldiers upon the bridge, the captain, the sergeant, the two privates, his executioners.  They were in silhouette against the blue sky.  They shouted and gesticulated, pointing at him.  The captain had drawn his pistol, but did not fire; the others were unarmed.  Their movements were grotesque and horrible, their forms gigantic.

Suddenly he heard a sharp report and something struck the water smartly within a few inches of his head, spattering his face with spray.  He heard the second re­port, and saw one of the sentinels with his rifle at his shoulder, a light cloud of blue smoke rising from the muzzle.  The man in the water saw the eye of the man on the bridge gazing into his own, through the sights of the rifle.  He observed that it was a gray eye and remembered having read that gray eyes were keenest, and that all famous marksmen had them.  Nevertheless, this one had missed.

A counterswirl had caught Farquhar and turned him half round; he was again looking into the forest on the bank opposite the fort.  The sound of a clear, high voice in a monotonous singsong now rang out behind him and came across the water with distinctness that pierced and subdued all other sounds, even the beating of the ripples in his ears.  Although no soldier, he had frequented camps enough to know the dread significance of that deliberate, drawling, aspirated chant; the lieutenant on shore was taking part in the morn­ing's work.  How coldly and pitilessly — with what an even, calm intonation, presaging and enforcing tranquillity in the men — with what accurately measured intervals fell those cruel words: "Attention, company! — —  Shoulder arms! — — — Ready! — — — Aim! — — — Fire!"

Farquhar dived — dived as deeply as he could.  The water roared in his ears like the voice of Niagara, yet he heard the dulled thunder of the volley and, ris­ing again toward the surface, met shining bits of metal, singularly flattened, oscillating slowly downward.  Some of them touched him on the face and hands, then fell away, continuing their descent.  One lodged between his collar and his .neck; it was uncomfortably warm and he snatched it out.
As he rose to the surface, gasping for breath, he saw that he had been a long time under water; he was perceptibly farther downstream — nearer to safety.  The soldiers had almost finished reloading; the metal ramrods flashed all at once in the sunshine as they were drawn from the barrels, turned in the air, and thrust into their sockets.  The two sentinels fired again, independently and ineffectually.
The hunted man saw all this over his shoulder; he was now swimming vigorously with the current.  His brain was as energetic as his arms and legs; he thought with the rapidity of lightning.

"The officer," he reasoned, "will not make that martinet's error a second time It is as easy to dodge a volley as a single shot.  He has probably already given the command to fire at will.  God help me, I cannot dodge them all!"

An appalling plash within two yards of him was followed by a loud, rushing sound, diminuendo,4 which seemed to travel back through the air to the fort and died in an explosion which stirred the very river to its deeps!  Arising sheet of water, which curved over him, fell down upon him, blinded him, strangled him!  The cannon had taken a hand in the game.  As he shook his head free from the commotion of the smitten water, he heard the deflected shot hum­ming through the air ahead, and in an instant it was cracking and smashing the branches in the forest beyond.

"They will not do that again," he thought; "the next time they will use a charge of grape.' I must keep my eye upon the gun; the smoke will apprise me — the report arrives too late; it lags behind the missile.  That is a good gun."

Suddenly he felt himself whirled round and round — spinning like a top.  The water, the banks, the forests, the now distant bridge, fort, and men — all were commingled and blurred.  Objects were represented by their colors only; circular horizontal streaks of color — that was all he saw.  He had been caught in a vortex and was being whirled on with a velocity of advance and gyration which made him giddy and sick.  In a few moments he was flung upon the gravel at the foot of the left bank of the stream — the southern bank — and behind a projecting point which concealed him from his enemies.  The sudden arrest of his motion, the abrasion of one of his hands on the gravel, restored him, and he wept with delight.  He dug his fingers into the sand, threw it over himself in handfuls, and audibly blessed it.  It looked like gold, like diamonds, rubies, emeralds; he could think of nothing beautiful which it did not resemble.  The trees upon the bank were giant garden plants; he noted a definite order in their arrangement, inhaled the fragrance of their blooms.  A strange, roseate light shone through the spaces among their trunks and the wind made in their branches the music of aeolian harps.6 He had no wish to perfect his escape — was content to remain in that enchanting spot until retaken.

A whiz and rattle of grapeshot among the branches high above his head roused him from his dream.  The baffled cannoneer had fired him a random farewell.  He sprang to his feet, rushed up the sloping bank, and plunged into the forest.
All that day he traveled, laying his course by the rounding sun.  The forest seemed interminable; nowhere did he discover a break in it, not even a woodman's road.  He had not known that he lived in so wild a region.  There was something uncanny in the revelation.

By nightfall he was fatigued, foot sore, famishing.  The thought of his wife and children urged him on.  At last he found a road which led him in what he knew to be the right direction.  It was wide and straight as a city street, yet it seemed untraveled.  No fields bordered it, no dwelling anywhere.  Not so much as the barking of a dog suggested human habitation.  The black bodies of the great trees formed a straight wall on both sides, terminating on the horizon in a point, like a diagram in a lesson in perspective.  Overhead, as he looked up through this rift in the wood, shone great golden stars looking unfamiliar and grouped in strange constellations.  He was sure they were arranged in some order which had a secret and malign significance.  The wood on either side was full of singular noises, among which — once, twice, and again — he distinctly heard whispers in an unknown tongue.

His neck was in pain and lifting his hand to it he found it horribly swollen.  He knew that it had a circle of black where the rope had bruised it.  His eyes felt congested; he could no longer close them.  His tongue was swollen with thirst; he relieved its fever by thrusting it forward from between his teeth into the cool air.  How softly the turf had carpeted the untraveled avenue — he could no longer feel the roadway beneath his feet!

Doubtless, despite his suffering, he had fallen asleep while walking, for now he sees another sceneperhaps he has merely recovered from a delirium.  He stands at the gate of his own home.  All is as he left it, and all bright and beautiful in the morning sunshine.  He must have traveled the entire night.  As he pushes open the gate and passes up the wide white walk, he sees a flutter of female garments; his wife, looking fresh and cool and sweet, steps down from the veranda to meet him.  At the bottom of the steps she stands waiting, with a smile of ineffable joy, an attitude of matchless grace and dignity.  Ah, how beautiful she is! He springs forward with extended arms.  As he is about to clasp her, he feels a stunning blow upon the back of the neck; a blinding white light blazes all about him with a sound like the shock of a cannon — then all is darkness and silence!

Peyton Farquhar was dead; his body, with a broken neck, swung gently from side to side beneath the timbers of the Owl Creek Bridge.

1  Ties, wooden beams to which railroad tracks are attached.
2  Corinth; Mississippi, occupied by Union forces in May, 1880.
3  Dressed in the gray uniform of a Confederate soldier.
4  Italian: diminishing in volume.
Grapeshot, a cluster of iron balls fired from a cannon.

Stringed instruments that sound when exposed to the wind.