Trees, and Other Poems

By Joyce Kilmer

The Project Gutenberg EBook of Trees and Other Poems, by Joyce Kilmer

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org


Title: Trees and Other Poems

Author: Joyce Kilmer

Posting Date: July 12, 2008 [EBook #263]
Release Date: May, 1995

Language: English


*** START OF THIS PROJECT GUTENBERG EBOOK TREES AND OTHER POEMS ***




Produced by A. Light





TREES AND OTHER POEMS

by Joyce Kilmer

[Alfred Joyce Kilmer, American
(New Jersey & New York) Poet -- 1886-1918.]


Edition of 1914.



[A number of these poems originally appeared in various periodicals.]





TREES AND OTHER POEMS


     "Mine is no horse with wings, to gain
      The region of the Spheral chime;
     He does but drag a rumbling wain,
      Cheered by the coupled bells of rhyme."

                              Coventry Patmore




To My Mother



     Gentlest of critics, does your memory hold
      (I know it does) a record of the days
      When I, a schoolboy, earned your generous praise
     For halting verse and stories crudely told?
     Over these childish scrawls the years have rolled,
      They might not know the world's unfriendly gaze;
      But still your smile shines down familiar ways,
     Touches my words and turns their dross to gold.

     More dear to-day than in that vanished time
      Comes your nigh praise to make me proud and strong.
     In my poor notes you hear Love's splendid chime,
      So unto you does this, my work belong.
     Take, then, a little gift of fragile rhyme:
      Your heart will change it to authentic song.




Contents

     The Twelve-Forty-Five
     Pennies
     Trees
     Stars
     Old Poets
     Delicatessen
     Servant Girl and Grocer's Boy
     Wealth
     Martin
     The Apartment House
     As Winds That Blow Against A Star
     St. Laurence
     To A Young Poet Who Killed Himself
     Memorial Day
     The Rosary
     Vision
     To Certain Poets
     Love's Lantern
     St. Alexis
     Folly
     Madness
     Poets
     Citizen of the World
     To a Blackbird and His Mate Who Died in the Spring
     The Fourth Shepherd
     Easter
     Mount Houvenkopf
     The House with Nobody in It
     Dave Lilly
     Alarm Clocks
     Waverley





TREES AND OTHER POEMS




The Twelve-Forty-Five

     (For Edward J. Wheeler)



     Within the Jersey City shed
     The engine coughs and shakes its head,
     The smoke, a plume of red and white,
     Waves madly in the face of night.
     And now the grave incurious stars
     Gleam on the groaning hurrying cars.
     Against the kind and awful reign
     Of darkness, this our angry train,
     A noisy little rebel, pouts
     Its brief defiance, flames and shouts --
     And passes on, and leaves no trace.
     For darkness holds its ancient place,
     Serene and absolute, the king
     Unchanged, of every living thing.
     The houses lie obscure and still
     In Rutherford and Carlton Hill.
     Our lamps intensify the dark
     Of slumbering Passaic Park.
     And quiet holds the weary feet
     That daily tramp through Prospect Street.
     What though we clang and clank and roar
     Through all Passaic's streets?  No door
     Will open, not an eye will see
     Who this loud vagabond may be.
     Upon my crimson cushioned seat,
     In manufactured light and heat,
     I feel unnatural and mean.
     Outside the towns are cool and clean;
     Curtained awhile from sound and sight
     They take God's gracious gift of night.
     The stars are watchful over them.
     On Clifton as on Bethlehem
     The angels, leaning down the sky,
     Shed peace and gentle dreams.  And I --
     I ride, I blasphemously ride
     Through all the silent countryside.
     The engine's shriek, the headlight's glare,
     Pollute the still nocturnal air.
     The cottages of Lake View sigh
     And sleeping, frown as we pass by.
     Why, even strident Paterson
     Rests quietly as any nun.
     Her foolish warring children keep
     The grateful armistice of sleep.
     For what tremendous errand's sake
     Are we so blatantly awake?
     What precious secret is our freight?
     What king must be abroad so late?
     Perhaps Death roams the hills to-night
     And we rush forth to give him fight.
     Or else, perhaps, we speed his way
     To some remote unthinking prey.
     Perhaps a woman writhes in pain
     And listens -- listens for the train!
     The train, that like an angel sings,
     The train, with healing on its wings.
     Now "Hawthorne!" the conductor cries.
     My neighbor starts and rubs his eyes.
     He hurries yawning through the car
     And steps out where the houses are.
     This is the reason of our quest!
     Not wantonly we break the rest
     Of town and village, nor do we
     Lightly profane night's sanctity.
     What Love commands the train fulfills,
     And beautiful upon the hills
     Are these our feet of burnished steel.
     Subtly and certainly I feel
     That Glen Rock welcomes us to her
     And silent Ridgewood seems to stir
     And smile, because she knows the train
     Has brought her children back again.
     We carry people home -- and so
     God speeds us, wheresoe'er we go.
     Hohokus, Waldwick, Allendale
     Lift sleepy heads to give us hail.
     In Ramsey, Mahwah, Suffern stand
     Houses that wistfully demand
     A father -- son -- some human thing
     That this, the midnight train, may bring.
     The trains that travel in the day
     They hurry folks to work or play.
     The midnight train is slow and old
     But of it let this thing be told,
     To its high honor be it said
     It carries people home to bed.
     My cottage lamp shines white and clear.
     God bless the train that brought me here.




Pennies



     A few long-hoarded pennies in his hand
     Behold him stand;
     A kilted Hedonist, perplexed and sad.
     The joy that once he had,
     The first delight of ownership is fled.
     He bows his little head.
     Ah, cruel Time, to kill
     That splendid thrill!

     Then in his tear-dimmed eyes
     New lights arise.
     He drops his treasured pennies on the ground,
     They roll and bound
     And scattered, rest.
     Now with what zest
     He runs to find his errant wealth again!

     So unto men
     Doth God, depriving that He may bestow.
     Fame, health and money go,
     But that they may, new found, be newly sweet.
     Yea, at His feet
     Sit, waiting us, to their concealment bid,
     All they, our lovers, whom His Love hath hid.

     Lo, comfort blooms on pain, and peace on strife,
      And gain on loss.
     What is the key to Everlasting Life?
      A blood-stained Cross.




Trees

     (For Mrs. Henry Mills Alden)



     I think that I shall never see
     A poem lovely as a tree.

     A tree whose hungry mouth is prest
     Against the earth's sweet flowing breast;

     A tree that looks at God all day,
     And lifts her leafy arms to pray;

     A tree that may in Summer wear
     A nest of robins in her hair;

     Upon whose bosom snow has lain;
     Who intimately lives with rain.

     Poems are made by fools like me,
     But only God can make a tree.




Stars

     (For the Rev. James J. Daly, S. J.)



     Bright stars, yellow stars, flashing through the air,
     Are you errant strands of Lady Mary's hair?
     As she slits the cloudy veil and bends down through,
     Do you fall across her cheeks and over heaven too?

     Gay stars, little stars, you are little eyes,
     Eyes of baby angels playing in the skies.
     Now and then a winged child turns his merry face
     Down toward the spinning world -- what a funny place!

     Jesus Christ came from the Cross (Christ receive my soul!)
     In each perfect hand and foot there was a bloody hole.
     Four great iron spikes there were, red and never dry,
     Michael plucked them from the Cross and set them in the sky.

     Christ's Troop, Mary's Guard, God's own men,
     Draw your swords and strike at Hell and strike again.
     Every steel-born spark that flies where God's battles are,
     Flashes past the face of God, and is a star.




Old Poets

     (For Robert Cortez Holliday)



     If I should live in a forest
      And sleep underneath a tree,
     No grove of impudent saplings
      Would make a home for me.

     I'd go where the old oaks gather,
      Serene and good and strong,
     And they would not sigh and tremble
      And vex me with a song.

     The pleasantest sort of poet
      Is the poet who's old and wise,
     With an old white beard and wrinkles
      About his kind old eyes.

     For these young flippertigibbets
      A-rhyming their hours away
     They won't be still like honest men
      And listen to what you say.

     The young poet screams forever
      About his sex and his soul;
     But the old man listens, and smokes his pipe,
      And polishes its bowl.

     There should be a club for poets
      Who have come to seventy year.
     They should sit in a great hall drinking
      Red wine and golden beer.

     They would shuffle in of an evening,
      Each one to his cushioned seat,
     And there would be mellow talking
      And silence rich and sweet.

     There is no peace to be taken
      With poets who are young,
     For they worry about the wars to be fought
      And the songs that must be sung.

     But the old man knows that he's in his chair
      And that God's on His throne in the sky.
     So he sits by the fire in comfort
      And he lets the world spin by.




Delicatessen



     Why is that wanton gossip Fame
      So dumb about this man's affairs?
     Why do we titter at his name
      Who come to buy his curious wares?

     Here is a shop of wonderment.
      From every land has come a prize;
     Rich spices from the Orient,
      And fruit that knew Italian skies,

     And figs that ripened by the sea
      In Smyrna, nuts from hot Brazil,
     Strange pungent meats from Germany,
      And currants from a Grecian hill.

     He is the lord of goodly things
      That make the poor man's table gay,
     Yet of his worth no minstrel sings
      And on his tomb there is no bay.

     Perhaps he lives and dies unpraised,
      This trafficker in humble sweets,
     Because his little shops are raised
      By thousands in the city streets.

     Yet stars in greater numbers shine,
      And violets in millions grow,
     And they in many a golden line
      Are sung, as every child must know.

     Perhaps Fame thinks his worried eyes,
      His wrinkled, shrewd, pathetic face,
     His shop, and all he sells and buys
      Are desperately commonplace.

     Well, it is true he has no sword
      To dangle at his booted knees.
     He leans across a slab of board,
      And draws his knife and slices cheese.

     He never heard of chivalry,
      He longs for no heroic times;
     He thinks of pickles, olives, tea,
      And dollars, nickles, cents and dimes.

     His world has narrow walls, it seems;
      By counters is his soul confined;
     His wares are all his hopes and dreams,
      They are the fabric of his mind.

     Yet -- in a room above the store
      There is a woman -- and a child
     Pattered just now across the floor;
      The shopman looked at him and smiled.

     For, once he thrilled with high romance
      And tuned to love his eager voice.
     Like any cavalier of France
      He wooed the maiden of his choice.

     And now deep in his weary heart
      Are sacred flames that whitely burn.
     He has of Heaven's grace a part
      Who loves, who is beloved in turn.

     And when the long day's work is done,
      (How slow the leaden minutes ran!)
     Home, with his wife and little son,
      He is no huckster, but a man!

     And there are those who grasp his hand,
      Who drink with him and wish him well.
     O in no drear and lonely land
      Shall he who honors friendship dwell.

     And in his little shop, who knows
      What bitter games of war are played?
     Why, daily on each corner grows
      A foe to rob him of his trade.

     He fights, and for his fireside's sake;
      He fights for clothing and for bread:
     The lances of his foemen make
      A steely halo round his head.

     He decks his window artfully,
      He haggles over paltry sums.
     In this strange field his war must be
      And by such blows his triumph comes.

     What if no trumpet sounds to call
      His armed legions to his side?
     What if, to no ancestral hall
      He comes in all a victor's pride?

     The scene shall never fit the deed.
      Grotesquely wonders come to pass.
     The fool shall mount an Arab steed
      And Jesus ride upon an ass.

     This man has home and child and wife
      And battle set for every day.
     This man has God and love and life;
      These stand, all else shall pass away.

     O Carpenter of Nazareth,
      Whose mother was a village maid,
     Shall we, Thy children, blow our breath
      In scorn on any humble trade?

     Have pity on our foolishness
      And give us eyes, that we may see
     Beneath the shopman's clumsy dress
      The splendor of humanity!




Servant Girl and Grocer's Boy



     Her lips' remark was:  "Oh, you kid!"
     Her soul spoke thus (I know it did):

     "O king of realms of endless joy,
     My own, my golden grocer's boy,

     I am a princess forced to dwell
     Within a lonely kitchen cell,

     While you go dashing through the land
     With loveliness on every hand.

     Your whistle strikes my eager ears
     Like music of the choiring spheres.

     The mighty earth grows faint and reels
     Beneath your thundering wagon wheels.

     How keenly, perilously sweet
     To cling upon that swaying seat!

     How happy she who by your side
     May share the splendors of that ride!

     Ah, if you will not take my hand
     And bear me off across the land,

     Then, traveller from Arcady,
     Remain awhile and comfort me.

     What other maiden can you find
     So young and delicate and kind?"

     Her lips' remark was:  "Oh, you kid!"
     Her soul spoke thus (I know it did).




Wealth

     (For Aline)



     From what old ballad, or from what rich frame
      Did you descend to glorify the earth?
     Was it from Chaucer's singing book you came?
      Or did Watteau's small brushes give you birth?

     Nothing so exquisite as that slight hand
      Could Raphael or Leonardo trace.
     Nor could the poets know in Fairyland
      The changing wonder of your lyric face.

     I would possess a host of lovely things,
      But I am poor and such joys may not be.
     So God who lifts the poor and humbles kings
      Sent loveliness itself to dwell with me.




Martin



     When I am tired of earnest men,
      Intense and keen and sharp and clever,
     Pursuing fame with brush or pen
      Or counting metal disks forever,
     Then from the halls of Shadowland
      Beyond the trackless purple sea
     Old Martin's ghost comes back to stand
      Beside my desk and talk to me.

     Still on his delicate pale face
      A quizzical thin smile is showing,
     His cheeks are wrinkled like fine lace,
      His kind blue eyes are gay and glowing.
     He wears a brilliant-hued cravat,
      A suit to match his soft grey hair,
     A rakish stick, a knowing hat,
      A manner blithe and debonair.

     How good that he who always knew
      That being lovely was a duty,
     Should have gold halls to wander through
      And should himself inhabit beauty.
     How like his old unselfish way
      To leave those halls of splendid mirth
     And comfort those condemned to stay
      Upon the dull and sombre earth.

     Some people ask:  "What cruel chance
      Made Martin's life so sad a story?"
     Martin?  Why, he exhaled romance,
      And wore an overcoat of glory.
     A fleck of sunlight in the street,
      A horse, a book, a girl who smiled,
     Such visions made each moment sweet
      For this receptive ancient child.

     Because it was old Martin's lot
      To be, not make, a decoration,
     Shall we then scorn him, having not
      His genius of appreciation?
     Rich joy and love he got and gave;
      His heart was merry as his dress;
     Pile laurel wreaths upon his grave
      Who did not gain, but was, success!




The Apartment House



     Severe against the pleasant arc of sky
      The great stone box is cruelly displayed.
      The street becomes more dreary from its shade,
     And vagrant breezes touch its walls and die.
     Here sullen convicts in their chains might lie,
      Or slaves toil dumbly at some dreary trade.
      How worse than folly is their labor made
     Who cleft the rocks that this might rise on high!

     Yet, as I look, I see a woman's face
      Gleam from a window far above the street.
     This is a house of homes, a sacred place,
      By human passion made divinely sweet.
     How all the building thrills with sudden grace
      Beneath the magic of Love's golden feet!




As Winds That Blow Against A Star

     (For Aline)



     Now by what whim of wanton chance
      Do radiant eyes know sombre days?
     And feet that shod in light should dance
      Walk weary and laborious ways?

     But rays from Heaven, white and whole,
      May penetrate the gloom of earth;
     And tears but nourish, in your soul,
      The glory of celestial mirth.

     The darts of toil and sorrow, sent
      Against your peaceful beauty, are
     As foolish and as impotent
      As winds that blow against a star.




St. Laurence



     Within the broken Vatican
      The murdered Pope is lying dead.
     The soldiers of Valerian
      Their evil hands are wet and red.

     Unarmed, unmoved, St. Laurence waits,
      His cassock is his only mail.
     The troops of Hell have burst the gates,
      But Christ is Lord, He shall prevail.

     They have encompassed him with steel,
      They spit upon his gentle face,
     He smiles and bleeds, nor will reveal
      The Church's hidden treasure-place.

     Ah, faithful steward, worthy knight,
      Well hast thou done.  Behold thy fee!
     Since thou hast fought the goodly fight
      A martyr's death is fixed for thee.

     St. Laurence, pray for us to bear
      The faith which glorifies thy name.
     St. Laurence, pray for us to share
      The wounds of Love's consuming flame.




To A Young Poet Who Killed Himself



     When you had played with life a space
      And made it drink and lust and sing,
     You flung it back into God's face
      And thought you did a noble thing.
     "Lo, I have lived and loved," you said,
      "And sung to fools too dull to hear me.
     Now for a cool and grassy bed
      With violets in blossom near me."

     Well, rest is good for weary feet,
      Although they ran for no great prize;
     And violets are very sweet,
      Although their roots are in your eyes.
     But hark to what the earthworms say
      Who share with you your muddy haven:
     "The fight was on -- you ran away.
      You are a coward and a craven.

     "The rug is ruined where you bled;
      It was a dirty way to die!
     To put a bullet through your head
      And make a silly woman cry!
     You could not vex the merry stars
      Nor make them heed you, dead or living.
     Not all your puny anger mars
      God's irresistible forgiving.

     "Yes, God forgives and men forget,
      And you're forgiven and forgotten.
     You might be gaily sinning yet
      And quick and fresh instead of rotten.
     And when you think of love and fame
      And all that might have come to pass,
     Then don't you feel a little shame?
      And don't you think you were an ass?"




Memorial Day

     "Dulce et decorum est"



     The bugle echoes shrill and sweet,
      But not of war it sings to-day.
     The road is rhythmic with the feet
      Of men-at-arms who come to pray.

     The roses blossom white and red
      On tombs where weary soldiers lie;
     Flags wave above the honored dead
      And martial music cleaves the sky.

     Above their wreath-strewn graves we kneel,
      They kept the faith and fought the fight.
     Through flying lead and crimson steel
      They plunged for Freedom and the Right.

     May we, their grateful children, learn
      Their strength, who lie beneath this sod,
     Who went through fire and death to earn
      At last the accolade of God.

     In shining rank on rank arrayed
      They march, the legions of the Lord;
     He is their Captain unafraid,
      The Prince of Peace . . . Who brought a sword.




The Rosary



     Not on the lute, nor harp of many strings
      Shall all men praise the Master of all song.
      Our life is brief, one saith, and art is long;
     And skilled must be the laureates of kings.
     Silent, O lips that utter foolish things!
      Rest, awkward fingers striking all notes wrong!
      How from your toil shall issue, white and strong,
     Music like that God's chosen poet sings?

     There is one harp that any hand can play,
      And from its strings what harmonies arise!
     There is one song that any mouth can say, --
      A song that lingers when all singing dies.
     When on their beads our Mother's children pray
      Immortal music charms the grateful skies.




Vision

     (For Aline)



     Homer, they tell us, was blind and could not see the beautiful faces
      Looking up into his own and reflecting the joy of his dream,
      Yet did he seem
     Gifted with eyes that could follow the gods to their holiest places.

     I have no vision of gods, not of Eros with love-arrows laden,
      Jupiter thundering death or of Juno his white-breasted queen,
      Yet have I seen
     All of the joy of the world in the innocent heart of a maiden.




To Certain Poets



     Now is the rhymer's honest trade
     A thing for scornful laughter made.

     The merchant's sneer, the clerk's disdain,
     These are the burden of our pain.

     Because of you did this befall,
     You brought this shame upon us all.

     You little poets mincing there
     With women's hearts and women's hair!

     How sick Dan Chaucer's ghost must be
     To hear you lisp of "Poesie"!

     A heavy-handed blow, I think,
     Would make your veins drip scented ink.

     You strut and smirk your little while
     So mildly, delicately vile!

     Your tiny voices mock God's wrath,
     You snails that crawl along His path!

     Why, what has God or man to do
     With wet, amorphous things like you?

     This thing alone you have achieved:
     Because of you, it is believed

     That all who earn their bread by rhyme
     Are like yourselves, exuding slime.

     Oh, cease to write, for very shame,
     Ere all men spit upon our name!

     Take up your needles, drop your pen,
     And leave the poet's craft to men!




Love's Lantern

     (For Aline)



     Because the road was steep and long
      And through a dark and lonely land,
     God set upon my lips a song
      And put a lantern in my hand.

     Through miles on weary miles of night
      That stretch relentless in my way
     My lantern burns serene and white,
      An unexhausted cup of day.

     O golden lights and lights like wine,
      How dim your boasted splendors are.
     Behold this little lamp of mine;
      It is more starlike than a star!




St. Alexis

     Patron of Beggars



     We who beg for bread as we daily tread
      Country lane and city street,
     Let us kneel and pray on the broad highway
      To the saint with the vagrant feet.
     Our altar light is a buttercup bright,
      And our shrine is a bank of sod,
     But still we share St. Alexis' care,
      The Vagabond of God.

     They gave him a home in purple Rome
      And a princess for his bride,
     But he rowed away on his wedding day
      Down the Tiber's rushing tide.
     And he came to land on the Asian strand
      Where the heathen people dwell;
     As a beggar he strayed and he preached and prayed
      And he saved their souls from hell.

     Bowed with years and pain he came back again
      To his father's dwelling place.
     There was none to see who this tramp might be,
      For they knew not his bearded face.
     But his father said, "Give him drink and bread
      And a couch underneath the stair."
     So Alexis crept to his hole and slept.
      But he might not linger there.

     For when night came down on the seven-hilled town,
      And the emperor hurried in,
     Saying, "Lo, I hear that a saint is near
      Who will cleanse us of our sin,"
     Then they looked in vain where the saint had lain,
      For his soul had fled afar,
     From his fleshly home he had gone to roam
      Where the gold-paved highways are.

     We who beg for bread as we daily tread
      Country lane and city street,
     Let us kneel and pray on the broad highway
      To the saint with the vagrant feet.
     Our altar light is a buttercup bright,
      And our shrine is a bank of sod,
     But still we share St. Alexis' care,
      The Vagabond of God!




Folly

     (For A. K. K.)



     What distant mountains thrill and glow
      Beneath our Lady Folly's tread?
     Why has she left us, wise in woe,
      Shrewd, practical, uncomforted?
     We cannot love or dream or sing,
      We are too cynical to pray,
     There is no joy in anything
      Since Lady Folly went away.

     Many a knight and gentle maid,
      Whose glory shines from years gone by,
     Through ignorance was unafraid
      And as a fool knew how to die.
     Saint Folly rode beside Jehanne
      And broke the ranks of Hell with her,
     And Folly's smile shone brightly on
      Christ's plaything, Brother Juniper.

     Our minds are troubled and defiled
      By study in a weary school.
     O for the folly of the child!
      The ready courage of the fool!
     Lord, crush our knowledge utterly
      And make us humble, simple men;
     And cleansed of wisdom, let us see
      Our Lady Folly's face again.




Madness

     (For Sara Teasdale)



     The lonely farm, the crowded street,
      The palace and the slum,
     Give welcome to my silent feet
      As, bearing gifts, I come.

     Last night a beggar crouched alone,
      A ragged helpless thing;
     I set him on a moonbeam throne --
      Today he is a king.

     Last night a king in orb and crown
      Held court with splendid cheer;
     Today he tears his purple gown
      And moans and shrieks in fear.

     Not iron bars, nor flashing spears,
      Not land, nor sky, nor sea,
     Nor love's artillery of tears
      Can keep mine own from me.

     Serene, unchanging, ever fair,
      I smile with secret mirth
     And in a net of mine own hair
      I swing the captive earth.




Poets



     Vain is the chiming of forgotten bells
      That the wind sways above a ruined shrine.
     Vainer his voice in whom no longer dwells
      Hunger that craves immortal Bread and Wine.

     Light songs we breathe that perish with our breath
      Out of our lips that have not kissed the rod.
     They shall not live who have not tasted death.
      They only sing who are struck dumb by God.




Citizen of the World



     No longer of Him be it said
     "He hath no place to lay His head."

     In every land a constant lamp
     Flames by His small and mighty camp.

     There is no strange and distant place
     That is not gladdened by His face.

     And every nation kneels to hail
     The Splendour shining through Its veil.

     Cloistered beside the shouting street,
     Silent, He calls me to His feet.

     Imprisoned for His love of me
     He makes my spirit greatly free.

     And through my lips that uttered sin
     The King of Glory enters in.




To a Blackbird and His Mate Who Died in the Spring

     (For Kenton)



     An iron hand has stilled the throats
      That throbbed with loud and rhythmic glee
     And dammed the flood of silver notes
      That drenched the world in melody.
     The blosmy apple boughs are yearning
     For their wild choristers' returning,
      But no swift wings flash through the tree.

     Ye that were glad and fleet and strong,
      Shall Silence take you in her net?
     And shall Death quell that radiant song
      Whose echo thrills the meadow yet?
     Burst the frail web about you clinging
     And charm Death's cruel heart with singing
      Till with strange tears his eyes are wet.

     The scented morning of the year
      Is old and stale now ye are gone.
     No friendly songs the children hear
      Among the bushes on the lawn.
     When babies wander out a-Maying
     Will ye, their bards, afar be straying?
      Unhymned by you, what is the dawn?

     Nay, since ye loved ye cannot die.
      Above the stars is set your nest.
     Through Heaven's fields ye sing and fly
      And in the trees of Heaven rest.
     And little children in their dreaming
     Shall see your soft black plumage gleaming
      And smile, by your clear music blest.




The Fourth Shepherd

     (For Thomas Walsh)



       I


     On nights like this the huddled sheep
      Are like white clouds upon the grass,
     And merry herdsmen guard their sleep
      And chat and watch the big stars pass.

     It is a pleasant thing to lie
      Upon the meadow on the hill
     With kindly fellowship near by
      Of sheep and men of gentle will.

     I lean upon my broken crook
      And dream of sheep and grass and men --
     O shameful eyes that cannot look
      On any honest thing again!

     On bloody feet I clambered down
      And fled the wages of my sin,
     I am the leavings of the town,
      And meanly serve its meanest inn.

     I tramp the courtyard stones in grief,
      While sleep takes man and beast to her.
     And every cloud is calling "Thief!"
      And every star calls "Murderer!"



       II


     The hand of God is sure and strong,
      Nor shall a man forever flee
     The bitter punishment of wrong.
      The wrath of God is over me!

     With ashen bread and wine of tears
      Shall I be solaced in my pain.
     I wear through black and endless years
      Upon my brow the mark of Cain.



       III


     Poor vagabond, so old and mild,
      Will they not keep him for a night?
     And She, a woman great with child,
      So frail and pitiful and white.

     Good people, since the tavern door
      Is shut to you, come here instead.
     See, I have cleansed my stable floor
      And piled fresh hay to make a bed.

     Here is some milk and oaten cake.
      Lie down and sleep and rest you fair,
     Nor fear, O simple folk, to take
      The bounty of a child of care.



       IV


     On nights like this the huddled sheep --
      I never saw a night so fair.
     How huge the sky is, and how deep!
      And how the planets flash and glare!

     At dawn beside my drowsy flock
      What winged music I have heard!
     But now the clouds with singing rock
      As if the sky were turning bird.

     O blinding Light, O blinding Light!
      Burn through my heart with sweetest pain.
     O flaming Song, most loudly bright,
      Consume away my deadly stain!



       V


     The stable glows against the sky,
      And who are these that throng the way?
     My three old comrades hasten by
      And shining angels kneel and pray.

     The door swings wide -- I cannot go --
      I must and yet I dare not see.
     Lord, who am I that I should know --
      Lord, God, be merciful to me!



       VI


     O Whiteness, whiter than the fleece
      Of new-washed sheep on April sod!
     O Breath of Life, O Prince of Peace,
      O Lamb of God, O Lamb of God!




Easter



     The air is like a butterfly
      With frail blue wings.
     The happy earth looks at the sky
      And sings.




Mount Houvenkopf



     Serene he stands, with mist serenely crowned,
      And draws a cloak of trees about his breast.
      The thunder roars but cannot break his rest
     And from his rugged face the tempests bound.
     He does not heed the angry lightning's wound,
      The raging blizzard is his harmless guest,
      And human life is but a passing jest
     To him who sees Time spin the years around.

     But fragile souls, in skyey reaches find
      High vantage-points and view him from afar.
     How low he seems to the ascended mind,
      How brief he seems where all things endless are;
     This little playmate of the mighty wind
      This young companion of an ancient star.




The House with Nobody in It



     Whenever I walk to Suffern along the Erie track
     I go by a poor old farmhouse with its shingles broken and black.
     I suppose I've passed it a hundred times, but I always stop for a minute
     And look at the house, the tragic house, the house with nobody in it.

     I never have seen a haunted house, but I hear there are such things;
     That they hold the talk of spirits, their mirth and sorrowings.
     I know this house isn't haunted, and I wish it were, I do;
     For it wouldn't be so lonely if it had a ghost or two.

     This house on the road to Suffern needs a dozen panes of glass,
     And somebody ought to weed the walk and take a scythe to the grass.
     It needs new paint and shingles, and the vines should be trimmed and tied;
     But what it needs the most of all is some people living inside.

     If I had a lot of money and all my debts were paid
     I'd put a gang of men to work with brush and saw and spade.
     I'd buy that place and fix it up the way it used to be
     And I'd find some people who wanted a home and give it to them free.

     Now, a new house standing empty, with staring window and door,
     Looks idle, perhaps, and foolish, like a hat on its block in the store.
     But there's nothing mournful about it; it cannot be sad and lone
     For the lack of something within it that it has never known.

     But a house that has done what a house should do,
       a house that has sheltered life,
     That has put its loving wooden arms around a man and his wife,
     A house that has echoed a baby's laugh and held up his stumbling feet,
     Is the saddest sight, when it's left alone, that ever your eyes could meet.

     So whenever I go to Suffern along the Erie track
     I never go by the empty house without stopping and looking back,
     Yet it hurts me to look at the crumbling roof and the shutters fallen apart,
     For I can't help thinking the poor old house is a house with a broken heart.




Dave Lilly



     There's a brook on the side of Greylock that used to be full of trout,
     But there's nothing there now but minnows; they say it is all fished out.
     I fished there many a Summer day some twenty years ago,
     And I never quit without getting a mess of a dozen or so.

     There was a man, Dave Lilly, who lived on the North Adams road,
     And he spent all his time fishing, while his neighbors reaped and sowed.
     He was the luckiest fisherman in the Berkshire hills, I think.
     And when he didn't go fishing he'd sit in the tavern and drink.

     Well, Dave is dead and buried and nobody cares very much;
     They have no use in Greylock for drunkards and loafers and such.
     But I always liked Dave Lilly, he was pleasant as you could wish;
     He was shiftless and good-for-nothing, but he certainly could fish.

     The other night I was walking up the hill from Williamstown
     And I came to the brook I mentioned,
       and I stopped on the bridge and sat down.
     I looked at the blackened water with its little flecks of white
     And I heard it ripple and whisper in the still of the Summer night.

     And after I'd been there a minute it seemed to me I could feel
     The presence of someone near me, and I heard the hum of a reel.
     And the water was churned and broken, and something was brought to land
     By a twist and flirt of a shadowy rod in a deft and shadowy hand.

     I scrambled down to the brookside and hunted all about;
     There wasn't a sign of a fisherman; there wasn't a sign of a trout.
     But I heard somebody chuckle behind the hollow oak
     And I got a whiff of tobacco like Lilly used to smoke.

     It's fifteen years, they tell me, since anyone fished that brook;
     And there's nothing in it but minnows that nibble the bait off your hook.
     But before the sun has risen and after the moon has set
     I know that it's full of ghostly trout for Lilly's ghost to get.

     I guess I'll go to the tavern and get a bottle of rye
     And leave it down by the hollow oak, where Lilly's ghost went by.
     I meant to go up on the hillside and try to find his grave
     And put some flowers on it -- but this will be better for Dave.




Alarm Clocks



     When Dawn strides out to wake a dewy farm
      Across green fields and yellow hills of hay
      The little twittering birds laugh in his way
     And poise triumphant on his shining arm.
     He bears a sword of flame but not to harm
      The wakened life that feels his quickening sway
      And barnyard voices shrilling "It is day!"
     Take by his grace a new and alien charm.

     But in the city, like a wounded thing
      That limps to cover from the angry chase,
     He steals down streets where sickly arc-lights sing,
      And wanly mock his young and shameful face;
     And tiny gongs with cruel fervor ring
      In many a high and dreary sleeping place.




Waverley

     1814-1914



     When, on a novel's newly printed page
      We find a maudlin eulogy of sin,
      And read of ways that harlots wander in,
     And of sick souls that writhe in helpless rage;
     Or when Romance, bespectacled and sage,
      Taps on her desk and bids the class begin
      To con the problems that have always been
     Perplexed mankind's unhappy heritage;

     Then in what robes of honor habited
      The laureled wizard of the North appears!
     Who raised Prince Charlie's cohorts from the dead,
      Made Rose's mirth and Flora's noble tears,
     And formed that shining legion at whose head
      Rides Waverley, triumphant o'er the years!


*****


The following biographical information is taken from the 1917 edition
of Jessie B. Rittenhouse's anthology of Modern Verse.


Kilmer, Joyce.  Born at New Brunswick, New Jersey, December 6, 1886,
and graduated at Columbia University in 1908.  After a short period
of teaching he became associated with Funk and Wagnalls Company,
where he remained from 1909 to 1912, when he assumed the position
of literary editor of "The Churchman".  In 1913 Mr. Kilmer became
a member of the staff of the "New York Times", a position which
he still occupies.  His volumes of poetry are:  "A Summer of Love", 1911,
and "Trees, and Other Poems", 1914.


Kilmer died in France in 1918, and also published another volume,
"Main Street and Other Poems", 1917, as well as individual poems,
essays, etc.





End of the Project Gutenberg EBook of Trees and Other Poems, by Joyce Kilmer

*** END OF THIS PROJECT GUTENBERG EBOOK TREES AND OTHER POEMS ***

***** This file should be named 263.txt or 263.zip *****
This and all associated files of various formats will be found in:
        http://www.gutenberg.org/2/6/263/

Produced by A. Light

Updated editions will replace the previous one--the old editions
will be renamed.

Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties.  Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark.  Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission.  If you
do not charge anything for copies of this eBook, complying with the
rules is very easy.  You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research.  They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks.  Redistribution is
subject to the trademark license, especially commercial
redistribution.



*** START: FULL LICENSE ***

THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
http://gutenberg.org/license).


Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
electronic works

1.A.  By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement.  If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B.  "Project Gutenberg" is a registered trademark.  It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement.  There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement.  See
paragraph 1.C below.  There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works.  See paragraph 1.E below.

1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works.  Nearly all the individual works in the
collection are in the public domain in the United States.  If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed.  Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work.  You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.

1.D.  The copyright laws of the place where you are located also govern
what you can do with this work.  Copyright laws in most countries are in
a constant state of change.  If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work.  The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.

1.E.  Unless you have removed all references to Project Gutenberg:

1.E.1.  The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org

1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges.  If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.

1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder.  Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.

1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.

1.E.5.  Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.

1.E.6.  You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form.  However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form.  Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.

1.E.7.  Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8.  You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that

- You pay a royalty fee of 20% of the gross profits you derive from
     the use of Project Gutenberg-tm works calculated using the method
     you already use to calculate your applicable taxes.  The fee is
     owed to the owner of the Project Gutenberg-tm trademark, but he
     has agreed to donate royalties under this paragraph to the
     Project Gutenberg Literary Archive Foundation.  Royalty payments
     must be paid within 60 days following each date on which you
     prepare (or are legally required to prepare) your periodic tax
     returns.  Royalty payments should be clearly marked as such and
     sent to the Project Gutenberg Literary Archive Foundation at the
     address specified in Section 4, "Information about donations to
     the Project Gutenberg Literary Archive Foundation."

- You provide a full refund of any money paid by a user who notifies
     you in writing (or by e-mail) within 30 days of receipt that s/he
     does not agree to the terms of the full Project Gutenberg-tm
     License.  You must require such a user to return or
     destroy all copies of the works possessed in a physical medium
     and discontinue all use of and all access to other copies of
     Project Gutenberg-tm works.

- You provide, in accordance with paragraph 1.F.3, a full refund of any
     money paid for a work or a replacement copy, if a defect in the
     electronic work is discovered and reported to you within 90 days
     of receipt of the work.

- You comply with all other terms of this agreement for free
     distribution of Project Gutenberg-tm works.

1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
Foundation as set forth in Section 3 below.

1.F.

1.F.1.  Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection.  Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.

1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.

1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from.  If you
received the work on a physical medium, you must return the medium with
your written explanation.  The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund.  If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund.  If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.

1.F.4.  Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.

1.F.5.  Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law.  The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.

1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.


Section  2.  Information about the Mission of Project Gutenberg-tm

Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers.  It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.

Volunteers and financial support to provide volunteers with the
assistance they need, is critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come.  In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at http://www.pglaf.org.


Section 3.  Information about the Project Gutenberg Literary Archive
Foundation

The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service.  The Foundation's EIN or federal tax identification
number is 64-6221541.  Its 501(c)(3) letter is posted at
http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.

The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations.  Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
[email protected].  Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at http://pglaf.org

For additional contact information:
     Dr. Gregory B. Newby
     Chief Executive and Director
     [email protected]


Section 4.  Information about Donations to the Project Gutenberg
Literary Archive Foundation

Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment.  Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.

The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States.  Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements.  We do not solicit donations in locations
where we have not received written confirmation of compliance.  To
SEND DONATIONS or determine the status of compliance for any
particular state visit http://pglaf.org

While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.

International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States.  U.S. laws alone swamp our small staff.

Please check the Project Gutenberg Web pages for current donation
methods and addresses.  Donations are accepted in a number of other
ways including checks, online payments and credit card donations.
To donate, please visit: http://pglaf.org/donate


Section 5.  General Information About Project Gutenberg-tm electronic
works.

Professor Michael S. Hart is the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone.  For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.


Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U.S.
unless a copyright notice is included.  Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.


Most people start at our Web site which has the main PG search facility:

     http://www.gutenberg.org

This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.