I never claimed night fathered me.
that was my dead brother talking in his sleep. 
I keep him under my pillow, a dear wish
that colors my laughing and crying.

I never said the wind, remembering nothing,
leaves so many rooms unaccounted for, 
continual farewell must ransom
the unmistakable fragrance
our human days afford.

It was my brother, little candle in the pulpit,
reading out loud to all of earth
from the book of night.

He died too young to learn his name.
Now he answers to Vacant Boat,
Burning Wing, My Black Petal.

Ask him who his mother is. He’ll declare the birds
have eaten the path home, but each of us
joins night’s ongoing story
wherever night overtakes him,
the heart astonished to find belonging
and thanks answering thanks. 

Ask if he’s hungry or thirsty,
he’ll say he’s the bread come to pass
and draw you a map
to the twelve secret hips of honey.

Does someone want to know the way to spring?
He’ll remind you
the flower was never meant to survive
the fruit’s triumph.

He says an apple’s most secret cargo
is the enduring odor of a human childhood,
our mother’s linen pressed and stored, our father’s voice
walking through the rooms.

He says he’s forgiven our sister
for playing dead and making him cry
those afternoons we were left alone in the house.

And when clocks frighten me with their long hair,
and when I spy the wind’s numerous hands
in the orchard unfastening
first the petals from the buds,
then the perfume from the flesh,

my dead brother ministers to me. His voice
weighs nothing
but the far years between
stars in their massive dying,

and I grow quiet hearing
how many of both of our tomorrows
lie waiting inside it to be born.

There's nothing I can't find under there.
Voices in the trees, the missing pages
of the sea.

Everything but sleep.

And night is a river bridging
the speaking and the listening banks,

a fortress, undefended and inviolate.

There's nothing that won't fit under it:
fountains clogged with mud and leaves,
the houses of my childhood.

And night begins when my mother's fingers
let go of the thread
they've been tying and untying
to touch toward our fraying story's hem.

Night is the shadow of my father's hands
setting the clock for resurrection.

Or is it the clock unraveled, the numbers flown?

There's nothing that hasn't found home there:
discarded wings, lost shoes, a broken alphabet.

Everything but sleep. And night begins

with the first beheading
of the jasmine, its captive fragrance
rid at last of burial clothes.

Tonight my brother, in heavy boots, is walking 
through bare rooms over my head,
opening and closing doors.
What could he be looking for in an empty house?
What could he possibly need there in heaven?
Does he remember his earth, his birthplace set to torches?
His love for me feels like spilled water
running back to its vessel.

At this hour, what is dead is restless
and what is living is burning.

Someone tell him he should sleep now.

My father keeps a light on by our bed
and readies for our journey.
He mends ten holes in the knees
of five pairs of boy's pants.
His love for me is like sewing:
various colors and too much thread,
the stitching uneven. But the needle pierces 
clean through with each stroke of his hand.

At this hour, what is dead is worried
and what is living is fugitive.

Someone tell him he should sleep now.

God, that old furnace, keeps talking 
with his mouth of teeth,
a beard stained at feasts, and his breath
of gasoline, airplane, human ash.
His love for me feels like fire,
feels like doves, feels like river-water.

At this hour, what is dead is helpless, kind
and helpless. While the Lord lives.

Someone tell the Lord to leave me alone.
I've had enough of his love
that feels like burning and flight and running away.

Take this quiet woman, she has been
standing before a polishing wheel
for over three hours, and she lacks
twenty minutes before she can take
a lunch break. Is she a woman?
Consider the arms as they press
the long brass tube against the buffer,
they are striated along the triceps,
the three heads of which clearly show.
Consider the fine dusting of dark down
above the upper lip, and the beads
of sweat that run from under the red
kerchief across the brow and are wiped
away with a blackening wrist band
in one odd motion a child might make
to say No! No! You must come closer
to find out, you must hang your tie
and jacket in one of the lockers
in favor of a black smock, you must
be prepared to spend shift after shift
hauling off the metal trays of stock,
bowing first, knees bent for a purchase, 
then lifting with a gasp, the first word 
of tenderness between the two of you,
then you must bring new trays of dull
unpolished tubes. You must feed her,
as they say in the language of the place.
Make no mistake, the place has a language,
and if by some luck the power were cut,
the wheel slowed to a stop so that you
suddenly saw it was not a solid object
but so many separate bristles forming
in motion a perfect circle, she would turn
to you and say, "Why?" Not the old why
of why must I spend five nights a week?
Just, "Why?" Even if by some magic 
you knew, you wouldn't dare speak
for fear of her laughter, which now
you have anyway as she places the five
tapering fingers of her filthy hand
on the arm of your white shirt to mark
you for your own, now and forever.

As she laughed I was aware of becoming involved in her laughter and being part of it, until her teeth were only accidental stars with a talent for squad-drill. I was drawn in by short gasps, inhaled at each momentary recovery, lost finally in the dark caverns of her throat, bruised by the ripple of unseen muscles. An elderly waiter with trembling hands was hurriedly spreading a pink and white checked cloth over the rusty green iron table, saying: "If the lady and gentleman wish to take their tea in the garden, if the lady and gentleman wish to take their tea in the garden..." I decided that if the shaking of her breasts could be stopped, some of the fragments of the afternoon might be collected, and I concentrated my attention with careful subtlety to this end.