|  |  | Charles Simic, born in 1938 in Belgrade, is one of American's most prolific poets, with over 60 books. He won the 1990 Pulitzer Prize for his collection of prose poems, The World Doesn't End. He currently lives in New Hampshire. |  |  | 
	|  | Paradise Motel
 Millions were dead; everybody was innocent.
 I stayed in my room. The President
 Spoke of war as of a magic love potion.
 My eyes were opened in astonishment.
 In a mirror my face appeared to me
 Like a twice-canceled postage stamp.
 
 I lived well, but life was awful.
 there were so many soldiers that day,
 So many refugees crowding the roads.
 Naturally, they all vanished
 With a touch of the hand.
 History licked the corners of its bloody mouth.
 
 On the pay channel, a man and a woman
 Were trading hungry kisses and tearing off
 Each other's clothes while I looked on
 With the sound off and the room dark
 Except for the screen where the color
 Had too much red in it, too much pink.
 
 -- A Wedding in Hell, New York: Harcourt Brace & Co., 1994
 
 
 The Oldest Child
 
 The night still frightens you.
 You know it is interminable
 And of vast, unimaginable dimensions.
 "That's because His insomnia is permanent,"
 You've read some mystic say.
 Is it the point of His schoolboy's compass
 That pricks your heart?
 
 Somewhere perhaps the lovers lie
 Under the dark cypress trees,
 Trembling with happiness,
 But here there's only your beard of many days
 And a night moth shivering
 Under your hand pressed against your chest.
 
 Oldest child, Prometheus
 Of some cold, cold fire you can't even name
 For which you're serving slow time
 With that night moth's terror for company.
 
 -- A Wedding in Hell, New York: Harcourt Brace & Co, 1994
 
 
 Pocket Theatre
 
 Fingers in an overcoat pocket. Fingers sticking out of a black leather glove. The nails chewed raw. One play is called "Thieves' Market," another "Night in a Dime Museum." The fingers when they strip are like bewitching nude bathers or the fake wooden limbs in a cripple factory. No one ever sees the play: you put your hand in somebody else's pocket on the street and feel the action.
 
 -- A Wedding in Hell, New York: Harcourt Brace & Co., 1994
 
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