The mist has left the greening plain, 

The dew-drops shine like fairy rain, 

The coquette rose awakes again 

     Her lovely self adorning. 

 
The Wind is hiding in the trees, 

A sighing, soothing, laughing tease, 

Until the rose says "kiss me, please" 

    'Tis morning, 'tis morning. 

 
With staff in hand and careless-free, 

The wanderer fares right jauntily, 

For towns and houses are, thinks he, 

   For scorning, for scorning,

My soul is swift upon the wing, 

And in its deeps a song I bring; 

come, Love, and we together sing, 

" 'Tis morning, 'tis morning." 

Translated from Portuguese by John Keene

Time
is an essence
I carry within me
Time and its strands
They've been coiled inside me since my navel was knotted
It has as its complementary counterpart
The space between time and its options
Time, lord of the hours
reigns sovereign
Subtly, on a silver cord
People don't kill time
He is the killer.

She, being the midwife
and your mother’s
longtime friend, said
I see a heart; can you
see it? And on the grey
display of the ultrasound
there you were as you were,
our nugget, in that moment
becoming a shrimp
or a comma punctuating
the whole of my life, separating
its parts—before and after—,
a shrimp in the sea
of your mother, and I couldn’t
help but see the fast
beating of your heart
translated on that screen
and think and say to her,
to the room, to your mother,
to myself It looks like
a twinkling star.
I imagine I’m not
the first to say that either.
Unlike the first moments
of my every day,
the new of seeing you was the first
—deserving of the definite article—
moment I saw a star
at once so small and so
big, so close and getting closer
every day, I pray.

              And now, having dismissed everyone as he 
wishes he could dismiss his own dreams that make each 
night restless—that same unswayable knowledge, and
the belief in it, that he is 
                                             king here, which means
being a stranger, at least outwardly, to even the least 
trace of doubt—after all of this, the king has stepped 
from the royal tent, is walking toward the sound 
of water, where the river must be. There’s the river, 
rivering south, 
                           as rivers tend to. Beside the river, 
two men are fucking. Young men. Almost too young 
to even know about fucking, thinks the king, who can’t 
help noticing how the men bring a somehow grace
to the business between them—a grace that some might 
confuse with love. But the king 
                                                         rarely makes mistakes, 
which is to say, he knows mercy when he sees it. What 
does mercy have to do with fucking? What does love
have to do with grace? What are dreams but the only
rivers memory knows how to make? There’s a kind of
music 
            to how the men routinely but unpredictably trade 
places entering and withdrawing from each other. It’s as if 
they’re singing a song that might go “I’m the king, no you’re 
the king and I’m the river, no you’re the river.” On and on,
like that. Leave them; they do 
                                                        no harm. The king making 
his slow, insomnia-ed way back. The night dark but not dark 
entirely: moonless, yes, but through the pines enough stars 
still visible. Whoever goes there,
                                                           let me pass. Beneath 
the brocaded cloak, each bead stitched to it by hand, 
beneath the cloak of some more breathable, lighter fabric 
beneath that, the king’s cock rests like tenderness itself 
against the king’s left thigh. How soft the stars look.

Well, son, I’ll tell you: 
Life for me ain’t been no crystal stair.
It’s had tacks in it,
And splinters,
And boards torn up,
And places with no carpet on the floor—
Bare;
But all the time
I’se been a’climbin’ on,
And reachin’ landin’s,
And turnin’ corners, 
And sometimes goin’ in the dark, 
Where there ain’t been no light.
So boy, don’t you turn back;
Don’t you sit down on the steps, 
’Cause you finds it’s kinder hard;
Don’t you fall now—
For I’se still goin’, honey,
I’se still climbin’,
And life for me ain’t been no crystal stair.

Now and then the phone will ring and it will be
someone from my youth. The voice of a favorite cousin
stretched across many miles sounding exactly as she always has:
that trained concentration of one who stutters—
the slight hesitations, the drawn-out syllables,
the occasional lapse into a stammer.

When asked, she says my aunt is well for her age but
she forgets. I remember the last time I saw my aunt—
leaning on her cane, skin smooth as river rock,
mahogany brown, gray hair braided into two plaits
stretched atop her head and held in place
with black bobby pins.

She called to say James Lee has died. And did I know
Aunt Mary, who had four crippled children
and went blind after uncle Benny died, died last year?

I did not.

We wander back awhile, reminding and remembering:

Me under the streetlight outside our front yard
face buried in the crook of my arm held close
to the telephone pole as I closed my eyes and sang the words:
Last night, night before, twenty-four robbers at my door
I got up to let them in... hit ‘em in the head with a rolling pin,
then counted up to ten while they ran and hid.

Visiting the graves of grandparents I never knew.
Placing blush-pink peonies my father grew and cut
for the occasion into mason jars. Saying nothing.
Simply staring at the way our lives come down
to a concrete slab.

Now and then the phone will ring and it will be
someone from my youth. The voice of a favorite cousin
stretched across many miles sounding exactly as she always has:
that trained concentration of one who stutters—
the slight hesitations, the drawn-out syllables,
the occasional lapse into a stammer.

When asked, she says my aunt is well for her age but
she forgets. I remember the last time I saw my aunt—
leaning on her cane, skin smooth as river rock,
mahogany brown, gray hair braided into two plaits
stretched atop her head and held in place
with black bobby pins.

She called to say James Lee has died. And did I know
Aunt Mary, who had four crippled children
and went blind after uncle Benny died, died last year?

I did not.

We wander back awhile, reminding and remembering:

Me under the streetlight outside our front yard
face buried in the crook of my arm held close
to the telephone pole as I closed my eyes and sang the words:
Last night, night before, twenty-four robbers at my door
I got up to let them in... hit ‘em in the head with a rolling pin,
then counted up to ten while they ran and hid.

Visiting the graves of grandparents I never knew.
Placing blush-pink peonies my father grew and cut
for the occasion into mason jars. Saying nothing.
Simply staring at the way our lives come down
to a concrete slab.

Let us, instead, consider the pockets 
Martin Rodriguez sewed onto the insides 
of his jacket and pants. 
                                      This was 5th grade.
This isn’t about the fact that he got caught 
jacking a bunch of shit from Market Spot. 
All of us wished we’d thought of it first. 
                                                                 We need 
to stay focused on those extra pockets. How 
big those caverns must have been—that fortune 
of whispered temptation. 
                                           Boy-genius, we said. 
Pockets for bags of apple-rings, beef jerky. A Pepsi 
2-liter. Crunch bars. Cans of Cactus Cooler, 
maybe. The lonely monster of desire bent us 
away from boyhood, made it something small 
that we wanted to toss rocks at. 
                                                    Rolls of Oreos 
in those pockets. Enough Doublemint gum 
to anchor friends on a green recess field. A few
sheets of temporary tattoos to offer in class 
while Mrs. Hawkins continued her lesson 
on the Gold Rush. 
                               I can see those pockets 
pomegranate when pulled apart: a bloom 
of endings across the Market Spot parking lot 
as he tried to run. Bomb Pop ice cream bars, 
or the cartoon kind with gumballs for eyes, 
oozing out. 
                   Look, I am talking about collapse. 
As always. The rest of the poem wants to go 
like this: I don’t know what happened 
to Martin Rodriguez. He never came back
to school. But the truth is he returned to class 
the next day. 
                     We stood in a circle, laughing 
about what he took until the day Manny 
got caught smoking weed. Then we talked 
about that until someone’s cousin got shot 
after school by the computer lab. We played 
Oregon Trail on Thursdays. None of us 
could ever cross the river. I kept dying 
of snake bite. 
                       We got older and painted walls 
for different crews. We became enemies, me 
and Martin, drawing exes over each other. We 
turned into no one, and then, 
                                                finally, we became 
fathers. I saw him, years later, with his son. 
We crossed each other on the street. Both of us 
nodded and kept on moving toward the sidewalk. 
So many years collapsing into each other, 
I thought. 
                  Someone has changed the sign 
in front of the store. But if I say Market Spot
today, the homie points to where we watched 
the cashier jump the counter and snatch Martin 
into the air, splicing it with sugar. The sharp kick 
of a boy’s legs. A body jolted into enough quiet 
that police were called. Officers with notepads, 
                the cashier waving flies away from his face.

            for Chris Martin

To you
through whom

these sudden days
blowse & hum

thirst & quench
a tide of tensing trees

days tick by
beats in a song

my body grows
fuller each day

I think my life
has always been

for this quiet
darkness

your forehead
& eyelashes

face pressed
to my breast

your skin a texture
electrifying

my fingertips
wool on cotton

wool on glass
the fibers rise

& I can’t sleep
for being alive
 

^{translated by Sasha Pimentel}

The girls in Perth Amboy
add to the wind
their small tears
to loosen the torment.

I remember 
the first time
on these grounds,
the mailbox, the snow,
your coupon book,
English class,
the smell of neglect
in the hallways.

So,
Winter,
the liminal sickness
of sidewalks.
The cold
at the corners of lips,
above the machines,
the counter
and vital signs,

Cold
intervening
the deep root of rage,
sowing what is solid
into the lawn,
heightening the rose’s stem,
and from your own kindness.

But I think,
dear Beth,
it must be true
that before us
was another tribe of wanderers,
shepherds of loss

these girls
in Perth Amboy
shaking the bedsheet,
cursing the weather,
their many errands,
and climbing regularly
the erect hill
of ire,
our
daily goddess,
the first language
we learned here,
our great, unexpected possession.

I ask myself
dear Beth,
is this bright, 
hard, polished stone of rage
the land that we were promised?

Querida Beth

Las muchachas en Perth Amboy
agregan al viento
sus minúsculas lágrimas
para desatar la tormenta.

Recuerdo,
la primera vez de todo
en este predio:
el buzón, la nieve
tu libro de cupones
la clase de inglés,
el olor a desamparo
en los pasillos.

Entonces 
el Invierno,
la enfermedad liminal 
de las aceras.
El frío,
en la comisura de los labios,
arriba de las máquinas,
del mostrador
y de los signos vitales,

El frío 
interviniendo
La raíz profunda de la rabia,
sembrando lo sólido en la grama
arreciando el tallo de la rosa
y de tu propia bondad.

Pero pienso, 
querida Beth,
que debe ser cierto 
que antes de nosotras
hubo otra peregrina tribu 
pastora de la pérdida

esas muchachas 
en Perth Amboy
sacudiendo la sábana
desdiciendo del clima,
de sus muchos oficios 
y subiendo regularmente 
la colina erguida
de la ira,
nuestra 
diosa matutina, 
la primera lengua que 
aprendimos aquí, 
nuestra gran posesión inesperada.

Yo me pregunto
querida Beth 
¿es esta recia
lustrosa piedra pulida de la rabia 
la tierra que nos prometieron?