Manufacturing

By Alan Shapiro

Up in the billboard, over old South Station,
the Captain, all wide grin and ruddy cheek,
held up a golden shot of Cutty Sark
high as the skyline where the sunset spread
a gold fan from the twig-like spars and rigging
of a departing clipper ship. Above
the picture the dull haze of a real sun rose,
dragging the day up with it. Seven o’clock.
The agitated horns, brakes, fingers, and catcalls
down below me were already merging
and channeling everybody on to warehouse,
factory, department store and office.

My father and uncle talking over all the goods
to be received that day, the goods delivered,
their two reflections in the window floating
like blurry ghosts within the Captain’s grin,
their voices raised a little above the soft
erratic humming of the big machines,
the riveters and pressers, warming, rousing:
The Century order, did it get out last night?
And had the buckles come from Personal?
Who’d go do Jaffey? Who’d diddle Abramowitz
and Saperstein? Those c*cksucking sons of bitches,
cut their balls off if they f*ck with us . . .

How automatically at any provocation
I can aim the words at anybody now,
woman or man, the reverberating
angry this, not that, in ‘pussy’, ‘cocksucker’,
‘f*ckhead’, hammered down so far inside me
it’s almost too securely there to feel.
But I was thirteen then, and for the first
time old enough to have my father say
these things in front of me, which must have meant
I was a man now too, I listened (blushing,
ashamed of blushing) for clues of what it was
I had become, or was supposed to be:

It did and didn’t have to do with bodies,
being a man, it wasn’t fixed in bodies,
but somehow passed between them, going to
by being taken from, ever departing,
ever arriving, unstoppable as money,
and moving in a limited supply
it seemed to follow where the money went.
Being a man was something that you did
to other men, which meant a woman
was what other men became when you would do them.
Either you gave a f*cking, or you took one,
did or were done to, it was simple as that.

Somebody shouted from beyond the office
that Tony had passed out in the can again.
‘The lush, the no good lush,’ my uncle said,
‘get him the f*ck out of here for good, will ya.’
The stall door swung back, scrawled with giant cocks,
t*ts, asses and c*nts, beyond which in the shadows
my father was gently wrestling with the man,
trying to hold him steady while his free hand
shimmied the tangled shorts and trousers up
over the knees and hips, and even got
the shirt tucked in, the pants zipped deftly enough
for Tony not to notice, though he did.

Even then I knew they’d fire him,
and that it wasn’t gratitude at all
that made the man weep inconsolably,
his head bowed, nodding, as my father led him
to the elevator, still with his arm around him,
patting his shoulder, easing him through the door.
I knew the tenderness that somewhere else
could possibly have been a lover’s or a father’s
could here be only an efficient way
to minimize the trouble. And yet it seemed
somehow my father was too adept at it,
too skillful, not to feel it in some way.

And feeling it not to need to pull back,
to separate himself from what the rest
of him was doing, which was why, I think,
his face throughout was blank, expressionless
like the faces of the presidents on the bills
he handed Tony as the door slid shut.
The men fast at the riveters and pressers
and the long row of women at the Singers
were oil now even more than men or women,
mute oil in the loud revving of the place,
a blur of hands on automatic pilot,
slipping leather through the pumping needles,

under the thrusting rods, the furious hammers,
the nearly invisible whirring of the blades.
‘Come on now, Al, it’s time,’ my father said,
and the Captain seemed to grin a little wider,
as if his pleasure there at the end of his
unending day grew freer, more disencumbered,
because he saw me at the start of mine,
under my father’s arm, his soft voice broken
against the noise into an unfollowable tune
of favors and petty cash, and how much ass
he had to kiss to get me this, and I
should be a man now and not disappoint him.

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Famous-Poems-quiz

Famous Poems: 20 Multiple-Choice Questions

1 / 20

"It was many and many a year ago, In a kingdom by the sea, That a maiden there lived whom you may know By the name of Annabel Lee."

- Who is the author of this poem?

2 / 20

"I crave your mouth, your voice, your hair" is the opening line of a poem by Pablo Neruda. What is the next line of this poem?

3 / 20

This coyness, lady, were no crime. 

We would sit down, 

and think which way To walk, 

and pass our long love's day."

 

- What is the title of this poem?

4 / 20

"i carry your heart with me" is a famous poem by E.E. Cummings. What is the next line of this poem after "i carry your heart with me(i carry it in"?

5 / 20

"Tyger Tyger, burning bright, In the forests of the night;"

- What is the next line of this poem by William Blake?

6 / 20

"Shall I compare thee to a summer's day? 

Thou art more lovely and more temperate: 

Rough winds do shake the darling buds of May, 

And summer's lease hath all too short a date."

 

 - Who is the author of this poem?

7 / 20

"The Love Song of J. Alfred Prufrock" is a famous poem by T.S. Eliot. What is the next line of this poem after "Do I dare / Disturb the universe?"?

8 / 20

"Do not stand at my grave and weep, I am not there; I do not sleep. I am a thousand winds that blow, I am the diamond glints on snow."

 

- What is the title of this poem?

9 / 20

"I have measured out my life with coffee spoons;" - What is the next line of this poem by T.S. Eliot?

10 / 20

"And miles to go before I sleep, And miles to go before I sleep."

 

 - What is the title of this poem?

11 / 20

"A thing of beauty is a joy forever: Its loveliness increases; it will never Pass into nothingness; but still will keep A bower quiet for us, and a sleep Full of sweet dreams, and health, and quiet breathing."

 - What is the title of this poem?

12 / 20

"We real cool. We left school. We lurk late."

- What is the next line of this poem by Gwendolyn Brooks?

13 / 20

"The Waste Land" is a famous poem by T.S. Eliot. What is the next line of this poem after "April is the cruellest month"?

14 / 20

"The Second Coming" is a famous poem by William Butler Yeats. What is the next line of this poem after "Things fall apart; the centre cannot hold"?

15 / 20

"Do not go gentle into that good night,

 Old age should burn and rave at close of day; 

Rage, rage against the dying of the light."

 

- Who is the author of this poem?

16 / 20

"I have measured out my life with coffee spoons." 

 

- What is the title of this poem?

17 / 20

"Out of the night that covers me, Black as the pit from pole to pole, I thank whatever gods may be For my unconquerable soul."

 - What is the title of this poem?

18 / 20

"Do not go gentle into that good night, Old age should burn and rave at close of day;" - What is the next line of this poem by Dylan Thomas?

19 / 20

"Daddy" is a famous poem by Sylvia Plath. What is the next line of this poem after "You do not do, you do not do / Any more, black shoe"?

20 / 20

"For oft, when on my couch I lie In vacant or in pensive mood, 

They flash upon that inward eye Which is the bliss of solitude." 

 

- Who is the author of this poem?

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Forms-Of-Poetry-Quiz

Forms Of Poetry: 20 Multiple-Choice Questions

1 / 20

What is the name of the poetic form consisting of two lines, with the first line asking a question and the second line providing an answer?

2 / 20

What is the name of the poetic form that uses the repetition of a single word or phrase at the end of each line, and can be as short as three lines or as long as multiple stanzas?

3 / 20

Which of the following poetic forms is characterized by alternating lines of iambic tetrameter and iambic trimeter, with a rhyme scheme of A-B-A-B?

4 / 20

What is the name of the poetic form consisting of 17 syllables arranged in three lines of 5, 7, and 5 syllables?

5 / 20

Which of the following poetic forms is characterized by three-line stanzas, with the second line repeating as the last line of the previous stanza?

6 / 20

Which of the following poetic forms is characterized by a series of eight-line stanzas, with a rhyme scheme of A-B-A-B-B-C-B-C?

7 / 20

Which of the following is NOT a form of Japanese poetry?

8 / 20

What is the name of the poetic form in which the last word of each line is repeated throughout the poem?

9 / 20

What is the name for a poetic form consisting of 14 lines with a specific rhyme scheme and meter?

10 / 20

Which of the following poetic forms is characterized by a poem with three stanzas of three lines each, followed by a single four-line stanza, with a specific rhyme scheme and syllable count?

11 / 20

Which of the following poetic forms is characterized by a repeated refrain, alternating with a series of quatrains, with a final quatrain as a coda?

12 / 20

What is the name of the poetic form in which each line or stanza repeats the same sequence of words, but in reverse order?

13 / 20

Which of the following poetic forms is characterized by three-line stanzas, with a syllable count of 5-7-5 and a seasonal reference?

14 / 20

Which of the following poetic forms is characterized by a poem that describes or meditates on the natural world, often using vivid imagery and sensory language?

15 / 20

What is the name of the poetic form in which a single poem is created by combining lines from multiple different poems, typically by different authors?

16 / 20

Which of the following poetic forms originated in Italy?

17 / 20

What is the name of the poetic form consisting of a single line, typically with a specific syllable count or word limit, and often used to convey a strong emotion or idea?

18 / 20

What is the name of the poetic form in which the first letter of each line spells out a word or phrase?

19 / 20

Which of the following poetic forms originated in ancient Greece and typically consists of a long narrative poem about heroic deeds?

20 / 20

Which of the following poetic forms is characterized by three stanzas of three lines each and a final quatrain?

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