Approaches to How They Behave

By W. S. Graham 1918–1986
1
 
What does it matter if the words
I choose, in the order I choose them in,
Go out into a silence I know
Nothing about, there to be let
In and entertained and charmed
Out of their master’s orders? And yet
I would like to see where they go
And how without me they behave.
 

2
 
Speaking is difficult and one tries
To be exact and yet not to
Exact the prime intention to death.
On the other hand the appearance of things
Must not be made to mean another
Thing. It is a kind of triumph
To see them and to put them down
As what they are. The inadequacy
Of the living, animal language drives
Us all to metaphor and an attempt
To organize the spaces we think
We have made occur between the words.
 

3
 
The bad word and the bad word and
The word which glamours me with some
Quick face it pulls to make me let
It leave me to go across
In roughly your direction, hates
To go out maybe so completely
On another silence not its own.
 

4
 
Before I know it they are out
Afloat in the head which freezes them.
Then I suppose I take the best
Away and leave the others arranged
Like floating bergs to sink a convoy.
 

5
 
One word says to its mate O
I do not think we go together
Are we doing any good here
Why do we find ourselves put down?
The mate pleased to be spoken to
Looks up from the line below
And says well that doubtful god
Who has us here is far from sure
How we on our own tickle the chin
Of the prince or the dame that lets us in.
 

6
 
The dark companion is a star
Very present like a dark poem
Far and unreadable just out
At the edge of this poem floating.
It is not more or less a dark
Companion poem to the poem.
 

7
 
Language is expensive if
We want to strut, busked out
Showing our best on silence.
Good Morning. That is a bonny doing
Of verbs you wear with the celandine
Catching the same sun as mine.
You wear your dress like a prince but
A country’s prince beyond my ken.
Through the chinks in your lyric coat
My ear catches a royal glimpse
Of fuzzed flesh, unworded body.
Was there something you wanted to say?
I myself dress up in what I can
Afford on the broadway. Underneath
My overcoat of the time’s slang
I am fashionable enough wearing
The grave-clothes of my generous masters.
 

8
 
And what are you supposed to say
I asked a new word but it kept mum.
I had secretly admired always
What I thought it was here for.
But I was wrong when I looked it up
Between the painted boards. It said
Something it was never very likely
I could fit in to a poem in my life.
 

9
 
The good word said I am not pressed
For time. I have all the foxglove day
And all my user’s days to give
You my attention. Shines the red
Fox in the digitalis grove.
Choose me choose me. Guess which
Word I am here calling myself
The best. If you can’t fit me in
To lying down here among the fox
Glove towers of the moment, say
I am yours the more you use me. Tomorrow
Same place same time give me a ring.
 

10
 
Backwards the poem’s just as good.
We human angels as we read
Read back as we gobble the words up.
Allowing the poem to represent
A recognizable landscape
Sprouting green up or letting green
With all its weight of love hang
To gravity’s sweet affection,
Arse-versa it is the same object,
Even although the last word seems
To have sung first, or the breakfast lark
Sings up from the bottom of the sea.

 
11
 
The poem is not a string of knots
Tied for a meaning of another time
And county, unreadable, found
By chance. The poem is not a henge
Or Easter Island emerged Longnose
Or a tally used by early unknown
Peoples. The words we breathe and puff
Are our utensils down the dream
Into the manhole. Replace the cover.

 
12
 
The words are mine. The thoughts are all
Yours as they occur behind
The bat of your vast unseen eyes.
These words are as you see them put
Down on the dead-still page. They have
No ability above their station.
Their station on silence is exact.
What you do with them is nobody’s business.

 
13
 
Running across the language lightly
This morning in the hangingover
Whistling light from the window, I
Was tripped and caught into the whole
Formal scheme which Art is.
I had only meant to enjoy
Dallying between the imaginary
And imaginary’s opposite
With a thought or two up my sleeve.
 
 
14
 
Is the word? Yes Yes. But I hear
A sound without words from another
Person I can’t see at my elbow.
A sigh to be proud of. You? Me?
 
 
15
 
Having to construct the silence first
To speak out on I realize
The silence even itself floats
At my ear-side with a character
I have not met before. Hello
Hello I shout but that silence
Floats steady, will not be marked
By an off-hand shout. For some reason
It refuses to be broken now
By what I thought was worth saying.
If I wait a while, if I look out
At the heavy greedy rooks on the wall
It will disperse. Now I construct
A new silence I hope to break.

W. S. Graham, “Approaches to How They Behave” from Selected Poems. Copyright © 1980 by W. S. Graham. Reprinted by permission of The Estate of W.S. Graham.

Source: Selected Poems (Ecco Press, 1980)

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Poet W. S. Graham 1918–1986

POET’S REGION Scotland

Subjects Arts & Sciences, Language & Linguistics, Poetry & Poets, Reading & Books

Poetic Terms Free Verse, Series/Sequence

Biography

W. S. Graham was born to a working-class family in Scotland and grew up in Clydeside, where he worked as an engineer. He traveled to London and New York City, then returned to spend the rest of his adult life in Cornwall where his associates included many of the post-war British artists. Graham's first collection of poetry, Cage without Grievance, was published in 1942. It was followed by The Seven Journeys (1944), 2nd Poems . . .

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Poem Categorization

SUBJECT Arts & Sciences, Language & Linguistics, Poetry & Poets, Reading & Books

POET’S REGION Scotland

Poetic Terms Free Verse, Series/Sequence

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Originally appeared in Poetry magazine.

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