A knife blade of cold air keeps prying
the bus window open. The spring country
won’t be shut out. The door to the john
keeps banging. There’re a few of us:
a stale-drunk or stoned woman in torn jeans,
a Spanish-American salesman, and, ahead,
a black woman folded in an overcoat.
Emptiness makes a companionable aura
through the upstate villages—repetitive,
but crucial in their little differences
of fields, wide yards with washing, old machinery—where people live
with the highway’s patience and flat certainty.
Sometimes I feel sometimes
the Muse is leaving, the Muse is leaving America.
Her tired face is tired of iron fields,
its hollows sing the mines of Appalachia,
she is a chalk-thin miner’s wife with knobbled elbows,
her neck tendons taut as banjo strings,
she who was once a freckled palomino with a girl’s mane
galloping blue pastures plinkety-plunkety,
staring down at a tree-stunned summer lake,
when all the corny calendars were true.
The departure comes over me in smoke
from the far factories.
But were the willows lyres, the fanned-out pollard willows
with clear translation of water into song,
were the starlings as heartbroken as nightingales,
whose sorrow piles the looming thunderhead
over the Catskills, what would be their theme?
The spring hills are sun-freckled, the chaste white barns flash
through screening trees the vigour of her dream,
like a white plank bridge over a quarrelling brook.
Clear images! Direct as your daughters
in the way their clear look returns your stare,
unarguable and fatal—
no, it is more sensual.
I am falling in love with America.
I must put the cold small pebbles from the spring
upon my tongue to learn her language,
to talk like birch or aspen confidently.
I will knock at the widowed door
of one of these villages
where she will admit me like a broad meadow,
like a blue space between mountains,
and holding her arms at the broken elbows
brush the dank hair from a forehead
as warm as bread or as a homecoming.
UPSTATE from COLLECTED POEMS 1948-1984 by Derek Walcott. Copyright © 1986 by Derek Walcott. Used by permission of Farrar, Straus and Giroux. https://us.macmillan.com/fsg