Things got terribly ugly incredibly quickly 
Things got ugly embarrassingly quickly 
actually Things got ugly unbelievably quickly 
honestly Things got ugly seemingly infrequently 
initially Things got ugly ironically usually 
awfully carefully Things got ugly unsuccessfully 
occasionally Things got ugly mostly painstakingly 
quietly seemingly Things got ugly beautifully 
infrequently Things got ugly sadly especially 
frequently unfortunately Things got ugly 
increasingly obviously Things got ugly suddenly
embarrassingly forcefully Things got really ugly 
regularly truly quickly Things got really incredibly 
ugly Things will get less ugly inevitably hopefully 

The wind orchestrates
its theme of loneliness
and the rain
has too much glitter in it, yes.

They are like words, the wrong ones,
insisting I listen to sense.
But I too am obstinate.

I have white walls,
white curtained windows.
What need have I
of the night’s jet-black,
outlandish ornament?

What I am after
is silence
in proportion
to desire,

the way music plumbs
its surfaces
as straight words do
the air between them.

I begin to learn
the simple thing

burning through
to an impulse at once lovely
and given to love

that will not be refused.

Dear March—Come in—
How glad I am—
I hoped for you before—
Put down your Hat—
You must have walked—
How out of Breath you are—
Dear March, how are you, and the Rest—
Did you leave Nature well—
Oh March, Come right upstairs with me—
I have so much to tell—

I got your Letter, and the Birds—
The Maples never knew that you were coming—
I declare - how Red their Faces grew—
But March, forgive me—
And all those Hills you left for me to Hue—
There was no Purple suitable—
You took it all with you—

Who knocks? That April—
Lock the Door—
I will not be pursued—
He stayed away a Year to call
When I am occupied—
But trifles look so trivial
As soon as you have come

That blame is just as dear as Praise
And Praise as mere as Blame—

I

By the road to the contagious hospital
under the surge of the blue
mottled clouds driven from the
northeast-a cold wind. Beyond, the
waste of broad, muddy fields
brown with dried weeds, standing and fallen

patches of standing water
the scattering of tall trees

All along the road the reddish
purplish, forked, upstanding, twiggy
stuff of bushes and small trees
with dead, brown leaves under them
leafless vines—

Lifeless in appearance, sluggish
dazed spring approaches—

They enter the new world naked,
cold, uncertain of all
save that they enter. All about them
the cold, familiar wind—

Now the grass, tomorrow
the stiff curl of wildcarrot leaf
One by one objects are defined—
It quickens: clarity, outline of leaf

But now the stark dignity of
entrance—Still, the profound change
has come upon them: rooted, they
grip down and begin to awaken

     Each artist embarks on a personal search.
         An artist may take introspective refreshment from green.

Or so they say in Barcelona when air is dry.
     In our country it is a water sprinkler that hints, "rinsed green."
              Colors often break themselves into separate hues

     of noisetone.          In a Barcelona cabaret when green is overtaken,
it is stirred into the mint color of drink.

     The spirit is lifted among primary colors. Nine rows of color.
                         The future writ in white spaces.

^{translated from the Spanish by Ursula K. Le Guin}

   Life of my life, what you loved I sing.
If you're near, if you’re listening,
remembering earth, in the evening,
my life, my shadow, hear me sing.

   Life of my life, I can’t be still.
What is a story we never tell?
How can you find me unless I call?

   Life of my life, I haven’t changed,
not turned aside and not estranged.
Come to me as the shadows grow long,
come, life of my life, if you know the song
you used to know, if you know my name.
I and the song are still the same.

    Beyond time or place I keep the faith.
Follow a path or follow no path, 
don’t fear the night or the rainy wind.
call me to come to you, now at the end,
and come to me, soul of my soul, my friend. 
 

Canto Que Amabas 
 

Yo canto lo que tú amabas, vida mía,
por si te acercas y escuchas, vida mía,
por si te acuerdas del mundo que viviste,
al atardecer yo canto, sombra mía.

Yo no quiero enmudecer, vida mía.
¿Cómo sin mi grito fiel me hallarías?
¿Cuál señal, cuál me declara, vida mía?

Soy la misma que fue tuya, vida mía.
Ni lenta ni trascordada ni perdida.
Acude al anochecer, vida mía;
ven recordando un canto, vida mía,
si la canción reconoces de aprendida
y si mi nombre recuerdas todavía.

Te espero sin plazo ni tiempo.
No temas noche, neblina ni aguacero.
Acude con sendero o sin sendero.
Llámame a donde tú eres, alma mía,
0201y marcha recto hacia mí, compañero.

for Octavio


There's a book called
"A Dictionary of Angels."
No one has opened it in fifty years,
I know, because when I did,
The covers creaked, the pages
Crumbled. There I discovered

The angels were once as plentiful
As species of flies.
The sky at dusk
Used to be thick with them.
You had to wave both arms
Just to keep them away.

Now the sun is shining
Through the tall windows.
The library is a quiet place.
Angels and gods huddled
In dark unopened books.
The great secret lies
On some shelf Miss Jones
Passes every day on her rounds.

She's very tall, so she keeps
Her head tipped as if listening.
The books are whispering.
I hear nothing, but she does.

     I was outside St. Cecelia's Rectory
smoking a cigarette when a goat appeared beside me.
It was mostly black and white, with a little reddish
brown here and there. When I started to walk away,
it followed. I was amused and delighted, but wondered
what the laws were on this kind of thing. There's
a leash law for dogs, but what about goats? People
smiled at me and admired the goat. "It's not my goat,"
I explained. "It's the town's goat. I'm just taking
my turn caring for it." "I didn't know we had a goat,"
one of them said. "I wonder when my turn is." "Soon,"
I said. "Be patient. Your time is coming." The goat
stayed by my side. It stopped when I stopped. It looked
up at me and I stared into its eyes. I felt he knew
everything essential about me. We walked on. A police-
man on his beat looked us over. "That's a mighty
fine goat you got there," he said, stopping to admire.
"It's the town's goat," I said. "His family goes back
three-hundred years with us," I said, "from the beginning."
The officer leaned forward to touch him, then stopped
and looked up at me. "Mind if I pat him?" he asked.
"Touching this goat will change your life," I said.
"It's your decision." He thought real hard for a minute,
and then stood up and said, "What's his name?" "He's
called the Prince of Peace," I said. "God! This town
is like a fairy tale. Everywhere you turn there's mystery 
and wonder. And I'm just a child playing cops and robbers
forever. Please forgive me if I cry." "We forgive you,
Officer," I said. "And we understand why you, more than
anybody, should never touch the Prince." The goat and
I walked on. It was getting dark and we were beginning
to wonder where we would spend the night.

There is nothing beautiful here
However I may want it. I can’t
Spin a crystal palace of this thin air,
Weave a darkness plush as molefur with my tongue
However I want. Yet I am not alone
In these alleys of vowels, which comfort me
As the single living nun of a convent
Is comforted by the walls of that catacomb
She walks at night, lit by her own moving candle.
I am not afraid of mirrors or the future
—Or even you, lovers, wandering cow-fat
And rutting in the gardens of this earthly verge
Where I too trod, a sunspot, parasol-shaded,
Kin to the trees, the bees, the color green.

This is my first memory:
A big room with heavy wooden tables that sat on a creaky
       wood floor
A line of green shades—bankers’ lights—down the center
Heavy oak chairs that were too low or maybe I was simply
       too short
              For me to sit in and read
So my first book was always big

In the foyer up four steps a semi-circle desk presided
To the left side the card catalogue
On the right newspapers draped over what looked like
       a quilt rack
Magazines face out from the wall

The welcoming smile of my librarian
The anticipation in my heart
All those books—another world—just waiting
At my fingertips.

I don’t love you as if you were a rose of salt, topaz,
or arrow of carnations that propagate fire:
I love you as one loves certain obscure things,
secretly, between the shadow and the soul.

I love you as the plant that doesn’t bloom but carries
the light of those flowers, hidden, within itself,
and thanks to your love the tight aroma that arose
from the earth lives dimly in my body.

I love you without knowing how, or when, or from where,
I love you directly without problems or pride:
I love you like this because I don’t know any other way
        to love,
except in this form in which I am not nor are you,
so close that your hand upon my chest is mine,
so close that your eyes close with my dreams.

Cien Sonetos de Amor: XVII (No te amo como si fueras rosa)

No te amo como si fueras rosa de sal, topacio
o flecha de claveles que propagan el fuego:
te amo como se aman ciertas cosas oscuras,
secretamente, entre la sombra y el alma.

Te amo como la planta que no florece y lleva
dentro de sí, escondida, la luz de aquellas flores,
y gracias a tu amor vive oscuro en mi cuerpo
el apretado aroma que ascendió de la tierra.

Te amo sin saber como, ni cuándo, ni de dónde,
Te amo directamente sin problemas ni orgullo:
así te amo porque no sé amar de otra manera,
sino así de este modo en que no soy ni eres,
tan cerca que tu mano sobre mi pecho es mía,
tan cerca que se cierran tus ojos con mi sueño.  

^{October 24, 2006}

I’m alive you say
to no one in particular.

You are no one in particular.
That’s a good thing. The street is filled with souls

nested in good-looking bodies
that aren’t looking

in your direction. Someone is singing,
someone’s holding hands

with someone who is embarrassed by affection,
men and women made of light

drink in light
made of men and women.

They are alive you say,
meaning no one in particular.

One of them is singing, one is selling flowers,
one is so thin

you can almost see through her. One is looking
in your direction.

I’m alive you say, a little embarrassed
to be no one in particular, a soul

nested in a body
of men and women.

Someone is singing, someone is drinking
tea that is sweet and bitter.

It’s a good thing you say,
drinking in the light

of men and women,
men and women made of light, nested

in the sweet and bitter. A soul
is singing in your direction, so alive

you can almost see her.

is my heart. A stranger
berry there never was,
tartless.

Gone sour in the sun,
in the sunroom or moonroof,
ruthless.

No poetry.  Plain.  No 
fresh, special recipe
to bless.

All I've ever made 
with these hands 
and life, less

substance, more rind. 
Mostly rim and trim,
meatless

but making much smoke
in the old smokehouse,
no less. 

Fatted from the day, 
overripe and even
toxic at eve.  Nonetheless,

in the end, if you must 
know, if I must bend,
waistless,

to that excruciation.  
No marvel, no harvest
left me speechless,

yet I find myself
somehow with heart,
aloneless.

With heart,
fighting fire with fire,
flightless.

That loud hub of us, 
meat stub of us, beating us
senseless.

Spectacular in its way,
its way of not seeing, 
congealing dayless

but in everydayness.
In that hopeful haunting,
(a lesser

way of saying
in darkness) there is
silencelessness

for the pressing question. 
Heart, what art you? 
War, star, part? Or less: 

playing a part, staying apart
from the one who loves,
loveless.

I worry that my friends 
will misunderstand my silence

as a lack of love, or interest, instead
of a tent city built for my own mind,  

I worry I can no longer pretend 
enough to get through another

year of pretending I know 
that I understand time, though 

I can see my own hands; sometimes, 
I worry over how to dress in a world 

where a white woman wearing 
a scarf over her head is assumed 

to be cold, whereas with my head 
cloaked, I am an immediate symbol 

of a war folks have been fighting 
eons-deep before I was born, a meteor.  

churned to agitation. We fastened a cloak round
the nape of nation. We have clustered to bear
the weather. 40 jewels for 50 thieves.

To spackle our sorrow in ochre,
to carve a sun from a carcass of grapes.
We will knead the wine’s mother.

We will sip her from a lake. Three
gold eyes above a trellis.
Three gold eyes bespeak.

            vine
            lattice
            midnight seed

A thousand eyes for 50 thieves.

To pray you open your whole self
To sky, to earth, to sun, to moon
To one whole voice that is you.
And know there is more
That you can't see, can't hear,
Can't know except in moments
Steadily growing, and in languages
That aren't always sound but other
Circles of motion.
Like eagle that Sunday morning
Over Salt River. Circled in blue sky
In wind, swept our hearts clean
With sacred wings.
We see you, see ourselves and know
That we must take the utmost care
And kindness in all things.
Breathe in, knowing we are made of
All this, and breathe, knowing
We are truly blessed because we
Were born, and die soon within a
True circle of motion, 
Like eagle rounding out the morning
Inside us. 
We pray that it will be done
In beauty.
In beauty.

First having read the book of myths,
and loaded the camera,
and checked the edge of the knife-blade,
I put on
the body-armor of black rubber
the absurd flippers
the grave and awkward mask.
I am having to do this
not like Cousteau with his
assiduous team
aboard the sun-flooded schooner
but here alone.

There is a ladder.
The ladder is always there
hanging innocently
close to the side of the schooner.
We know what it is for,
we who have used it.
Otherwise
it is a piece of maritime floss
some sundry equipment.

I go down.
Rung after rung and still
the oxygen immerses me
the blue light
the clear atoms
of our human air.
I go down.
My flippers cripple me,
I crawl like an insect down the ladder
and there is no one
to tell me when the ocean
will begin.

First the air is blue and then
it is bluer and then green and then
black I am blacking out and yet
my mask is powerful
it pumps my blood with power
the sea is another story
the sea is not a question of power
I have to learn alone
to turn my body without force
in the deep element.

And now: it is easy to forget
what I came for
among so many who have always
lived here
swaying their crenellated fans
between the reefs
and besides
you breathe differently down here.

I came to explore the wreck.
The words are purposes.
The words are maps.
I came to see the damage that was done
and the treasures that prevail.
I stroke the beam of my lamp
slowly along the flank
of something more permanent
than fish or weed

the thing I came for:
the wreck and not the story of the wreck
the thing itself and not the myth
the drowned face always staring
toward the sun
the evidence of damage
worn by salt and sway into this threadbare beauty
the ribs of the disaster
curving their assertion
among the tentative haunters.

This is the place.
And I am here, the mermaid whose dark hair
streams black, the merman in his armored body.
We circle silently
about the wreck
we dive into the hold.
I am she: I am he

whose drowned face sleeps with open eyes
whose breasts still bear the stress
whose silver, copper, vermeil cargo lies
obscurely inside barrels
half-wedged and left to rot
we are the half-destroyed instruments
that once held to a course
the water-eaten log
the fouled compass

We are, I am, you are
by cowardice or courage
the one who find our way
back to this scene
carrying a knife, a camera
a book of myths
in which
our names do not appear.