Home for Thanksgiving

Home for Thanksgiving

Just before Thanksgiving in 1960, The Nation published W.S. Merwin’s poem for the holiday.

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I bring myself back from the streets that open like long
Silent laughs, and the others
Spilled into in the way of rivers breaking up, littered with words,
Crossed by cats and that sort of thing,
From the knowing wires and the aimed windows,
Well this is nice, on the third floor, in back of the billboard
Which says Now Improved and I know what they mean,
I thread my way in and I sew myself in like money.
 
Well this is nice with my shoes moored by the bed
And the lights around the billboard ticking on and off like a beacon,
I have brought myself back like many another crusty
Unbarbered vessel launched with a bottle,
From the bare regions of pure hope where
For a great part of the year it scarcely sets at all,
And from the night skies regularly filled with old movies of my fingers,
Weightless as shadows, groping in the sluices,
And from the visions of veins like arteries, and
From the months of plying
Between can and can, vacant as a pint in the morning,
While my sex grew into the only tree, a joyless evergreen,
And the winds played hell with it at night, coming as they did
Over at least one thousand miles of emptiness,
Thumping as though there were nothing but doors, insisting
"Come out," and of course I would have frozen.
 
Sunday, a fine day, with my ears wiped and my collar buttoned
I went for a jaunt all the way out and back on
A streetcar and under my hat with the dent settled
In the right place I was thinking maybe—a thought
Which I have noticed many times like a bold rat—
I should have stayed making of those good women
Happy, for a while at least, Vera with
The eau-de-cologne and the small fat dog named Joy,
Gladys with her earrings, cooking and watery arms, the one
With the limp and the fancy sheets, some of them
Are still there I suppose, oh no,
 
I bring myself back avoiding in silence
Like a ship in a bottle.
I bring my bottle.
Or there was thin Pearl with the invisible hair nets, the wind would not
Have been right for them, they would have had
Their times, rugs, troubles,
They would have wanted curtains, cleanings, answers, they would have
Produced families their own and our own, hen friends and
Other considerations, my fingers sifting
The dark would have turned up other
Poverties, I bring myself
Back like a mother cat transferring her only kitten,
Telling myself secrets through my moustache,
They would have wanted to drink ship, sea, and all or
To break the bottle, well this is nice,
Oh misery, misery, misery,
You fit me from head to foot like a good grade suit of longies
Which I have worn for years and never want to take off.
I did the right thing after all.

We cannot back down

We now confront a second Trump presidency.

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Armed with a remarkable 160 years of bold, independent journalism, our mandate today remains the same as when abolitionists first founded The Nation—to uphold the principles of democracy and freedom, serve as a beacon through the darkest days of resistance, and to envision and struggle for a brighter future.

The day is dark, the forces arrayed are tenacious, but as the late Nation editorial board member Toni Morrison wrote “No! This is precisely the time when artists go to work. There is no time for despair, no place for self-pity, no need for silence, no room for fear. We speak, we write, we do language. That is how civilizations heal.”

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Onwards,

Katrina vanden Heuvel
Editorial Director and Publisher, The Nation

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