Paris
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© 2008 - Ben Heine.
The Eiffel Tower
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By Kiran Keswani
Standing beneath it to see
The beauty of its structure.
A complex lattice.
It is a beautiful form.
The stairs through the tower
A great experience.
The structure all over you.
Each step up, you are
Into the structure more and more.
An experience
Different from standing on the ground.
Viewing the form
Above the rivetting, the nuts and bolts.
The view from each landing
Also of Paris.
But more fascinating, to look inwards
Into the structure of the tower.
On each landing, to read
A brief historical note about the tower
As tourists rush by
As children screaming, find their way up.
On the first level
More about the Paris you can see afar.
Benches along the periphery.
The fine detail of the steps.
Sitting in the centre, against railing.
The bookshop.
The post-office
From where we send a letter home
Just to say we are at the Eiffel Tower now.
Where we write the postcard
Get it stamped
And then ask for it back
Because we forget to mention that
We are sending postcard from Eiffel Tower.
The films about the tower
The Eiffel tower in the movies
Circuses and fests around the Tower
The panaromic views
Moving along two walls
Two walls at right angles
And the film moving
From one wall into the other.
I look at the corner
To see what happens there
How do the pictures turn
The Eiffel Tower at night
And so on and on
The three-dimensional stories in the view-holes
About Eiffel supervising the execution of the work
Gustave Eiffel on the construction site.
(The poem appeared on gibson-design.com)
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© 2008 - Ben Heine.
Skyscraper
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By Carl Sandburg
By day the skyscraper looms in the smoke and sun and
has a soul.
Prairie and valley, streets of the city, pour people into
it and they mingle among its twenty floors and are
poured out again back to the streets, prairies and
valleys.
It is the men and women, boys and girls so poured in and
out all day that give the building a soul of dreams
and thoughts and memories.
(Dumped in the sea or fixed in a desert, who would care
for the building or speak its name or ask a policeman
the way to it?)
Elevators slide on their cables and tubes catch letters and
parcels and iron pipes carry gas and water in and
sewage out.
Wires climb with secrets, carry light and carry words,
and tell terrors and profits and loves--curses of men
grappling plans of business and questions of women
in plots of love.
Hour by hour the caissons reach down to the rock of the
earth and hold the building to a turning planet.
Hour by hour the girders play as ribs and reach out and
hold together the stone walls and floors.
Hour by hour the hand of the mason and the stuff of the
mortar clinch the pieces and parts to the shape an
architect voted.
Hour by hour the sun and the rain, the air and the rust,
and the press of time running into centuries, play
on the building inside and out and use it.
Men who sunk the pilings and mixed the mortar are laid
in graves where the wind whistles a wild song
without words.
And so are men who strung the wires and fixed the pipes
and tubes and those who saw it rise floor by floor.
Souls of them all are here, even the hod carrier begging
at back doors hundreds of miles away and the brick-
layer who went to state's prison for shooting another
man while drunk.
(One man fell from a girder and broke his neck at the
end of a straight plunge--he is here--his soul has
gone into the stones of the building.)
On the office doors from tier to tier--hundreds of names
and each name standing for a face written across
with a dead child, a passionate lover, a driving
ambition for a million dollar business or a lobster's
ease of life.
Behind the signs on the doors they work and the walls
tell nothing from room to room.
Ten-dollar-a-week stenographers take letters from
corporation officers, lawyers, efficiency engineers,
and tons of letters go bundled from the building to all
ends of the earth.
Smiles and tears of each office girl go into the soul of
the building just the same as the master-men who
rule the building.
Hands of clocks turn to noon hours and each floor
empties its men and women who go away and eat
and come back to work.
Toward the end of the afternoon all work slackens and
all jobs go slower as the people feel day closing on
them.
One by one the floors are emptied. . . The uniformed
elevator men are gone. Pails clang. . . Scrubbers
work, talking in foreign tongues. Broom and water
and mop clean from the floors human dust and spit,
and machine grime of the day.
Spelled in electric fire on the roof are words telling
miles of houses and people where to buy a thing for
money. The sign speaks till midnight.
Darkness on the hallways. Voices echo. Silence
holds. . . Watchmen walk slow from floor to floor
and try the doors. Revolvers bulge from their hip
pockets. . . Steel safes stand in corners. Money
is stacked in them.
A young watchman leans at a window and sees the lights
of barges butting their way across a harbor, nets of
red and white lanterns in a railroad yard, and a span
of glooms splashed with lines of white and blurs of
crosses and clusters over the sleeping city.
By night the skyscraper looms in the smoke and the stars
and has a soul.
(The poem appeared on carl-sandburg.com)
PS : I took the photos in Paris
