Nothing can ever happen twice.
In consequence, the sorry fact is
that we arrive here improvised
and leave without the chance to practice.

Even if there is no one dumber,
if you’re the planet’s biggest dunce,
you can’t repeat the class in summer:
this course is only offered once.

No day copies yesterday,
no two nights will teach what bliss is
in precisely the same way,
with precisely the same kisses.

One day, perhaps some idle tongue
mentions your name by accident:
I feel as if a rose were flung
into the room, all hue and scent.

The next day, though you’re here with me,
I can’t help looking at the clock:
A rose? A rose? What could that be?
Is it a flower or a rock?

Why do we treat the fleeting day
with so much needless fear and sorrow?
It's in its nature not to stay:
Today is always gone tomorrow.

With smiles and kisses, we prefer
to seek accord beneath our star,
although we’re different (we concur)
just as two drops of water are.

I’m in my room writing

speaking in myself

& I hear you

move down the hallway

to water your plants

I write truth on the page

I strike the word over & over

yet I worry you’ll pour too much water on the plants

& the water will overflow onto the books

ruining them

If I can’t speak out of myself

how can I tell you I don’t care about the plants?

how can I tell you I don’t care if the books get wet?

We’ve been together seven years

& only now do I begin

clearing my throat to speak to you.

Who is the girl forced to kneel on dried chickpeas to atone for the sin of being alive?

In the dream blindfold and bandage are one.

My hands go numb as I carry dried chickpeas.

In my head there is a voice that says “naked forest” and

“a tiny photograph that is passed between hands in the dark.”

Why doesn’t the girl on the floor of the world talk?

Because she is a wound on the earth’s hide.

Not mouth.

Do you understand?

Wound, not mouth.

All I remember is the coppiced terrain I crossed to find a house to rest in. Who is the woman lurking in the woods? A fellow traveler. I’m not used to seeing others. She is lost and I am lost but the difference is she is a novice at being lost, whereas I have always been without country. Without planet. When we happen upon a cabin I ask the house for shelter on her behalf. I’m aware that we come off as oogles but want to prove we are different by washing dishes. To concretize my gratitude. 

In the morning, before the others awake, I set off for the holy site in a horse-drawn carriage. The carriage has a detachable sleeping chamber designed so that a princely man can carry me supine whenever the horse gets tired. 

At sunset my pilgrimage is complete. The Asian market is a glass palace overlooking an airport. From outside the Palace of Snacks the products shine like organs inside a hard, translucent skin. As I take the palace escalator heavenward my eyes are fixed on an airplane parked on the runway. 

It is waiting for me. 

not back, let’s not come back, let’s go by the speed of 
queer zest & stay up 
there & get ourselves a little 
moon cottage (so pretty), then start a moon garden 

with lots of moon veggies (so healthy), i mean 
i was already moonlighting 
as an online moonologist 
most weekends, so this is the immensely 

logical next step, are you 
packing your bags yet, don’t forget your 
sailor moon jean jacket, let’s wear 
our sailor moon jean jackets while twirling in that lighter, 

queerer moon gravity, let’s love each other 
(so good) on the moon, let’s love 
the moon        
on the moon

But really
I would prefer
to sit, drink water,
reread some Russians
a while longer 
—a luxury
perhaps, but why
should I, anyone,
call it that, why
should reading
what I want,
in a well-hydrated fashion,
always be what I’m
planning to finally
do, like hiking      
or biking, & now
that I think of it, reading
should make me, anyone,
breathe harder, then
easier, reach for cold,
cold water, & I
prefer my reading
that way, I prefer
Ivan Turgenev,
who makes me work for
not quite pleasure
no, some truer 
sweatier thing,
Turgenev,
who is just now, 
in my small room 
in West Texas, 
getting to the good part,
the very Russian part,
the last few pages   
of “The Singers” 
when the story
should be over,
Yakov the Turk
has sung with fervor,
meaning true
Russian spirit,
meaning he’s won
a kind of 19th century
Idol in the village
tavern, The End, but
Turgenev goes
on, the narrator walks
out, down a hill,
into a dark
enveloping mist, 
& he hears
from misty far away
some little boy 
calling out for
Antropka!
calling hoarsely,
darkly, 
Antropka-a-a!
& it’s that voice that stops
then opens my breath
that voice
& all Monday-Wednesday-Fridays
all Tuesday-Thursdays    
are gone
I have arrived
in the village of
no day   none
& I am sitting
with the villagers  
who are each at once
young   old  
who have the coldest
water to give me  
& songs
I think I have sung   before
they sing
their underground
tree-root syllables
they give me silences
from their long
long   hair

^{translated from the Spanish by Jack Hirschman}

Like you I
love love, life, the sweet smell
of things, the sky-blue
landscape of January days.
And my blood boils up
and I laugh through eyes
that have known the buds of tears.
I believe the world is beautiful
and that poetry, like bread, is for everyone.
And that my veins don’t end in me
but in the unanimous blood
of those who struggle for life,
love,
little things,
landscape and bread,
the poetry of everyone.

Como Tú

Yo, como tú,
amo el amor, la vida, el dulce encanto
de las cosas, el paisaje
celeste de los días de enero.
También mi sangre bulle
y río por los ojos
que han conocido el brote de las lágrimas.
Creo que el mundo es bello,
que la poesía es como el pan, de todos.
Y que mis venas no terminan en mí
sino en la sangre unánime
de los que luchan por la vida,
el amor,
las cosas,
el paisaje y el pan,
la poesía de todos.