Carved Marble. Edmonia Lewis, 1875
 
My God is the living God,
God of the impertinent exile.
An outcast who carved me
into an outcast carved
by sheer and stony will
to wander the desert
in search of deliverance
the way a mother hunts
for her wayward child.
God of each eye fixed to heaven,
God of the fallen water jug,
of all the hope a vessel holds
before spilling to barren sand.
God of flesh hewn from earth
and hammered beneath a will
immaculate with the power
to bear life from the lifeless
like a well in a wasteland.
I'm made in the image of a God
that knows flight but stays me
rock still to tell a story ancient as
slavery, old as the first time
hands clasped together for mercy
and parted to find only their own
salty blessing of sweat.
I have been touched by my God
in my creation, I've known her caress
of anointing callus across my face. 
I know the lyric of her pulse
across these lips...  and yes,
I've kissed the fingertips
of my dark and mortal God.
She has shown me the truth
behind each chiseled blow
that's carved me into this life,
the weight any woman might bear 
to stretch her mouth toward her
one true God, her own
beaten, marble song.
 
 
Edmonia Lewis (1845-1907) was an African/Native American expatriate sculptor who was phenomenally successful in Rome.

There’s no sense
in telling you my particular
troubles. You have yours too.
Is there value
in comparing notes?
Unlike Williams writing
poems on prescription pads
between patients, I have
no prescriptions for you.
I’m more interested
in the particular
nature and tenor of the energy
of our trouble. Maybe
that’s not enough for you.
Sometimes I stick in
some music. I’m capable
of hallucination
so there’s nothing wrong
with my images. As for me,
I’m not looking for wisdom.
The wise don’t often write
wisely, do they? The danger
is in teetering into platitudes.
Maybe Keats was preternaturally
wise but what he gave us
was beauty, whatever that is,
and truth, synonymous, he wrote,
with beauty, and not the same
as wisdom. Maybe truth
is the raw material of wisdom
before it has been conformed
by ego, fear, and time,
like a shot
of whiskey without
embellishment, or truth lays bare
the broken bone and wisdom
scurries in, wanting
to cover and justify it. It’s really
kind of a nasty
enterprise. Who wants anyone
else’s hands on their pain?
And I’d rather be arrested
than advised, even on my
taxes. So what
can poetry be now? Dangerous
to approach such a question,
and difficult to find the will to care.
But we must not languish, soldiers,
(according to the wise,)
we must go so far as to invent
new mechanisms of caring.
Maybe truth, yes, delivered
with clarity. The tone is up
to you. Truth, unabridged,
has become in itself a strange
and beautiful thing.
Truth may involve a degree
of seeing through time.
Even developing a relationship
with a thing before writing,
whether a bird
or an idea about birds, it doesn’t
matter. But please not only
a picture of a bird. Err
on the side of humility, though
humility can be declarative.
It does not submit. It can even appear
audacious. It takes mettle
to propose truth
and pretend it is generalizable.
Truth should sting, in its way,
like a major bee, not a sweat bee.
It may target the reader like an arrow,
or be swallowable, a watermelon
seed we feared as children
would take up residency in our guts
and grow unabated and change us
forever into something viny
and prolific and terrible.
As for beauty, a problematic word,
one to be side-eyed lest it turn you
to stone or salt,
it is not something to work on
but a biproduct, at times,
of the process of our making.
Beauty comes or it doesn’t, as do
its equally compelling counterparts,
inelegance and vileness.
This we learned from Baudelaire,
Flaubert, Rimbaud, Genet, male poets
of the lavishly grotesque.
You’ve seen those living rooms,
the red velvet walls and lampshades
fringed gold, cat hair thick
on the couches,
and you have been weirdly
compelled, even cushioned,
by them. Either way,
please don’t tell me flowers
are beautiful and blood clots
are ugly. These things I know,
or I know this is how
flowers and blood clots
are assessed by those content
with stale orthodoxies.
Maybe there is such a thing
as the beauty of drawing near.
Near, nearer, all the way
to the bedside of the dying
world. To sit in witness,
without platitudes, no matter
the distortions of the death throes,
no matter the awful music
of the rattle. Close, closer,
to that sheeted edge.
From this vantage point
poetry can still be beautiful.
It can even be useful, though
never wise.
 

A naked child is running
along the path toward us,
her arms stretched out,
her mouth open,
the world turned to trash
behind her.

She is running from the smoke
and the soldiers, from the bodies
of her mother and little sister
thrown down into a ditch,
from the blown-up bamboo hut
from the melted pots and pans.
And she is also running from the gods
who have changed the sky to fire
and puddled the earth with skin and blood.
She is running--my god--to us,
10,000 miles away,
reading the caption
beneath her picture
in a weekly magazine.
All over the country
we're feeling sorry for her
and being appalled at the war
being fought in the other world.
She keeps on running, you know,
after the shutter of the camera
clicks. She's running to us.
For how can she know,
her feet beating a path
on another continent?
How can she know
what we really are?
From the distance, we look
so terribly human.

A naked child is running
along the path toward us,
her arms stretched out,
her mouth open,
the world turned to trash
behind her.

She is running from the smoke
and the soldiers, from the bodies
of her mother and little sister
thrown down into a ditch,
from the blown-up bamboo hut
from the melted pots and pans.
And she is also running from the gods
who have changed the sky to fire
and puddled the earth with skin and blood.
She is running--my god--to us,
10,000 miles away,
reading the caption
beneath her picture
in a weekly magazine.
All over the country
we're feeling sorry for her
and being appalled at the war
being fought in the other world.
She keeps on running, you know,
after the shutter of the camera
clicks. She's running to us.
For how can she know,
her feet beating a path
on another continent?
How can she know
what we really are?
From the distance, we look
so terribly human.

An initial, fine-grained impulse is to claim an anagoge,
The pure image not enough in its ochres and rouge
For us who, like Ariadne, long to weave its spackled ore
Within our sight without retreat to the ovoid view of Mars
We would recall from the probe’s first aching photos
Showing us as much of absence as any articulation
Of what an alien language might say with its discolorations
Along the risen seafloor face of a mountain, barren of blessing,
Garneted with Pompeian lavas and eddyings
Predicted to evanesce under our mesmeric gaze.
We retreat from witness of its charnal blooms,
Our own premonitions of decay, but the eternal itself,
Balanced on its white stool, elephantine oval,
Baroque bruisings of loss, dorsal of earth,
Clawing nail of Cimabue trapped within
The splintered, shit-colored rot of the Cross
No one regrets having disavowed,
Still rises in our guileless dreaming,
Pure blood from our yellow bones,
A quail’s pure egg speckled in splashes of sleep.

Three-quarter size. Full size would break the heart.
She, still bare-breasted from the auction block,
sits staring, perhaps realizing what
will happen to them next. There is no child,
though there must be a child who will be left
behind, or who was auctioned separately.
Her arms are limp, defeated, her thin hands
lie still in surrender.
He cowers at her side,
his head under her arm,
his body pressed to hers
like a boy hiding behind his mother.
He should protect his woman. He is strong,
his shoulder and arm muscled from hard work,
his hand, thickened by labor, on her thigh
as if to comfort, though he can’t protect.
His brow is furrowed, his eyes blank, unfocused.
What words are there to describe hopelessness?
A word that means both bull-whipped and spat on?
Is there a name for mute, depthless abyss?
A word that means Where the hell are you, God?
What would they ask God, if they could believe?
But how can they believe, while the blue sky
smiles innocently, pretends nothing is wrong.
They stood stripped up there, as they were described
like animals who couldn’t understand
how cheap a life can be made.
Their naked feet. Her collarbone. The vein
traveling his bicep. Gussie’s answer
to presidents on Mount Rushmore,
to monumental generals whose stars
and sabers say black pain
did not then and still does not matter.

I am not a painter, I am a poet.
Why? I think I would rather be
a painter, but I am not. Well,

for instance, Mike Goldberg
is starting a painting. I drop in.
“Sit down and have a drink” he
says. I drink; we drink. I look
up. “You have SARDINES in it.”
“Yes, it needed something there.”
“Oh.” I go and the days go by
and I drop in again. The painting
is going on, and I go, and the days
go by. I drop in. The painting is
finished. “Where’s SARDINES?”
All that’s left is just
letters, “It was too much,” Mike says.

But me? One day I am thinking of
a color: orange. I write a line
about orange. Pretty soon it is a
whole page of words, not lines.
Then another page. There should be
so much more, not of orange, of
words, of how terrible orange is
and life. Days go by. It is even in
prose, I am a real poet. My poem
is finished and I haven’t mentioned
orange yet. It’s twelve poems, I call
it ORANGES. And one day in a gallery
I see Mike’s painting, called SARDINES.

Thou still unravish’d bride of quietness,
    Thou foster-child of Silence and slow Time,
Sylvan historian, who canst thus express
    A flowery tale more sweetly than our rhyme:
What leaf-fring’d legend haunts about thy shape
    Of deities or mortals, or of both,
        In Tempe or the dales of Arcady?
What men or gods are these? What maidens loth?
    What mad pursuit? What struggle to escape?
        What pipes and timbrels? What wild ecstasy?
 
Heard melodies are sweet, but those unheard
    Are sweeter; therefore, ye soft pipes, play on;
Not to the sensual ear, but, more endear’d,
    Pipe to the spirit ditties of no tone:
Fair youth, beneath the trees, thou canst not leave
    Thy song, nor ever can those trees be bare;
        Bold lover, never, never canst thou kiss,
Though winning near the goal—yet, do not grieve;
    She cannot fade, though thou hast not thy bliss,
        For ever wilt thou love, and she be fair!

Ah, happy, happy boughs! that cannot shed
    Your leaves, nor ever bid the Spring adieu;
And, happy melodist, unwearied,
    For ever piping songs for ever new;
More happy love! more happy, happy love!
    For ever warm and still to be enjoy’d,
        For ever panting, and for ever young;
All breathing human passion far above,
    That leaves a heart high-sorrowful and cloy’d,
        A burning forehead, and a parching tongue.

Who are these coming to the sacrifice?
    To what green altar, O mysterious priest,
Lead’st thou that heifer lowing at the skies,
    And all her silken flanks with garlands drest?
What little town by river or sea shore,
    Or mountain-built with peaceful citadel,
        Is emptied of this folk, this pious morn?
And, little town, thy streets for evermore
    Will silent be; and not a soul to tell
        Why thou art desolate, can e’er return.

O Attic shape! Fair attitude! with brede
    Of marble men and maidens overwrought,
With forest branches and the trodden weed;
    Thou, silent form, dost tease us out of thought
As doth eternity: Cold pastoral!
    When old age shall this generation waste,
        Thou shalt remain, in midst of other woe
Than ours, a friend to man, to whom thou say’st,
    “Beauty is truth, truth beauty”—that is all
        Ye know on earth, and all ye need to know.

The stream runs clear to its stones;
the fish swim in sharp outline.
Girl, turn your face for me to draw.
Tomorrow, if we should drift apart,
I shall find you by this picture.

It's true that you don't know them--nor do I 
know what I wanted their movement to say 
when I tucked them in an envelope with words

for you. I thought it was my life caught 
in a warm night. I believed myself loved 
by the wan and delicate man you see dancing

against the drop-off behind them all. But you 
can't see that they are on a mountain, that 
just beyond the railings is a ravine, abrupt

and studded with thorn, beyond it, a river, 
dry bed of stone that, by the time you take 
the photo from the envelope, will have filled

with green foam of cold torrents from high 
in the Alps. This is France, you think, as you look 
at the people dancing, but there is nothing of France

visible save one branch of a tree close enough 
to catch in their hair. I could tell you that by the time 
you see this picture, the young girl with the long jaw

launching her bared navel at the lens will have bedded 
the man you're afraid of losing me to. There is food 
on the table, French food, and so more beautiful for that,

green olives in brine, a local cake in paper lace, 
sliced tomatoes that look in the flash like flesh 
with their red spill of curve and seed. I could tell you

they grew not twenty meters from the table 
where you see them, that I picked them one day 
with the small woman who bares her breasts

in this photo because she is about to leave us
and doesn't know any other way to say she is sad. 
They're alive is all you'll say of the scene, which

is to say you feel you're not. It is November 
by the time I've thought to send you the photo, 
by the time I feel myself ready to part with the image.

By then, the woman of the manifest breasts has left us, 
and the one with the dark eyes who loved her 
has darker eyes. Very soon after this dancing stopped,

the man with the hollow cheeks took the girl 
of the ripe navel to his bed because he, like you, 
is so afraid of dying, he invites it daily, to try him.

The girl's last lover was a boy on heroin in Cairo 
with the possible end of them both asleep in his blood,
and now too in the blood of the lover I wanted

to save. Because you are married to a woman 
who insists on wearing her dead sister's clothes, 
you understand that while I am not in this picture,

I am in this picture. Know that I need never see it again 
to see: the incessant knot of the girl's navel is a fist, 
an oily wad of sweet-sour girl flesh, a ball of tissue

I twisted and crushed all of that evening, and since. 
You refuse to remember her name, or his, because you want 
to be my lover again, and the others must be kept

abstract. They were alive you say again, not more, 
because the heart is nothing if not a grave. You want me 
because your wife holds out her familiar wrist to you

in the terrible sleeve of her dead sister's dress, 
because I reach for the gaunt cheek of the man 
who worships at the luminous inch of belly on the girl

who lifts her arms from the body of a boy none of us 
will ever know in Cairo, the girl, who dead center 
in the photo, lifts the potent, mocking extravagance
of her flash-drenched arms, and dances for us all.

According to Brueghel
when Icarus fell
it was spring

a farmer was ploughing
his field
the whole pageantry

of the year was
awake tingling
near

the edge of the sea
concerned
with itself

sweating in the sun
that melted
the wings' wax

unsignificantly
off the coast
there was

a splash quite unnoticed
this was
Icarus drowning