“The Terrorist, He’s Watching”
Wislawa Szymborska
1923- Polish
translated by Stanislaw Baranczak and Clare Cavanagh

The bomb in the bar will explode at thirteen twenty.
Now it's just thirteen sixteen.
There's still time for some to go in,
and some to come out.

The terrorist has already crossed the street.
The distance keeps him out of danger,
and what a view -- just like the movies:

A woman in a yellow jacket, she's going in.
A man in dark glasses, he's coming out.
Teen-agers in jeans, they're talking.
Thirteen seventeen and four seconds.
The short one, he's lucky, he's getting on a scooter,
but the tall one, he's going in.

Thirteen seventeen and forty seconds.
That girl, she's walking along with a green ribbon in her hair.
But then a bus suddenly pulls in front of her.
Thirteen eighteen.
The girl's gone.
Was she that dumb, did she go in or not,
we'll see when they carry them out.

Thirteen nineteen.
Somehow no one's going in.
Another guy, fat, bald, is leaving, though.
Wait a second, looks like he's looking for something in his pockets and
at thirteen twenty minus ten seconds
he goes back in for his crummy gloves.

Thirteen twenty exactly.
This waiting, it's taking forever.

Any second now.
No, not yet.
Yes, now.
The bomb, it explodes.

“Theatrical Impressions”
Wislawa Szymborska
1923- Polish
translated by Adam Czerniawski

In tragedy I find the sixth act most important:
when they arise from stage battlefields,
adjust their wigs and robes,
pull out the knife from the breast,
remove the noose from the neck,
stand in line amongst the living
facing the audience.

Bows individual and collective:
a white hand on a wounded heart,
a suicide curtseying,
a beheaded nodding.

Bows in pairs:
fury offering an arm to gentleness,
the victim gazing blissfully into the torturer's eyes,
the revolutionary ungrudgingly marching with the tyrant.

Eternity squashed with the toe of a golden slipper.
Morals dispersed with the brim of a hat.
An incorrigible readiness to repeat it all tomorrow.

A file of those who died much earlier
in acts three and four and between the acts.
The miraculous return of those vanished without trace.
The thought that in the wings they patiently waited
not shedding their costumes
not taking off their make-up
moves me more than tragic tirades.

But truly uplifting is the falling curtain
and what can still be glimpsed beneath it:
here a hand hastily grabs a flower,
there another snatches a dropped sword.
Only then a third, unseen,
accomplishes its task:
grips me by the throat.

“In Praise of Dreams”
Wislawa Szymborska
1923- Polish
translated by Magnus J. Krynski and Robert A. Maguire

In my dreams
I paint like Vermeer van Delft.

I speak fluent Greek
and not only with the living.

I drive a car
which obeys me.

I am talented,
I write long, great poems.

I hear voices
no less than the major saints.

You would be amazed
at my virtuosity on the piano.

I float through the air as is proper,
that is, all by myself.

Falling from the roof
I can softly land on green grass.

I don't find it hard
to breathe under water.

I can't complain:
I've succeeded in discovering Atlantis.

I'm delighted that just before dying
I always manage to wake.

Right after the outbreak of war
I turn over on my favorite side.

I am but I need not
be a child of my time.

A few years ago
I saw two suns.

And the day before yesterday a penguin.
With the utmost clarity.

“Photograph from September 11”
Wislawa Szymborska
1923- Polish
translated by Clare Cavanagh and Stanislaw Baranczak

They jumped from the burning floors --
one, two, a few more,
higher, lower.

The photograph halted them in life,
and now keeps them
above the earth toward the earth.

Each is still complete,
with a particular face
and blood well-hidden.

There’s enough time
for hair to come loose,
for keys and coins
to fall from pockets.

They’re still within the air’s reach,
within the compass of places
that have just now opened.

I can do only two things for them --
describe this flight
and not add a last line.

“The Suicide’s Room”
Wislawa Szymborska
1923- Polish
translated by Magnus J. Krynski and Robert A. Maguire

You certainly think that the room was empty.
Yet it had three chairs with sturdy backs.
And a lamp effective against the dark.
A desk, on the desk a wallet, some newspapers.
An unsorrowful Buddha, a sorrowful Jesus.
Seven good-luck elephants, and in a drawer a notebook.
You think that our addresses were not there?

You think there were no books, pictures, records?
But there was a consoling trumpet in black hands.
Saskia with a heartfelt flower of love.
Joy the fair spark of the gods.
Odysseus on the shelf in life-giving sleep
after the labors of Book Five.
Moralists,
their names imprinted in syllables of gold
on beautifully tanned spines.
Right next, statesmen standing straight.

And not without a way out, if only through the door,
not without prospects, if only through the window,
that is how the room looked.
Distance glasses lay on the windowsill.
A single fly buzzed, that is, was still alive.

You think at least the note made something clear.
Now what if I tell you that there was no note --
and so many of us, friends of his, yet all could fit
in the empty envelope propped against the glass.

“A Happy Love”
Wislawa Szymborska
1923- Polish
translated by Magnus J. Krynski and Robert A. Maguire

A happy love. Is it normal,
is it serious, is it profitable --
what use to the world are two people
who have no eyes for the world?

Elevated each for each, for no apparent merit,
by sheer chance singled out of a million, yet convinced
it had to be so -- as reward for what? for nothing;
the light shines from nowhere --
why just on them, and not on others?
Is this an offense to justice? Yes.
Does it violate time-honored principles, does it cast
any moral down from the heights? It violates and casts down.

Look at the happy couple:
if they'd at least dissemble a bit,
feign depression and thereby cheer their friends!
Hear how they laugh -- offensively.
And the language they speak -- it only seems to make sense.
And all those ceremonials, ceremonies,
those elaborate obligations toward each other --
it all looks like a plot behind mankind's back!

It's even hard to foresee how far things might go
if their example could be followed.
What could religions and poetries rely on,
what would be remembered, what abandoned,
who would want to keep within the bounds.

A happy love. Is it necessary?
Tact and common sense advise us to say no more of it
than of a scandal in Life's upper ranks.
Little cherubs get born without its help.
Never, ever could it populate the earth,
for it happens so seldom.

Let people who know naught of happy love
assert that nowhere is there a happy love.

With such faith, they would find it easier to live and to die.

“Vietnam”
Wislawa Szymborska
1923- Polish
translated by Magnus J. Krynski and Robert A. Maguire

Woman, what's your name? -- I don't know.
When were you born, where do you come from? -- I don't know.
Why did you dig a hole in the ground? -- I don't know.
How long have you been hiding here? -- I don't know.
Why did you bite the hand of friendship? -- I don't know.
Don't you know we will do you no harm? -- I don't know.
Whose side are you on? -- I don't know.
There's a war on, you must choose. -- I don't know.
Does your village still exist? -- I don't know.
Are these your children? -- Yes.

“Parable”
Wislawa Szymborska
1923- Polish
translated by Stanislaw Baranczak and Clare Cavanagh

Some fishermen pulled a bottle from the deep. It held a piece of paper, with these words: "Somebody save me! I'm here. The ocean cast me on this desert island. I am standing on the shore waiting for help. Hurry! I'm here!"

"There's no date. I bet it's already too late anyway. It could have been floating for years," the first fisherman said.

"And he doesn't say where. It's not even clear which ocean," the second fisherman said.

"It's not too late, or too far. The island Here is everywhere," the third fisherman said.

They all felt awkward. No one spoke. That's how it goes with universal truths.

“Four in the Morning”
Wislawa Szymborska
1923- Polish
translated by Magnus J. Krynski and Robert A. Maguire

The hour from night to day.
The hour from side to side.
The hour for those past thirty.

The hour swept clean to the crowing of cocks.
The hour when earth betrays us.
The hour when wind blows from extinguished stars.
The hour of and-what-if-nothing-remains-after-us.

The hollow hour.
Blank, empty.
The very pit of all other hours.

No one feels good at four in the morning.
If ants feel good at four in the morning
— three cheers for the ants. And let five o'clock come
if we're to go on living.