In her room at the prow of the house
Where light breaks, and the windows are tossed with linden,
My daughter is writing a story.

I pause in the stairwell, hearing
From her shut door a commotion of typewriter-keys
Like a chain hauled over a gunwale.

Young as she is, the stuff
Of her life is a great cargo, and some of it heavy:
I wish her a lucky passage.

But now it is she who pauses,
As if to reject my thought and its easy figure.
A stillness greatens, in which

The whole house seems to be thinking,
And then she is at it again with a bunched clamor
Of strokes, and again is silent.

I remember the dazed starling
Which was trapped in that very room, two years ago;
How we stole in, lifted a sash

And retreated, not to affright it;
And how for a helpless hour, through the crack of the door,
We watched the sleek, wild, dark

And iridescent creature
Batter against the brilliance, drop like a glove
To the hard floor, or the desk-top,

And wait then, humped and bloody,
For the wits to try it again; and how our spirits
Rose when, suddenly sure,

It lifted off from a chair-back, 
Beating a smooth course for the right window
And clearing the sill of the world.

It is always a matter, my darling,
Of life or death, as I had forgotten.  I wish
What I wished you before, but harder.
 

Sometimes I wish I were still out 
on the back porch, drinking jet fuel 
with the boys, getting louder and louder 
as the empty cans drop out of our paws 
like booster rockets falling back to Earth

and we soar up into the summer stars. 
Summer. The big sky river rushes overhead, 
bearing asteroids and mist, blind fish 
and old space suits with skeletons inside. 
On Earth, men celebrate their hairiness,

and it is good, a way of letting life 
out of the box, uncapping the bottle 
to let the effervescence gush 
through the narrow, usually constricted neck.

And now the crickets plug in their appliances 
in unison, and then the fireflies flash 
dots and dashes in the grass, like punctuation 
for the labyrinthine, untrue tales of sex 
someone is telling in the dark, though

no one really hears. We gaze into the night 
as if remembering the bright unbroken planet 
we once came from, 
to which we will never 
be permitted to return. 
We are amazed how hurt we are. 
We would give anything for what we have.

In memory of Jay Kashiwamura

In Chicago, it is snowing softly
and a man has just done his wash for the week.
He steps into the twilight of early evening,
carrying a wrinkled shopping bag
full of neatly folded clothes,
and, for a moment, enjoys
the feel of warm laundry and crinkled paper,
flannellike against his gloveless hands.
There's a Rembrandt glow on his face, 
a triangle of orange in the hollow of his cheek
as a last flash of sunset
blazes the storefronts and lit windows of the street.

He is Asian, Thai or Vietnamese,
and very skinny, dressed as one of the poor
in rumpled suit pants and a plaid mackinaw,
dingy and too large.
He negotiates the slick of ice
on the sidewalk by his car,
opens the Fairlane's back door,
leans to place the laundry in,
and turns, for an instant,
toward the flurry of footsteps
and cries of pedestrians
as a boy--that's all he was--
backs from the corner package store
shooting a pistol, firing it,
once, at the dumbfounded man
who falls forward,
grabbing at his chest.

A few sounds escape from his mouth,
a babbling no one understands
as people surround him
bewildered at his speech.
The noises he makes are nothing to them.
The boy has gone, lost
in the light array of foot traffic
dappling the snow with fresh prints.

Tonight, I read about Descartes'
grand courage to doubt everything
except his own miraculous existence
and I feel so distinct
from the wounded man lying on the concrete
I am ashamed

Let the night sky cover him as he dies.
Let the weaver girl cross the bridge of heaven
and take up his cold hands.

By the last few times we saw her it was clear
That things were different. When you tried to help her
Get out of the car or get from the car to the door
Or across the apartment house hall to the elevator
There was a new sense of heaviness
Or of inertia in the body. It wasn't
That she was less willing to be helped to walk
But that the walking itself had become less willing.
Maybe the stupid demogorgon blind
Recalcitrance of body, resentful of the laws
Of mind and spirit, was getting its own back now,
Or maybe a new and subtle, alien,
Intelligence of body was obedient now
To other laws: "Weight is the measure of
The force with which a body is drawn downward
To the center of the earth"; "Inertia is
The tendency of a body to resist
Proceeding to its fate in any way
Other than that determined for itself."

That evening, at the Bromells' apartment, after
She had been carried up through the rational structure
By articulate stages, floor after flashing floor,
And after we helped her get across the hall,
And get across the room to a chair, somehow
We got her seated in a chair that was placed
A little too far away from the nearest table,
At the edge of the abyss, and there she sat,
Exposed, her body the object of our attention--
The heaviness of it, the helpless graceless leg,
The thick stocking, the leg brace, the medical shoe.

At work between herself and us there was
A new principle of social awkwardness
And skillfulness required of each of us.
Our tones of voice in this easy conversation
Were instruments of marvelous finesse,
Measuring and maintaining with exactitude
"The fact or condition of the difference
There was between us, both in space and time."

Her smiling made her look as if she had
Just then tasted something delicious, the charm
Her courtesy attributed to her friends.

This decent elegant fellow human being
Was seated in virtue, character, disability,
Behind her the order of the ranged bookshelves,
The windows monitored by Venetian blinds--
"These can be raised or lowered; numerous slats,
Horizontally arranged, and parallel,
Which can be tilted so as to admit
Precisely the desired light or air."

We were all her friends, Maggie, and Bill, and Anne, 
And I, and the nice Boston Brahmin elderly man 
Named Duncan, utterly friendly and benign.
And of course it wasn't whether or not the world
Was benign but whether it looked at her too much.
She wasn't "painfully shy" but just the same
I wouldn't be surprised if there had been
Painfulness in her shyness earlier on,
Say at dancing school. Like others, though, she had
Survived her childhood somehow. Nor do I mean
She was unhappy. Maybe more or less so
Before her marriage. One had the sense of trips
Arranged, committees, concerts, baffled courage
Living it through, giving it order and style.
And one had the sense of the late marriage as of
Two bafflements inventing the sense they made
Together. The marriage seemed, to the outside world,
And probably was, radiant and triumphant,
And I think that one could almost certainly say
That during the last, heroic, phase of things,
After his death, and after the stroke, she had
By force of character and careful management,
Maintained a certain degree of happiness.

The books there on the bookshelves told their stories,
Line after line, all of them evenly spaced,
And spaces between the words. You could fall through the spaces.
In one of the books Dr. Johnson told the story:
"In the scale of being, wherever it begins,
Or ends, there are chasms infinitely deep;
Infinite vacuities. . .For surely,
Nothing can so disturb the passions, or
Perplex the intellects of man so much,
As the disruption of this union with
Visible nature, separation from all
That has delighted or engaged him, a change
Not only of the place but of the manner
Of his being, an entrance into a state
Not simply which he knows not, but perhaps
A state he has not faculties to know."

The dinner was delicious, fresh greens, and reds,
And yellows, produce of the season due,
And fish from the nearby sea; and there were also
Ashes to be eaten, and dirt to drink.

Out for a deadbolt, light bulbs 
and two-by-fours, I find a flock 
of sparrows safe from hawks

and weather under the roof 
of Lowe's amazing discount 
store. They skitter from the racks

of stockpiled posts and hoses 
to a spill of winter birdseed 
on the concrete floor. How

they know to forage here, 
I can't guess, but the automatic 
door is close enough,

and we've had a week 
of storms. They are, after all, 
ubiquitous, though poor,

their only song an irritating 
noise, and yet they soar 
to offer, amid hardware, rope

and handyman brochures, 
some relief, as if a flurry 
of notes from Mozart swirled

from seed to ceiling, entreating 
us to set aside our evening 
chores and take grace where

we find it, saying it is possible, 
even in this month of flood, 
blackout and frustration,

to float once more on sheer 
survival and the shadowy 
bliss we exist to explore.

translated by Robert Bly

The snowfall is so silent,
so slow,
bit by bit, with delicacy
it settles down on the earth
and covers over the fields.
The silent snow comes down
white and weightless;
snowfall makes no noise,
falls as forgetting falls,
flake after flake.
It covers the fields gently
while frost attacks them
with its sudden flashes of white;
covers everything with its pure
and silent covering;
not one thing on the ground
anywhere escapes it.
And wherever it falls it stays,
content and gay,
for snow does not slip off
as rain does,
but it stays and sinks in.
The flakes are skyflowers,
pale lilies from the clouds,
that wither on earth.
They come down blossoming
but then so quickly
they are gone;
they bloom only on the peak,
above the mountains,
and make the earth feel heavier
when they die inside.
Snow, delicate snow,
that falls with such lightness
on the head,
on the feelings,
come and cover over the sadness
that lies always in my reason.

La nevada es silenciosa

La nevada es silenciosa,
cosa lenta;
poco a poco y con blandura
reposa sobre la tierra
y cobija a la llanura.
Posa la nieve callada
blanca y leve;
la nevada no hace ruido;
cae como cae el olvido,
copo a copo.
Abriga blanda a los campos
cuando el hielo los hostiga;
con sus lampos de blancura;
cubre a todo con su capa
pura, silenciosa;
no se le escapa en el suelo
cosa alguna.
Donde cae allí se queda
leda y leve,
pues la nieve no resbala
como resbala la lluvia,
sino queda y cala.
Flores del cielo los copos,
blancos lirios de las nubes,
que en el suelo se ajan,
bajan floridos,
pero quedan pronto
derretidos;
florecen sólo en la cumbre,
sobre las montañas,
pesadumbre de la tierra,
y en sus entrañas perecen.
Nieve, blanda nieve,
la que cae tan leve
sobre la cabeza,
sobre el corazón,
ven y abriga mi tristeza
la que descansa en razón.

There are cemeteries that are lonely,
graves full of bones that do not make a sound,
the heart moving through a tunnel,
in it darkness, darkness, darkness,
like a shipwreck we die going into ourselves,
as though we were drowning inside our hearts,
as though we lived falling out of the skin into the soul.

And there are corpses,
feet made of cold and sticky clay,
death is inside the bones,
like a barking where there are no dogs,
coming out from bells somewhere, from graves somewhere,
growing in the damp air like tears of rain.

Sometimes I see alone
coffins under sail,
embarking with the pale dead, with women that have dead hair,
with bakers who are as white as angels,
and pensive young girls married to notary publics,
caskets sailing up the vertical river of the dead,
the river of dark purple,
moving upstream with sails filled out by the sound of death,
filled by the sound of death which is silence.

Death arrives among all that sound
like a shoe with no foot in it, like a suit with no man in it,
comes and knocks, using a ring with no stone in it, with no
finger in it,
comes and shouts with no mouth, with no tongue, with no
throat.
Nevertheless its steps can be heard
and its clothing makes a hushed sound, like a tree.

I'm not sure, I understand only a little, I can hardly see,
but it seems to me that its singing has the color of damp violets,
of violets that are at home in the earth,
because the face of death is green,
and the look death gives is green,
with the penetrating dampness of a violet leaf
and the somber color of embittered winter.

But death also goes through the world dressed as a broom,
lapping the floor, looking for dead bodies,
death is inside the broom,
the broom is the tongue of death looking for corpses,
it is the needle of death looking for thread.

Death is inside the folding cots:
it spends its life sleeping on the slow mattresses,
in the black blankets, and suddenly breathes out:
it blows out a mournful sound that swells the sheets,
and the beds go sailing toward a port
where death is waiting, dressed like an admiral.

And the just man trailed God's shining agent,
over a black mountain, in his giant track,
while a restless voice kept harrying his woman:
"It's not too late, you can still look back

at the red towers of your native Sodom,
the square where once you sang, the spinning-shed,
at the empty windows set in the tall house
where sons and daughters blessed your marriage-bed."

A single glance: a sudden dart of pain
stitching her eyes before she made a sound . . .
Her body flaked into transparent salt,
and her swift legs rooted to the ground.

Who will grieve for this woman? Does she not seem
too insignificant for our concern?
Yet in my heart I never will deny her,
who suffered death because she chose to turn.

Since you ask, most days I cannot remember.
I walk in my clothing, unmarked by that voyage.
Then the almost unnameable lust returns.

Even then I have nothing against life.
I know well the grass blades you mention,
the furniture you have placed under the sun.

But suicides have a special language.
Like carpenters they want to know which tools.
They never ask why build.

Twice I have so simply declared myself,
have possessed the enemy, eaten the enemy,
have taken on his craft, his magic.

In this way, heavy and thoughtful,
warmer than oil or water,
I have rested, drooling at the mouth-hole.

I did not think of my body at needle point.
Even the cornea and the leftover urine were gone.
Suicides have already betrayed the body.

Still-born, they don't always die,
but dazzled, they can't forget a drug so sweet
that even children would look on and smile.

To thrust all that life under your tongue!--
that, all by itself, becomes a passion.
Death's a sad Bone; bruised, you'd say,

and yet she waits for me, year after year,
to so delicately undo an old wound,
to empty my breath from its bad prison.

Balanced there, suicides sometimes meet,
raging at the fruit, a pumped-up moon,
leaving the bread they mistook for a kiss,

leaving the page of the book carelessly open,
something unsaid, the phone off the hook
and the love, whatever it was, an infection.

When I go away from you
The world beats dead 
Like a slackened drum.
I call out for you against the jutted stars
And shout into the ridges of the wind.
Streets coming fast,
One after the other,
Wedge you away from me,
And the lamps of the city prick my eyes
So that I can no longer see your face.
Why should I leave you,
To wound myself upon the sharp edges of the night?

Woman much missed, how you call to me, call to me,
Saying that now you are not as you were
When you had changed from the one who was all to me,
But as at first, when our day was fair.

Can it be you that I hear? Let me view you, then,
Standing as when I drew near to the town
Where you would wait for me: yes, as I knew you then,
Even to the original air-blue gown!

Or is it only the breeze in its listlessness
Travelling across the wet mead to me here,
You being ever dissolved to wan wistlessness,
Heard no more again far or near?

   Thus I; faltering forward,
   Leaves around me falling,
Wind oozing thin through the thorn from norward,
   And the woman calling.

They decide to exchange heads.
Barbie squeezes the small opening under her chin 
over Ken's bulging neck socket. His wide jaw line jostles
atop his girlfriend's body, loosely,
like one of those novelty dogs
destined to gaze from the back windows of cars.
The two dolls chase each other around the orange Country Camper 
unsure what they'll do when they're within touching distance. 
Ken wants to feel Barbie's toes between his lips, 
take off one of her legs and force his whole arm inside her.
With only the vaguest suggestion of genitals,
all the alluring qualities they possess as fashion dolls, 
up until now, have done neither of them much good. 
But suddenly Barbie is excited looking at her own body 
under the weight of Ken's face. He is part circus freak,
part thwarted hermaphrodite. And she is imagining 
she is somebody else—maybe somebody middle class and ordinary,
maybe another teenage model being caught in a scandal.

The night had begun with Barbie getting angry 
at finding Ken's blow up doll, folded and stuffed
under the couch. He was defensive and ashamed, especially about 
not having the breath to inflate her. But after a round
of pretend-tears, Barbie and Ken vowed to try
to make their relationship work. With their good memories 
as sustaining as good food, they listened to late-night radio 
talk shows, one featuring Doctor Ruth. When all else fails,
just hold each other, the small sex therapist crooned. 
Barbie and Ken, on cue, groped in the dark, 
their interchangeable skin glowing, the color of Band-Aids. 
Then, they let themselves go— Soon Barbie was begging Ken 
to try on her spandex miniskirt. She showed him how 
to pivot as though he was on a runway. Ken begged 
to tie Barbie onto his yellow surfboard and spin her 
on the kitchen table until she grew dizzy. Anything,
anything, they both said to the other's requests,
their mirrored desires bubbling from the most unlikely places.

for David Ignatow

Midnight. For the past three hours 
I've raked over Plato's Republic 
with my students, all of them John 
Jay cops, and now some of us 
have come to Rooney's to unwind. 
Boilermakers. Double shots and triples. 
Fitzgerald's still in his undercover 
clothes and giveaway white socks, and two 
lieutenants--Seluzzi in the sharkskin suit 
& D'Ambruzzo in the leather--have just 
invited me to catch their fancy (and illegal) 
digs somewhere up in Harlem, when 
this cop begins to tell his story:

how he and his partner trailed 
this pusher for six weeks before 
they trapped him in a burnt-out 
tenement somewhere down in SoHo, 
one coming at him up the stairwell, 
the other up the fire escape 
and through a busted window. But by 
the time they've grabbed him 
he's standing over an open window 
and he's clean. The partner races down 
into the courtyard and begins going 
through the garbage until he finds 
what it is he's after: a white bag 
hanging from a junk mimosa like 
the Christmas gift it is, and which now 
he plants back on the suspect.
Cross-examined by a lawyer who does his best 
to rattle them, he and his partner 
stick by their story, and the charges stick.
Fitzgerald shrugs. Business as usual. 
But the cop goes on. Better to let 
the guy go free than under oath 
to have to lie like that.
And suddenly you can hear the heavy 
suck of air before Seluzzi, who 
half an hour before was boasting 
about being on the take, staggers 
to his feet, outraged at what he's heard, 
and insists on taking the bastard 
downtown so they can book him.

Which naturally brings to an end 
the discussion we've been having, 
and soon each of us is heading 
for an exit, embarrassed by the awkward 
light the cop has thrown on things. 
Which makes it clearer now to me why 
the State would offer someone like Socrates 
a shot of hemlock. And even clearer 
why Socrates would want to drink it.

But you can have the fig tree and its fat leaves like clown hands
gloved with green. You can have the touch of a single eleven-year-old finger
on your cheek, waking you at one a.m. to say the hamster is back.
You can have the purr of the cat and the soulful look
of the black dog, the look that says, If I could I would bite
every sorrow until it fled, and when it is August,
you can have it August and abundantly so. You can have love,
though often it will be mysterious, like the white foam
that bubbles up at the top of the bean pot over the red kidneys
until you realize foam's twin is blood.
You can have the skin at the center between a man's legs,
so solid, so doll-like. You can have the life of the mind,
glowing occasionally in priestly vestments, never admitting pettiness,
never stooping to bribe the sullen guard who'll tell you
all roads narrow at the border.
You can speak a foreign language, sometimes,
and it can mean something. You can visit the marker on the grave
where your father wept openly. You can't bring back the dead,
but you can have the words forgive and forget hold hands
as if they meant to spend a lifetime together. And you can be grateful
for makeup, the way it kisses your face, half spice, half amnesia, grateful
for Mozart, his many notes racing one another towards joy, for towels
sucking up the drops on your clean skin, and for deeper thirsts,
for passion fruit, for saliva. You can have the dream,
the dream of Egypt, the horses of Egypt and you riding in the hot sand.
You can have your grandfather sitting on the side of your bed,
at least for a while, you can have clouds and letters, the leaping
of distances, and Indian food with yellow sauce like sunrise.
You can't count on grace to pick you out of a crowd
but here is your friend to teach you how to high jump,
how to throw yourself over the bar, backwards,
until you learn about love, about sweet surrender,
and here are periwinkles, buses that kneel, farms in the mind
as real as Africa. And when adulthood fails you,
you can still summon the memory of the black swan on the pond
of your childhood, the rye bread with peanut butter and bananas
your grandmother gave you while the rest of the family slept.
There is the voice you can still summon at will, like your mother's,
it will always whisper, you can't have it all,
but there is this.

Huffy Henry hid    the day,
unappeasable Henry sulked.
I see his point,—a trying to put things over.
It was the thought that they thought
they could do it made Henry wicked & away.
But he should have come out and talked.

All the world like a woolen lover
once did seem on Henry's side.
Then came a departure.
Thereafter nothing fell out as it might or ought.
I don't see how Henry, pried
open for all the world to see, survived.

What he has now to say is a long
wonder the world can bear & be.
Once in a sycamore I was glad
all at the top, and I sang.
Hard on the land wears the strong sea
and empty grows every bed.

We moved into a house with 6 rooms: the Bedroom,
the Map Room, the Vegas Room, Cities
in the Flood Plains, the West, & the Room Which Contains All
of Mexico.  We honeymooned in the Vegas Room where
lounge acts wasted our precious time.  Then there was the junta's
high command, sick dogs of the Map Room, heel-
prints everywhere, pushing model armies into the unfurnished
West.  At night: stories of their abandoned homes in the Cities
in the Flood Plains, how they had loved each other
mercilessly, in rusting cars, until the drive-in went under.
From the Bedroom we called the decorator & demanded
a figurehead... the one true diva to be had
in All of Mexico: Maria Felix [star of The Devourer, star
of The Lady General].  Nightly in Vegas, "It's Not Unusual"
or the Sex Pistols medley.  Nothing ever comes back
from the West, it's a one-way door, a one-shot deal,--
the one room we never slept in together.  My wife
wants to rename it The Ugly Truth.  I love my wife for her
wonderful, light, creamy, highly reflective skin;
if there's an illumination from the submerged Cities,
that's her.  She suspects me of certain acts involving Maria Felix,
the gambling debts mount...but when she sends the junta off to Bed
we rendezvous in the Map Room & sprawl across the New World
with our heads to the West. I sing her romantic melodies from the Room
Which Contains All of Mexico, tunes which keep arriving
like heaven, in waves of raw data, & though I wrote
none of the songs myself & can't pronounce them, these are my
    greatest hits

as if it were a scene made-up by the mind, 
that is not mine, but is a made place,

that is mine, it is so near to the heart, 
an eternal pasture folded in all thought 
so that there is a hall therein

that is a made place, created by light 
wherefrom the shadows that are forms fall.

Wherefrom fall all architectures I am 
I say are likenesses of the First Beloved 
whose flowers are flames lit to the Lady.

She it is Queen Under The Hill
whose hosts are a disturbance of words within words 
that is a field folded.

It is only a dream of the grass blowing 
east against the source of the sun 
in an hour before the sun's going down

whose secret we see in a children's game 
of ring a round of roses told.

Often I am permitted to return to a meadow 
as if it were a given property of the mind 
that certain bounds hold against chaos,

that is a place of first permission,
everlasting omen of what is.

    I will die in Paris, on a rainy day,
on some day I can already remember.
I will die in Paris—and I don't step aside—
perhaps on a Thursday, as today is Thursday, in autumn.

    It will be a Thursday, because today, Thursday, setting down
these lines, I have put my upper arm bones on
wrong, and never so much as today have I found myself
with all the road ahead of me, alone.

    César Vallejo is dead.  Everyone beat him
although he never does anything to them;
they beat him hard with a stick and hard also

    with a rope.  These are the witnesses:
the Thursdays, and the bones of my arms,
the solitude, and the rain, and the roads. . .

Part II

Setting the V.C.R. when we go to bed
to record a night owl movie, some charmer we missed
we always allow, for unprogrammed unforeseen,
an extra half hour. (Night gods of the small screen 
are ruthless with watchers trapped in their piety.)
We watch next evening, and having slowly found
the start of the film, meet the minors and leads,
enter their time and place, their wills and needs,
hear in our chests the click of empathy's padlock,
watch the forces gather, unyielding world
against the unyielding heart, one longing's minefield
laid for another longing, which may yield.
Tears will salt the left-over salad I seize
during ads, or laughter slow my hurry to pee.
But as clot melts toward clearness a black fate
may fall on the screen; the movie started too late.
Torn from the backward-shining of an end
that lights up the meaning of the whole work,
disabled in mind and feeling, I flail and shout,
"I can't bear it! I have to see how it comes out!"
For what is story if not relief from the pain
of the inconclusive, from dread of the meaningless?
Minds in their silent blast-offs search through space--
how often I've followed yours!--for a resting-place.
And I'll follow, past each universe in its spangled
ballgown who waits for the slow-dance of life to start,
past vacancies of darkness whose vainglory
is endless as death's, to find the end of the story.

As I walked out one evening,
   Walking down Bristol Street,
The crowds upon the pavement
   Were fields of harvest wheat.

And down by the brimming river
   I heard a lover sing
Under an arch of the railway:
   ‘Love has no ending.

‘I’ll love you, dear, I’ll love you
   Till China and Africa meet,
And the river jumps over the mountain
   And the salmon sing in the street,

‘I’ll love you till the ocean
   Is folded and hung up to dry
And the seven stars go squawking
   Like geese about the sky.

‘The years shall run like rabbits,
   For in my arms I hold
The Flower of the Ages,
   And the first love of the world.’

But all the clocks in the city
   Began to whirr and chime:
‘O let not Time deceive you,
   You cannot conquer Time.

‘In the burrows of the Nightmare
   Where Justice naked is,
Time watches from the shadow
   And coughs when you would kiss.

‘In headaches and in worry
   Vaguely life leaks away,
And Time will have his fancy
   To-morrow or to-day.

‘Into many a green valley
   Drifts the appalling snow;
Time breaks the threaded dances
   And the diver’s brilliant bow.

‘O plunge your hands in water,
   Plunge them in up to the wrist;
Stare, stare in the basin
   And wonder what you’ve missed.

‘The glacier knocks in the cupboard,
   The desert sighs in the bed,
And the crack in the tea-cup opens
   A lane to the land of the dead.

‘Where the beggars raffle the banknotes
   And the Giant is enchanting to Jack,
And the Lily-white Boy is a Roarer,
   And Jill goes down on her back.

‘O look, look in the mirror,
   O look in your distress:
Life remains a blessing
   Although you cannot bless.

‘O stand, stand at the window
   As the tears scald and start;
You shall love your crooked neighbour
   With your crooked heart.’

It was late, late in the evening,
   The lovers they were gone;
The clocks had ceased their chiming,
   And the deep river ran on.

All right. Try this,
Then. Every body
I know and care for,
And every body
Else is going
To die in a loneliness
I can't imagine and a pain
I don't know. We had
To go on living. We
Untangled the net, we slit
The body of this fish
Open from the hinge of the tail
To a place beneath the chin
I wish I could sing of.
I would just as soon we let
The living go on living.
An old poet whom we believe in
Said the same thing, and so
We paused among the dark cattails and prayed
For the muskrats,
For the ripples below their tails,
For the little movements that we knew the crawdads were making
	under water,
For the right-hand wrist of my cousin who is a policeman.
We prayed for the game warden's blindness.
We prayed for the road home.
We ate the fish.
There must be something very beautiful in my body,
I am so happy.

My friend says I was not a good son
you understand
I say yes I understand

he says I did not go
to see my parents very often you know
and I say yes I know

even when I was living in the same city he says
maybe I would go there once
a month or maybe even less
I say oh yes

he says the last time I went to see my father
I say the last time I saw my father

he says the last time I saw my father
he was asking me about my life
how I was making out and he
went into the next room
to get something to give me

oh I say
feeling again the cold
of my father's hand the last time
he says and my father turned
in the doorway and saw me
look at my wristwatch and he
said you know I would like you to stay
and talk with me

oh yes I say

but if you are busy he said
I don't want you to feel that you
have to
just because I'm here

I say nothing

he says my father
said maybe
you have important work you are doing
or maybe you should be seeing
somebody I don't want to keep you

I look out the window
my friend is older than I am
he says and I told my father it was so
and I got up and left him then
you know

though there was nowhere I had to go
and nothing I had to do

He continues to ponder
	And his wife moves next to him.
She looks.  They look at themselves 
	Looking through the fog.
She has a meeting she says in about
	Thirty minutes, he has
Something too.  But still she has
	Just stepped out of the bath
And a single drop of water
	Has curved along her breast
Down her abdomen and vialed in
	Her navel then disappeared
In crimson.  Unless they love
	Then wake in love
Who can they ever be?  Their faces bloom,
	A rain mists down, the bare
Bulb softens above the glass,
	So little light that
The hands mumble deliciously,
	That the mouth opens
Mothlike, like petals finding
	Themselves awake again
At four o'clock mid shade and sun.

Even this late it happens:
the coming of love, the coming of light. 
You wake and the candles are lit as if by themselves, 
stars gather, dreams pour into your pillows, 
sending up warm bouquets of air.
Even this late the bones of the body shine 
and tomorrow's dust flares into breath.

Someone was saying
something about shadows covering the field, about
how things pass, how one sleeps towards morning
and the morning goes.

Someone was saying
how the wind dies down but comes back,
how shells are the coffins of wind
but the weather continues.

It was a long night
and someone said something about the moon shedding its
   white
on the cold field, that there was nothing ahead
but more of the same.

Someone mentioned
a city she had been in before the war, a room with two
   candles
against a wall, someone dancing, someone watching.
We began to believe

the night would not end.
Someone was saying the music was over and no one had
   noticed.
Then someone said something about the planets, about the 
   stars,
how small they were, how far away.

Clara strolled in the garden with the children. 
The sky was green over the grass, 
the water was golden under the bridges,
other elements were blue and rose and orange, 
a policeman smiled, bicycles passed, 
a girl stepped onto the lawn to catch a bird, 
the whole world—Germany, China—
   all was quiet around Clara.

The children looked at the sky: it was not forbidden.
Mouth, nose, eyes were open. There was no danger.
What Clara feared were the flu, the heat, the insects.
Clara feared missing the eleven o'clock trolley:
She waited for letters slow to arrive,
She couldn't always wear a new dress. But she strolled in the garden, in the morning!
They had gardens, they had mornings in those days!

Of all sixty of us I am the only one who went 
to the four corners though I don't say it
out of pride but more like a type of regret,
and I did it because there was no one I truly believed 
in though once when I climbed the hill in Skye
and arrived at the rough tables I saw the only other
elder who was a vegetarian--in Scotland--
and visited Orwell and rode a small motorcycle
to get from place to place; and I immediately
stopped eating fish and meat and lived on soups;
and we wrote each other in the middle and late fifties
though one day I got a letter from his daughter
that he had died in an accident; he was
I'm sure of it, an angel who flew in midair
with one eternal gospel to proclaim
to those inhabiting the earth and every nation;
and now that I go through my papers every day
I search and search for his letters but to my shame 
I have even forgotten his name, that messenger
who came to me with tablespoons of blue lentils.

   Art thou pale for weariness
Of climbing Heaven, and gazing on the earth,
   Wandering companionless
Among the stars that have a different birth,--
And ever changing, like a joyless eye
That finds no object worth its constancy?

Over a dock railing, I watch the minnows, thousands, swirl
themselves, each a minuscule muscle, but also, without the
way to create current, making of their unison (turning, re-
                                                infolding,
entering and exiting their own unison in unison) making of themselves a
visual current, one that cannot freight or sway by
minutest fractions the water’s downdrafts and upswirls, the
dockside cycles of finally-arriving boat-wakes, there where
they hit deeper resistance, water that seems to burst into
itself (it has those layers) a real current though mostly
invisible sending into the visible (minnows) arrowing
                         motion that forces change—
this is freedom. This is the force of faith. Nobody gets
what they want. Never again are you the same. The longing
is to be pure. What you get is to be changed. More and more by
each glistening minute, through which infinity threads itself,
also oblivion, of course, the aftershocks of something
at sea. Here, hands full of sand, letting it sift through
in the wind, I look in and say take this, this is
what I have saved, take this, hurry. And if I listen
now? Listen, I was not saying anything. It was only
something I did. I could not choose words. I am free to go.
I cannot of course come back. Not to this. Never.
It is a ghost posed on my lips. Here: never.

I am the blossom pressed in a book,
found again after two hundred years....

I am the maker, the lover, and the keeper....

When the young girl who starves
sits down to a table
she will sit beside me....

I am food on the prisoner's plate....

I am water rushing to the wellhead,
filling the pitcher until it spills....

I am the patient gardener
of the dry and weedy garden....

I am the stone step,
the latch, and the working hinge....

I am the heart contracted by joy...
the longest hair, white
before the rest....

I am there in the basket of fruit
presented to the widow....

I am the musk rose opening
unattended, the fern on the boggy summit....

I am the one whose love
overcomes you, already with you
when you think to call my name....

If ever two were one, then surely we.
If ever man were loved by wife, then thee;
If ever wife was happy in a man,
Compare with me ye women if you can.
I prize thy love more than whole mines of gold,
Or all the riches that the East doth hold.
My love is such that rivers cannot quench,
Nor ought but love from thee give recompense.
Thy love is such I can no way repay;
The heavens reward thee manifold, I pray.
Then while we live, in love let's so persever,
That when we live no more we may live ever.

This living hand, now warm and capable
Of earnest grasping, would, if it were cold
And in the icy silence of the tomb,
So haunt thy days and chill thy dreaming nights
That thou wouldst wish thine own heart dry of blood
So in my veins red life might stream again,
And thou be conscience-calmed—see here it is—
I hold it towards you.

You have to be always drunk. That's all there is to it—it's the only way. So as not to feel the horrible burden of time that breaks your back and bends you to the earth, you have to be continually drunk.

But on what? Wine, poetry or virtue, as you wish. But be drunk.

And if sometimes, on the steps of a palace or the green grass of a ditch, in the mournful solitude of your room, you wake again, drunkenness already diminishing or gone, ask the wind, the wave, the star, the bird, the clock, everything that is flying, everything that is groaning, everything that is rolling, everything that is singing, everything that is speaking. . .ask what time it is and wind, wave, star, bird, clock will answer you: "It is time to be drunk! So as not to be the martyred slaves of time, be drunk, be continually drunk! On wine, on poetry or on virtue as you wish."

We need some pines to assuage the darkness
when it blankets the mind,
we need a silvery stream that banks as smoothly
as a plane’s wing, and a worn bed of
needles to pad the rumble that fills the mind,
and a blur or two of a wild thing
that sees and is not seen. We need these things
between appointments, after work,
and, if we keep them, then someone someday,
lying down after a walk
and supper, with the fire hole wet down,
the whole night sky set at a particular
time, without numbers or hours, will cause
a little sound of thanks—a zipper or a snap—
to close round the moment and the thought
of whatever good we did.

Loaded on beer and whiskey, we ride 
to the dump in carloads
to turn our headlights across the wasted field, 
freeze the startled eyes of rats against mounds of rubbish.

Shot in the head, they jump only once, lie still 
like dead beer cans.
Shot in the gut or rump, they writhe and try to burrow 
into garbage, hide in old truck tires, 
rusty oil drums, cardboard boxes scattered across the mounds,
or else drag themselves on forelegs across our beams of light 
toward the darkness at the edge of the dump.

It's the light they believe kills. 
We drink and load again, let them crawl
for all they're worth into the darkness we're headed for.

The brief secrets are still here,
                            and the light has come back. 
The word remember touches my hand,
But I shake it off and watch the turkey buzzards bank and wheel
Against the occluded sky.
All of the little names sink down,
                            weighted with what is invisible,
But no one will utter them, no one will smooth their rumpled hair. 

There isn't much time, in any case.
There isn't much left to talk about
                            as the year deflates.
There isn't a lot to add.
Road-worn, December-colored, they cluster like unattractive angels
Wherever a thing appears,
Crisp and unspoken, unspeakable
                            in their mute and glittering garb.

All afternoon the clouds have been sliding toward us
                                      out of the
      Blue Ridge.
All afternoon the leaves have scuttled
Across the sidewalk and driveway, clicking their clattery claws.
And now the evening is over us,
Small slices of silence
                  running under a dark rain,
Wrapped in a larger.

Come at it carefully, don't trust it, that isn't its right name,
It's wearing stolen rags, it's never been washed, its breath
Would look moss-green if it were really breathing,
It won't get out of the way, it stares at you
Out of eyes burnt gray as the sidewalk,
Its skin is overcast with colorless dirt,
It has no distinguishing marks, no I.D. cards,
It wants something of yours but hasn't decided
Whether to ask for it or just take it,
There are no policemen, no friendly neighbors,
No peacekeeping busybodies to yell for, only this
Thing standing between you and the place you were headed,
You have about thirty seconds to get past it, around it,
Or simply to back away and try to forget it,
It won't take no for an answer: try hitting it first
And you'll learn what's trembling in its torn pocket.
Now, what do you want to do about it?

This evening, I sat by an open window
and read till the light was gone and the book
was no more than a part of the darkness. 
I could easily have switched on a lamp, 
but I wanted to ride this day down into night,
to sit alone and smooth the unreadable page 
with the pale gray ghost of my hand.

(War Time)

There will come soft rains and the smell of the ground,
And swallows circling with their shimmering sound;

And frogs in the pools singing at night,
And wild plum trees in tremulous white,

Robins will wear their feathery fire
Whistling their whims on a low fence-wire;

And not one will know of the war, not one
Will care at last when it is done.

Not one would mind, neither bird nor tree
If mankind perished utterly;

And Spring herself, when she woke at dawn,
Would scarcely know that we were gone.

When fed into the crude, imaginary
machine we call the memory,

the brain's hard pictures
slide into the suggestive
waters of the counterfeit.

They come out glamorous and simplified,

even the violent ones,
even the ones that are snapshots of fear.

Maybe those costumed,
clung-to fragments are the first wedge

nostalgia drives into our dreaming.

Maybe our dreams are corrupted
right from the start: the weight

of apples in the blossoms overhead.

Even the two thin reddish dogs
nosing down the aisles of crippled trees,
digging in the weak shade

thrown by the first flowerers,
snuffle in the blackened leaves
for the scent of a dead year.

Childhood, first love, first loss of love--

the saying of their names
brings an ache to the teeth
like that of tears withheld.

What must happen now
is that the small funerals
celebrated in the left-behind life

for their black exotica, their high relief,

their candles and withered wreaths,
must be allowed to pass through
into the sleeping world,

there to be preserved and honored
in the fullness and color of their forms,

their past lives their coffins.

Goodbye then to all innocent surprise
at mortality's panache,
and goodbye to the children fallen

ahead of me into the slow whirlpool
I conceal within myself, my death,

into its snow-froth and the green-black
muscle of its persuasion.

The spirits of children
must look like the spirits of animals,
though in the adult human

the vacancy left by the child
probably darkens the surviving form.

The apples drop their blossom-shadows
onto the still-brown grass.
Old selves, this is partly for you,

there at the edge of the woods
like a troop of boy soldiers.

You can go on living with the blade
of nostalgia in your hearts forever,
my pale darlings. It changes nothing.

Don't you recognize me? I admit
I too am almost invisible now, almost.

Like everything else, I take on
light and color from outside myself,
but it is old light, old paint.

The first shadows are supple ones,
school of gray glimpses, insubstantial.

In children, the quality of darkness
changes inside the sleeping mouth,

and the ghost of child-grime--
that infinite smudge of no color--

blows off into the afterlife.

Don't tell me we're not like plants,
sending out a shoot when we need to,
or spikes, poisonous oils, or flowers.

Come to me but only when I say,
that's how plants announce

the rules of propagation.
Even children know this. You can
see them imitating all the moves

with their bright plastic toys.
So that, years later, at the moment

the girl's body finally says yes
to the end of childhood,
a green pail with an orange shovel

will appear in her mind like a tropical
blossom she has never seen before.

Thank you for the gift. Never have I seen
a more thoughtful tea-strainer.
For you I'm striking a silent movie pose.

For instance, I step out and take in the moon
like a tourist. It puts tiny gloves on the ferns.
It's bigger than life size.

I've a room here just for sitting. If I want
I fetch some music to slap me around. I've three other rooms--
in this way the house resembles a cow's stomach.

I have the feeling we'll be excluded from frescoes
despite the fitful way you loved me, Alice,
I'm confident we're finally on our own.

If I need to think of you and I do
I let telephone wires paraphrase the landscape
till there's just a city block, a sooty building,

you settled into a chair with your legs and hair up
and your face adjusting to that new weather
right after the TV's been turned off. Hello.

Just past the hill here is the truckstop
borealis. This is Barkeyville.
Maybe we could argue over ice cream.

Your baby grows a tooth, then two,
and four, and five, then she wants some meat
directly from the bone.  It's all

over: she'll learn some words, she'll fall
in love with cretins, dolts, a sweet
talker on his way to jail.  And you,

your wife, get old, flyblown, and rue
nothing.  You did, you loved, your feet
are sore.  It's dusk.  Your daughter's tall.

   Boil it down: feet, skin, gristle,
   bones, vertebrae, heart muscle, boil
   it down, skim, and boil
   again, dreams, history, add them and boil
   again, boil and skim
   in closed cauldrons, boil your horse, his hooves,
   the runned-over dog you loved, the girl
   by the pencil sharpener
   who looked at you, looked away,
   boil that for hours, render it
   down, take more from the top as more settles to the bottom,
   the heavier, the denser, throw in ache
   and sperm, and a bead 
   of sweat that slid from your armpit to your waist
   as you sat stiff-backed before a test, turn up
   the fire, boil and skim, boil
   some more, add a fever
   and the virus that blinded an eye, now's the time 
   to add guilt and fear, throw
   logs on the fire, coal, gasoline, throw
   two goldfish in the pot (their swim bladders
   used for "clearing"), boil and boil, render
   it down and distill,
   concentrate
   that for which there is no
   other use at all, boil it down, down, 
   then stir it with rosewater, that 
   which is now one dense, fatty, scented red essence
   which you smear on your lips 
   and go forth
   to plant as many kisses upon the world
   as the world can bear! 

I'm mighty glad to see you, Mrs. Curtis,
And thank you very kindly for this visit—
Especially now when all the others here
Are having holiday visitors, and I feel
A little conspicuous and in the way.
It's mainly because of Thanksgiving.  All these mothers
And wives and husbands gaze at me soulfully
And feel they should break up their box of chocolates
For a donation, or hand me a chunk of fruitcake.  
What they don't understand and never guess
Is that it's better for me without a family;
It's a great blessing.  Though I mean no harm.
And as for visitors, why, I have you,
All cheerful, brisk and punctual every Sunday,
Like church, even if the aisles smell of phenol.
And you always bring even better gifts than any 
On your book-trolley. Though they mean only good,
Families can become a sort of burden.
I've only got my father, and he won't come,
Poor man, because it would be too much for him.
And for me, too, so it's best the way it is. 
He knows, you see, that I will predecease him,
Which is hard enough.  It would take a callous man
To come and stand around and watch me failing.
(Now don't you fuss; we both know the plain facts.)
But for him it's even harder.  He loved my mother.
They say she looked like me; I suppose she may have.
Or rather, as I grew older I came to look
More and more like she must one time have looked,
And so the prospect for my father now
Of losing me is like having to lose her twice.
I know he frets about me.  Dr. Frazer
Tells me he phones in every single day,
Hoping that things will take a turn for the better.
But with leukemia things don't improve.
It's like a sort of blizzard in the bloodstream,
A deep, severe, unseasonable winter,
Burying everything.  The white blood cells
Multiply crazily and storm around,
Out of control.  The chemotherapy
Hasn't helped much, and it makes my hair fall out.
I know I look a sight, but I don't care.
I care about fewer things; I'm more selective.
It's got so I can't even bring myself
To read through any of your books these days.
It's partly weariness, and partly the fact
That I seem not to care much about the endings,
How things work out, or whether they even do.
What I do instead is sit here by this window
And look out at the trees across the way.
You wouldn't think that was much, but let me tell you,
It keeps me quite intent and occupied.
Now all the leaves are down, you can see the spare,
Delicate structures of the sycamores,
The fine articulation of the beeches.
I have sat here for days studying them,
And I have only just begun to see
What it is that they resemble.  One by one,
They stand there like magnificent enlargements
Of the vascular system of the human brain.
I see them there like huge discarnate minds,
Lost in their meditative silences.
The trunks, branches and twigs compose the vessels
That feed and nourish vast immortal thoughts.
So I've assigned them names.  There, near the path,
Is the great brain of Beethoven, and Kepler
Haunts the wide spaces of that mountain ash.
This view, you see, has become my Hall of Fame,
It came to me one day when I remembered 
Mary Beth Finley who used to play with me
When we were girls.  One year her parents gave her
A birthday toy called "The Transparent Man."
It was made of plastic, with different colored organs,
And the circulatory system all mapped out
In rivers of red and blue.  She'd ask me over
And the two of us would sit and study him
Together, and do a powerful lot of giggling.
I figure he's most likely the only man
Either of us would ever get to know
Intimately, because Mary Beth became
A Sister of Mercy when she was old enough.
She must be thirty-one; she was a year 
Older than I, and about four inches taller.
I used to envy both those advantages
Back in those days.  Anyway, I was struck
Right from the start by the sea-weed intricacy,
The fine-haired, silken-threaded filiations
That wove, like Belgian lace, throughout the head.
But this last week it seems I have found myself
Looking beyond, or through, individual trees
At the dense, clustered woodland just behind them,
Where those great, nameless crowds patiently stand.
It's become a sort of complex, ultimate puzzle
And keeps me fascinated.  My eyes are twenty-twenty,
Or used to be, but of course I can't unravel
The tousled snarl of intersecting limbs,
That mackled, cinder grayness.  It's a riddle
Beyond the eye's solution.  Impenetrable.
If there is order in all that anarchy
Of granite mezzotint, that wilderness,
It takes a better eye than mine to see it.
It set me on to wondering how to deal
With such a thickness of particulars,
Deal with it faithfully, you understand,
Without blurring the issue. Of course I know
That within a month the sleeving snows will come
With cold, selective emphases, with massings
And arbitrary contrasts, rendering things
Deceptively simple, thickening the twigs
To frosty veins, bestowing epaulets
And decorations on every birch and aspen.
And the eye, self-satisfied, will be misled,
Thinking the puzzle solved, supposing at last
It can look forth and comprehend the world.
That's when you have to really watch yourself.
So I hope that you won't think me plain ungrateful
For not selecting one of your fine books,
And I take it very kindly that you came
And sat here and let me rattle on this way.

What is unwisdom but the lusting after
Longevity: to be old and full of days!
For the vast and unremitting tide of years
Casts up to view more sorrowful things than joyful;
And as for pleasures, once beyond our prime,
They all drift out of reach, they are washed away.
And the same gaunt bailiff calls upon us all.
Summoning into Darkness, to those wards
Where is no music, dance, or marriage hymn
That soothes or gladdens.  To the tenements of Death.

Not to be born is, past all yearning, best.
And second best is, having seen the light.
To return at once to deep oblivion.
When youth has gone, and the baseless dreams of youth,
What misery does not then jostle man's elbow,
Join him as a companion, share his bread?
Betrayal, envy, calumny and bloodshed
Move in on him, and finally Old Age—
Infirm, despised Old Age—joins in his ruin,
The crowning taunt of his indignities.

So is it with that man, not just with me.
He seems like a frail jetty facing North
Whose pilings the waves batter from all quarters;
From where the sun comes up, from where it sets,
From freezing boreal regions, from below,
A whole winter of miseries now assails him,
Thrashes his sides and breaks over his head.

Yardley, Pennsylvania, an expensive dump
and the van seats shake their broken bones.

Duty-free liquor and cigarettes,
the refineries and the harbor's cranes.

The moon digs its way out of the dirt.
The branches of an evergreen sway.

She's nice
the woman you don't love.

She kisses you hard and often
holding your face in her big hands.

Under the separated leaves of shade
Of the gingko, that old tree
That has existed essentially unchanged
Longer than any other living tree, 
I walk behind a woman. Her hair's coarse gold
Is spun from the sunlight that it rides upon.
Women were paid to knit from sweet champagne
Her second skin: it winds and unwinds, winds
Up her long legs, delectable haunches,
As she sways, in sunlight, up the gazing aisle.
The shade of the tree that is called maidenhair,
That is not positively known
To exist in a wild state, spots her fair or almost fair
Hair twisted in a French twist; tall or almost tall,
She walks through the air the rain has washed, a clear thing
Moving easily on its high heels, seeming to men
Miraculous . . . Since I can call her, as Swann couldn't,
A woman who is my type, I follow with the warmth
Of familiarity, of novelty, this new
Example of the type,
Reminded of how Lorenz's just-hatched goslings
Shook off the last remnants of the egg
And, looking at Lorenz, realized that Lorenz
Was their mother. Quacking, his little family
Followed him everywhere; and when they met a goose, 
Their mother, they ran to him afraid. 

Imprinted upon me
Is the shape I run to, the sweet strange
Breath-taking contours that breathe to me: "I am yours,
Be mine!"
              Following this new
Body, somehow familiar, this young shape, somehow old,
For a moment I'm younger, the century is younger.
The living Strauss, his moustache just getting gray,
Is shouting to the players: "Louder!
Louder! I can still hear Madame Schumann-Heink—"
Or else, white, bald, the old man's joyfully
Telling conductors they must play Elektra
Like A Midsummer Night's Dream—like fairy music;
Proust, dying, is swallowing his iced beer
And changing in proof the death of Bergotte
According to his own experience; Garbo, 
A commissar in Paris, is listening attentively
To the voice telling how McGillicuddy met McGillivray, 
And McGillivray said to McGillicuddy—no, McGillicuddy
Said to McGillivray—that is, McGillivray . . . Garbo
Says seriously: "I vish dey'd never met."

As I walk behind this woman I remember
That before I flew here—waked in the forest
At dawn, by the piece called Birds Beginning Day
That, each day, birds play to begin the day—
I wished as men wish: "May this day be different!"
The birds were wishing, as birds wish—over and over, 
With a last firmness, intensity, reality—
"May this day be the same!"
                                        Ah, turn to me
And look into my eyes, say: "I am yours, 
Be mine!"
              My wish will have come true. And yet
When your eyes meet my eyes, they'll bring into 
The weightlessness of my pure wish the weight
Of a human being: someone to help or hurt,
Someone to be good to me, to be good to, 
Someone to cry when I am angry
That she doesn't like Elektra, someone to start out on Proust with.
A wish, come true, is life. I have my life.
When you turn just slide your eyes across my eyes
And show in a look flickering across your face
As lightly as a leaf's shade, a bird's wing, 
That there is no one in the world quite like me, 
That if only . . . If only . . . 
                                      That will be enough.

But I've pretended long enough: I walk faster
And come close, touch with the tip of my finger
The nape of her neck, just where the gold
Hair stops, and the champagne-colored dress begins. 
My finger touches her as the gingko's shadow
Touches her. 
                  Because, after all, it is my wife
In a new dress from Bergdorf's, walking toward the park.
She cries out, we kiss each other, and walk arm in arm
Through the sunlight that's much too good for New York, 
The sunlight of our own house in the forest.
Still, though, the poor things need it . . . We've no need
To start out on Proust, to ask each other about Strauss. 
We first helped each other, hurt each other, years ago.
After so many changes made and joys repeated, 
Our first bewildered, transcending recognition 
Is pure acceptance. We can't tell our life
From our wish. Really I began the day
Not with a man's wish: "May this day be different,"
But with the birds' wish: "May this day
Be the same day, the day of my life."

When we made love you had
the dense body of a Doberman
and the square head of a Rottweiler.

With my eyes closed I saw:
a light green plate with seared scallops
and a perfect fillet of salmon on a cedar plank.

Now I am safe in the deep V of a weekday
wanting to tell you how the world
is full of street signs and strollers
and pregnant women in spandex.

The bed and desk both want me.
The windows, the view, the idea of Paris.

With my minutes, I chip away at the idiom,
an unmarked pebble in a fast current. Later,
on my way to the store, a boy with a basketball
yells, You scared? to someone else, and the things
on the list to buy come home with me.
And the baby. And your body.

High-heels were struggling with a full-length dress
So that, between the wind and the terrain,
At times a shining stocking would be seen,
And gone too soon. We liked that foolishness.

Also, at times a jealous insect's dart
Bothered out beauties. Suddenly a white
Nape flashed beneath the branches, and this sight
Was a delicate feast for a young fool's heart.

Evening fell, equivocal, dissembling,
The women who hung dreaming on our arms
Spoke in low voices, words that had such charms
That ever since our stunned soul has been trembling.

Les Ingénus

Les hauts talons luttaient avec les longues jupes,
En sorte que, selon le terrain et le vent,
Parfois luisaient des bas de jambes, trop souvent
Interceptés--et nous aimions ce jeu de dupes.

Parfois aussi le dard d'un insecte jaloux
Inquiétait le col des belles sous les branches,
Et c'était des éclairs soudains de nuques blanches,
Et ce régal comblait nos jeunes yeux de fous.

Le soir tombait, un soir équivoque d'automne:
Les belles, se pendant rêveuses à nos bras,
Dirent alors des mots si spécieux, tout bas,
Que notre âme depuis ce temps tremble et s'étonne.

What was it like before the doctor got there?

Till then, we were in the back seat of the warm
dark bubble of the old Buick. We were where 
we'd never not been, no matter where we were.

And when the doctor got there?

Everything outside was in a rage of wind and sleet, 
we were children, brothers, safe in the back seat, 
for once not fighting, just listening, watching the storm.

Weren't you afraid that something bad might happen?

Our father held the wheel with just two fingers 
even though the car skidded and fishtailed 
and the chains clanged raggedly over ice and asphalt.

Weren't you afraid at all?

Dad sang for someone to fly him to the moon, 
to let him play among the stars, while Mom 
held up the lighter to another Marlboro.

But when the doctor started speaking. . .

The tip of the Marlboro was a bright red star. 
Her lips pursed and she released a ring of Saturn, 
which dissolved as we caught at it, as my dad sang Mars.

When you realized what the doctor was saying. . .

They were closer to the storm in the front seat.
The high beams, weak as steam against the walled swirling, 
only illuminated what we couldn't see.

When he described it, the tumor in the brain and what it meant. . .

See, we were children. Then we weren't. Or my brother wasn't. 
He was driving now, he gripped the steering wheel
with both hands and stared hard at the panicked wipers.

What did you feel?

Just sleet, the slick road, the car going way too fast, 
no brother beside me in the back seat, no singing father, 
no mother, no ring of Saturn to catch at as it floats.

You weren’t well or really ill yet either;
just a little tired, your handsomeness
tinged by grief or anticipation, which brought
to your face a thoughtful, deepening grace.

I didn’t for a moment doubt you were dead.
I knew that to be true still, even in the dream.
You’d been out—at work maybe?—
having a good day, almost energetic.

We seemed to be moving from some old house
where we’d lived, boxes everywhere, things
in disarray: that was the story of my dream,
but even asleep I was shocked out of the narrative

by your face, the physical fact of your face:
inches from mine, smooth-shaven, loving, alert.
Why so difficult, remembering the actual look
of you? Without a photograph, without strain?

So when I saw your unguarded, reliable face,
your unmistakable gaze opening all the warmth
and clarity of —warm brown tea—we held
each other for the time the dream allowed.

Bless you. You came back, so I could see you
once more, plainly, so I could rest against you
without thinking this happiness lessened anything,
without thinking you were alive again.

It may not be
the ghostly ballet
of our avoidances
that they’ll remember,
nor the long sulks
of those last months,
nor the voices
chilly with all
the anger we
were careful mostly
not to show
in front of them,
nor anything
at all that made
our choice to live
apart seem to us
both not only
unavoidable
but good, but just.

No, what I think
will haunt them is
precisely what
we’ve chosen to
forget: those too
infrequent (though
even toward
the end still
possible) moments
when, the children
upstairs, the dinner
cooking, one of us
would all at once
start humming an old
tune and we’d dance,
as if we did
so always, in
a swoon of gliding
all through the house,
across the kitchen,

down the hall
and back, we’d sway
together, we’d twirl,
we’d dip and cha-
cha and the children
would hear us and
be helpless not
to come running
down to burrow
in between us,
into the center
of the dance that now,
I think, will haunt them
for the very joy
itself, for joy
that was for them,
for all of us
together, something
better than joy,
and yet for you
and me, ourselves,
alone, apart,
still not enough.

(for Coleman Hawkins)

The structure of landscape is infinitesimal,
Like the structure of music,
                            seamless, invisible.
Even the rain has larger sutures.
What holds the landscape together, and what holds music together,
Is faith, it appears—faith of the eye, faith of the ear.
Nothing like that in language,
However, clouds chugging from west to east like blossoms
Blown by the wind.
                 April, and anything's possible.

Here is the story of Hsuan Tsang.
A Buddhist monk, he went from Xian to southern India
And back—on horseback, on camel-back, on elephant-back, and on 
                                                               foot.
Ten thousand miles it took him, from 629 to 645, 
Mountains and deserts, 
In search of the Truth,
                    the heart of the heart of Reality,
The Law that would help him escape it,
And all its attendant and inescapable suffering.
                                               And he found it.

These days, I look at things, not through them,
And sit down low, as far away from the sky as I can get.
The reef of the weeping cherry flourishes coral,
The neighbor's back porch light bulbs glow like anemones.
Squid-eyed Venus floats forth overhead.
This is the half hour, half-light, half-dark,
                            when everything starts to shine out,
And aphorisms skulk in the trees,
Their wings folded, their heads bowed.

Every true poem is a spark,
              and aspires to the condition of the original fire
Arising out of the emptiness.
It is that same emptiness it wants to reignite.
It is that same engendering it wants to be re-engendered by.
Shooting stars.
April's identical,
             celestial, wordless, burning down.
Its light is the light we commune by.
Its destination's our own, its hope is the hope we live with.

Wang Wei, on the other hand, 
Before he was 30 years old bought his famous estate on the Wang River 
Just east of the east end of the Southern Mountains,
                                                     and lived there,
Off and on, for the rest of his life.
He never travelled the landscape, but stayed inside it,
A part of nature himself, he thought.
And who would say no
To someone so bound up in solitude,
                           in failure, he thought, and suffering.

Afternoon sky the color of Cream of Wheat, a small 
Dollop of butter hazily at the western edge.
Getting too old and lazy to write poems,
                                      I watch the snowfall
From the apple trees.
Landscape, as Wang Wei says, softens the sharp edges of isolation.

I never knew them all, just hummed
and thrummed my fingers with the radio,
driving five hundred miles to Austin.
Her arms held all the songs I needed.
Our boots kept time with fiddles
and the charming sobs of blondes,

the whine of steel guitars
sliding us down in deer-hide chairs
when jukebox music was over.
Sad music's on my mind tonight
in a jet high over Dallas, earphones
on channel five. A lonely singer,

dead, comes back to beg me,
swearing in my ears she's mine,
rhymes set to music that make
her lies seem true. She's gone
and others like her, leaving their songs
to haunt us. Letting down through clouds

I know who I'll find waiting at the gate,
the same woman faithful to my arms
as she was those nights in Austin
when the world seemed like a jukebox,
our boots able to dance forever,
our pockets full of coins.

Shiny as wax, the cracked veneer Scotch-taped 
and brittle.  I can't bring my father back. 
Legs crossed, he sits there brash 

with a private's stripe, a world away 
from the war they would ship him to 
within days.  Cannons flank his face 

and banners above him like the flag 
my mother kept on the mantel, folded tight, 
white stars sharp-pointed on a field of blue. 

I remember his fists, the iron he pounded, 
five-pound hammer ringing steel, 
the frame he made for a sled that winter 

before the war.  I remember the rope in his fist 
around my chest, his other fist 
shoving the snow, and downhill we dived, 

his boots by my boots on the tongue, 
pines whishing by, ice in my eyes, blinking 
and squealing.  I remember the troop train, 

steam billowing like a smoke screen. 
I remember wrecking the sled weeks later 
and pounding to beat the iron flat, 

but it stayed there bent 
and stacked in the barn by the anvil, 
and I can't bring him back. 

This salt-stain spot
marks the place where men
lay down their heads,
back to the bench,

and hoist nothing
that need be lifted
but some burden they've chosen
this time: more reps,

more weight, the upward shove
of it leaving, collectively,
this sign of where we've been:
shroud-stain, negative

flashed onto the vinyl
where we push something
unyielding skyward,
gaining some power

at least over flesh,
which goads with desire,
and terrifies with frailty.
Who could say who's

added his heat to the nimbus
of our intent, here where
we make ourselves:
something difficult

lifted, pressed or curled,
Power over beauty,
power over power!
Though there's something more

tender, beneath our vanity,
our will to become objects
of desire: we sweat the mark
of our presence onto the cloth.

Here is some halo
the living made together.

I wake up cold, I who
Prospered through dreams of heat 
Wake to their residue, 
Sweat, and a clinging sheet. 

My flesh was its own shield: 
Where it was gashed, it healed.

I grew as I explored 
The body I could trust 
Even while I adored
The risk that made robust,

A world of wonders in
Each challenge to the skin.

I cannot but be sorry
The given shield was cracked,
My mind reduced to hurry, 
My flesh reduced and wrecked.

I have to change the bed, 
But catch myself instead

Stopped upright where I am 
Hugging my body to me 
As if to shield it from 
The pains that will go through me,
      
As if hands were enough 
To hold an avalanche off.

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.

I have tried to write Paradise

Do not move
      Let the wind speak
        that is paradise.

Let the Gods forgive what I
        have made
Let those I love try to forgive
        what I have made.

Pulling out of the old scarred skin
(old rough thing I don't need now
I strip off
slip out of
leave behind)

I slough off deadscales
flick skinflakes to the ground

Shedding toughness
peeling layers down
to vulnerable stuff

And I'm blinking off old eyelids
for a new way of seeing

By the rock I rub against
I'm going to be tender again

Is it winter again, is it cold again,
didn't Frank just slip on the ice,
didn't he heal, weren't the spring seeds planted

didn't the night end,
didn't the melting ice
flood the narrow gutters

wasn't my body
rescued, wasn't it safe

didn't the scar form, invisible
above the injury

terror and cold,
didn't they just end, wasn't the back garden
harrowed and planted—

I remember how the earth felt, red and dense,
in stiff rows, weren't the seeds planted,
didn't vines climb the south wall

I can't hear your voice
for the wind's cries, whistling over the bare ground

I no longer care
what sound it makes

when was I silenced, when did it first seem
pointless to describe that sound

what it sounds like can't change what it is—

didn't the night end, wasn't the earth
safe when it was planted

didn't we plant the seeds,
weren't we necessary to the earth,

the vines, were they harvested?

For the first time, on the road north of Tampico,
I felt the life sliding out of me,
a drum in the desert, harder and harder to hear.
I was seven, I lay in the car
watching palm trees swirl a sickening pattern past the glass.
My stomach was a melon split wide inside my skin.

"How do you know if you are going to die?"
I begged my mother.
We had been traveling for days.
With strange confidence she answered,
"When you can no longer make a fist."

Years later I smile to think of that journey,
the borders we must cross separately,
stamped with our unanswerable woes.
I who did not die, who am still living,
still lying in the backseat behind all my questions,
clenching and opening one small hand.

The green catalpa tree has turned
All white; the cherry blooms once more.
In one whole year I haven't learned
A blessed thing they pay you for.
The blossoms snow down in my hair;
The trees and I will soon be bare.

The trees have more than I to spare.
The sleek, expensive girls I teach,
Younger and pinker every year,
Bloom gradually out of reach.
The pear tree lets its petals drop
Like dandruff on a tabletop.

The girls have grown so young by now
I have to nudge myself to stare.
This year they smile and mind me how
My teeth are falling with my hair.
In thirty years I may not get
Younger, shrewder, or out of debt.

The tenth time, just a year ago,
I made myself a little list
Of all the things I'd ought to know,
Then told my parents, analyst,
And everyone who's trusted me
I'd be substantial, presently.

I haven't read one book about
A book or memorized one plot.
Or found a mind I did not doubt.
I learned one date.  And then forgot.
And one by one the solid scholars
Get the degrees, the jobs, the dollars.

And smile above their starchy collars.
I taught my classes Whitehead's notions;
One lovely girl, a song of Mahler's.
Lacking a source-book or promotions,
I showed one child the colors of
A luna moth and how to love.

I taught myself to name my name,
To bark back, loosen love and crying;
To ease my woman so she came,
To ease an old man who was dying.
I have not learned how often I
Can win, can love, but choose to die.

I have not learned there is a lie
Love shall be blonder, slimmer, younger;
That my equivocating eye
Loves only by my body's hunger;
That I have forces true to feel,
Or that the lovely world is real.

While scholars speak authority
And wear their ulcers on their sleeves,
My eyes in spectacles shall see
These trees procure and spend their leaves.
There is a value underneath
The gold and silver in my teeth.

Though trees turn bare and girls turn wives,
We shall afford our costly seasons;
There is a gentleness survives
That will outspeak and has its reasons.
There is a loveliness exists,
Preserves us, not for specialists.

I said I will find what is lowly
and put the roots of my identity
down there:
each day I'll wake up
and find the lowly nearby,
a handy focus and reminder,
a ready measure of my significance,
the voice by which I would be heard,
the wills, the kinds of selfishness
I could
freely adopt as my own:

but though I have looked everywhere,
I can find nothing
to give myself to:
everything is

magnificent with existence, is in 
surfeit of glory:
nothing is diminished,
nothing has been diminished for me:

I said what is more lowly than the grass:
ah, underneath,
a ground-crust of dry-burnt moss:
I looked at it closely
and said this can be my habitat: but
nestling in I
found
below the brown exterior
green mechanisms beyond the intellect
awaiting resurrection in rain: so I got up

and ran saying there is nothing lowly in the universe:
I found a beggar:
he had stumps for legs: nobody was paying
him any attention: everybody went on by:
I nestled in and found his life:
there, love shook his body like a devastation:
I said
though I have looked everywhere
I can find nothing lowly
in the universe:

I whirled through transfigurations up and down,
transfigurations of size and shape and place:

at one sudden point came still,
stood in wonder:
moss, beggar, weed, tick, pine, self, magnificent
with being!

I want to say that
forgiveness keeps on

dividing, that hope
gives issue to hope,

and more, but of course I
am saying what is

said when in this dark
hallway one encounters

you, and paws and
assaults you—love

affairs, fast lies—and you
say it back and we

blunder deeper, as would
any pair of loosed

marionettes, any couple
of cadavers cut lately

from the scaffold,
in the secluded hallways

of whatever is
holding us up now.

We find out the heart only by dismantling what
the heart knows. By redefining the morning,
we find a morning that comes just after darkness.
We can break through marriage into marriage.
By insisting on love we spoil it, get beyond
affection and wade mouth-deep into love.
We must unlearn the constellations to see the stars.
But going back toward childhood will not help.
The village is not better than Pittsburgh.
Only Pittsburgh is more than Pittsburgh.
Rome is better than Rome in the same way the sound
of racoon tongues licking the inside walls
of the garbage tub is more than the stir
of them in the muck of the garbage. Love is not
enough. We die and are put into the earth forever.
We should insist while there is still time. We must
eat through the wildness of her sweet body already
in our bed to reach the body within the body.

Is nothing real but when I was fifteen,
Going on sixteen, like a corny song?
I see myself so clearly then, and painfully—
Knees bleeding through my usher's uniform
Behind the candy counter in the theater
After a morning's surfing; paddling frantically
To top the brisk outsiders coming to wreck me,
Trundle me clumsily along the beach floor's
Gravel and sand; my knees aching with salt.
Is that all I have to write about?
You write about the life that's vividest.
And if that is your own, that is your subject.
And if the years before and after sixteen
Are colorless as salt and taste like sand—
Return to those remembered chilly mornings,
The light spreading like a great skin on the water,
And the blue water scalloped with wind-ridges,
And—what was it exactly?—that slow waiting
When, to invigorate yourself, you peed
Inside your bathing suit and felt the warmth
Crawl all around your hips and thighs,
And the first set rolled in and the water level
Rose in expectancy, and the sun struck
The water surface like a brassy palm,
Flat and gonglike, and the wave face formed.
Yes. But that was a summer so removed
In time, so specially peculiar to my life,
Why would I want to write about it again?
There was a day or two when, paddling out,
An older boy who had just graduated
And grown a great blonde moustache, like a walrus,
Skimmed past me like a smooth machine on the water,
And said my name. I was so much younger,
To be identified by one like him—
The easy deference of a kind of god
Who also went to church where I did—made me
Reconsider my worth. I had been noticed.
He soon was a small figure crossing waves,
The shawling crest surrounding him with spray,
Whiter than gull feathers. He had said my name
Without scorn, just with a bit of surprise
To notice me among those trying the big waves
Of the morning break. His name is carved now
On the black wall in Washington, the frozen wave
That grievers cross to find a name or names.
I knew him as I say I knew him, then,
Which wasn't very well. My father preached
His funeral. He came home in a bag
That may have mixed in pieces of his squad.
Yes, I can write about a lot of things
Besides the summer that I turned sixteen.
But that's my ground swell. I must start
Where things began to happen and I knew it.

Amidst the too much that we buy and throw
away and the far too much we wrap it in,
the bear found a few items of special
interest--a honeydew rind, a used tampon,
the bone from a leg of lamb. He'd rock back
lightly onto his rear paws and slash
open a plastic bag, and then his nose--
jammed almost with a surfeit of rank
and likely information, for he would pause--
and then his whole dowsing snout would
insinuate itself a little way
inside. By now he'd have hunched his weight 
forward slightly, and then he'd snatch it back,
trailed by some tidbit in his teeth. He'd look
around. What a good boy am he.
The guardian of the dump was used
to this and not amused. "He'll drag that shit
every which damn way," he grumbled
who'd dozed and scraped a pit to keep that shit
where the town paid to contain it.
The others of us looked and looked. "City
folks like you don't get to see this often,"
one year-round resident accused me.
Some winter I'll bring him down to learn
to love a rat working a length of subway
track. "Nope," I replied. Just then the bear
decamped for the woods with a marl of grease
and slather in his mouth and on his snout,
picking up speed, not cute (nor had he been
cute before, slavering with greed, his weight
all sunk to his seated rump and his nose stuck
up to sift the rich and fetid air, shaped
like a huge, furry pear), but richly
fed on the slow-simmering dump, and gone
into the bug-thick woods and anecdote.

          —Is where space ends called death or infinity?
                         Pablo Neruda, The Book of Questions


A mere eyelid’s distance between you and me.

It took us a long time to discover the number zero.

John’s brother is afraid to go outside.
He claims he knows
the meaning of zero.

I want to kiss you.

A mathematician once told me you can add infinity 
to infinity.

There is a zero vector, which starts and ends
at the same place, its force
and movement impossible
to record with
rays or maps or words.
It intersects yet runs parallel
with all others.

A young man I know 
wants me to prove
the zero vector exists.
I tell him I can't,
but nothing in my world
makes sense without it.

And I am not a pedestal.

We are not a handful of harmless
scratches on pale pink canvas.
Today is not the day to stop

looking for the woman
to save you. What was once
ivory is wood. What was once

whalebone is cotton.
My coif and corset are duly
fastened, and your shirttail is

tied in a diamond knot. 
You may be the giver
of unappreciated nicknames

and the devoted artist 
who has given my still life
life. But we can never reach

each other's standards.
You want to condemn me
to eternity. I want to make you

no more perfect than you
used to be. We are not
together, we are not alone. 

The people of my time are passing away: my
wife is baking for a funeral, a 60-year-old who

died suddenly, when the phone rings, and it's
Ruth we care so much about in intensive care:

it was once weddings that came so thick and
fast, and then, first babies, such a hullabaloo:

now, it's this that and the other and somebody
else gone or on the brink: well, we never

thought we would live forever (although we did)
and now it looks like we won't: some of us

are losing a leg to diabetes, some don't know
what they went downstairs for, some know that

a hired watchful person is around, some like
to touch the cane tip into something steady,

so nice: we have already lost so many,
brushed the loss of ourselves ourselves: our

address books for so long a slow scramble now
are palimpsests, scribbles and scratches: our

index cards for Christmases, birthdays,
Halloweens drop clean away into sympathies:

at the same time we are getting used to so
many leaving, we are hanging on with a grip

to the ones left: we are not giving up on the
congestive heart failure or brain tumors, on

the nice old men left in empty houses or on
the widows who decide to travel a lot: we

think the sun may shine someday when we'll
drink wine together and think of what used to

be: until we die we will remember every
single thing, recall every word, love every

loss: then we will, as we must, leave it to
others to love, love that can grow brighter

and deeper till the very end, gaining strength
and getting more precious all the way. . . .

Parked in the fields
All night
So many years ago,
We saw
A lake beside us
When the moon rose.
I remember

Leaving that ancient car
Together. I remember
Standing in the white grass
Beside it. We groped
Our way together
Downhill in the bright
Incredible light

Beginning to wonder
Whether it could be lake
Or fog
We saw, our heads
Ringing under the stars we walked
To where it would have wet our feet
Had it been water

One must have a mind of winter
To regard the frost and the boughs
Of the pine-trees crusted with snow;

And have been cold a long time
To behold the junipers shagged with ice,
The spruces rough in the distant glitter

Of the January sun; and not to think
Of any misery in the sound of the wind,
In the sound of a few leaves,

Which is the sound of the land
Full of the same wind
That is blowing in the same bare place

For the listener, who listens in the snow,
And, nothing himself, beholds
Nothing that is not there and the nothing that is.

If he and she do not know each other, and feel confident
they will not meet again; if he avoids affectionate words;

if she has grown insensible skin under skin; if they desire
only the tribute of another’s cry; if they employ each other

as revenge on old lovers or families of entitlement and steel—
then there will be no betrayals, no letters returned unread,

no frenzy, no hurled words of permanent humiliation,
no trembling days, no vomit at midnight, no repeated

apparition of a body floating face-down at the pond’s edge

I believe there is something else

entirely going on but no single
person can ever know it,
so we fall in love.

It could also be true that what we use
everyday to open cans was something
much nobler, that we'll never recognize.

I believe the woman sleeping beside me
doesn't care about what's going on
outside, and her body is warm
with trust
which is a great beginning.

If you are lucky in this life, 
you will get to help your enemy 
the way I got to help my mother
when she was weakened past the point of saying no.

Into the big enamel tub 
half-filled with water 
which I had made just right, 
I lowered the childish skeleton 
she had become.

Her eyelids fluttered as I soaped and rinsed 
her belly and her chest, 
the sorry ruin of her flanks 
and the frayed gray cloud 
between her legs.

Some nights, sitting by her bed 
book open in my lap 
while I listened to the air
move thickly in and out of her dark lungs, 
my mind filled up with praise 
as lush as music,

amazed at the symmetry and luck 
that would offer me the chance to pay 
my heavy debt of punishment and love 
with love and punishment.

And once I held her dripping wet 
in the uncomfortable air 
between the wheelchair and the tub, 
until she begged me like a child

to stop, 
an act of cruelty which we both understood
was the ancient irresistible rejoicing 
of power over weakness.

If you are lucky in this life, 
you will get to raise the spoon 
of pristine, frosty ice cream 
to the trusting creature mouth 
of your old enemy

because the tastebuds at least are not broken 
because there is a bond between you 
and sweet is sweet in any language.

Now I see it: a few years
To play around while being
Bossed around

By the taller ones, the ones
With the money
And more muscle, however

Tender or indifferent
They might be at being
Parents; then off to school

And the years of struggle
With authority while learning
Violent gobs of things one didn't

Want to know, with a few tender
And tough teachers thrown in
Who taught what one wanted

And needed to know; then time
To go out and make one's own
Money (on the day or in

The night-shift), playing around
A little longer ("Seed-time,"
"Salad days") with some

Young "discretionary income"
Before procreation (which
Brings one quickly, too quickly,

Into play with some variation
Of settling down); then,
Most often for most, the despised

Job (though some work their way
Around this with work of real
Delight, life's work, with the deepest

Pleasures of mastery); then years
Spent, forgotten, in the middle decades
Of repair, creation, money

Gathered and spent making the family
Happen, as one's own children busily
Work their way into and through

The cycle themselves,
Comic and tragic to see, with some
Fine moments playing with them;

Then, through no inherent virtue
Of one's own, but only because
The oldest ones are busy falling

Off the edge of the planet,
The years of governing,
Of being the dreaded authority

One's self; then the recognition
(Often requiring a stiff drink) that it
Will all soon be ending for one's self,

But not before Alzheimer's comes
For some, as Alzheimer's comes
For my father-in-law now (who

Has forgotten not only who
Shakespeare is but that he taught
Shakespeare for thirty years,

And who sings and dances amidst
The forgotten in the place
To which he's been taken); then

An ever-deepening sense of time
And how the end might really happen,
To really submit, bend, and go

(Raging against that night is really
An adolescent's idiot game).
Time soon to take my place

In the long line of my ancestors
(Whose names I mostly never knew
Or have recently forgotten)

Who took their place, spirit poised
In mature humility (or as jackasses
Braying against the inevitable)

Before me, having been moved
By time through time, having done
The time and their times.

"Nearer my god to thee" I sing
On the deck of my personal Titanic,
An agnostic vessel in the mind.

Born alone, die alone—and sad, though
Vastly accompanied, to see
The sadness in the loved ones

To be left behind, and one more
Moment of wondering what,
If anything, comes next. . .

Never to have been completely
Certain what I was doing
Alive, but having stayed aloft

Amidst an almost sinister doubt.
I say to my children
Don't be afraid, be buoyed

—In its void the world is always
Falling apart, entropy its law
—I tell them those who build

And master are the ones invariably
Merry: Give and take quarter,
Create good meals within the slaughter,

A place for repose and laughter
In the consoling beds of being tender,
I tell them now, my son, my daughter.

Now I know that everything is a body, 
so even the snow and the sand and 
the blood rivered down in the snow, 
and snowed on again so it's buried
is a body. All things are bodies in photos—
detail of the left side of a breast and the arm's
pit—detail of the sled slumbered under 
by the storm's leavings. Detail of my sort 
of so-early half-lit eyelid light that bodies
are near to invisible and touch is no longer
the sole way of knowing, and outline is all 
that there is. Detail of your body as it does 
its morning leaving thing. Detail of what 
light there is on your skin. Detail of land-
scape of let me in please and coffee, warm
when the weather's action on this body is less
than ideal. Landscape with pear. Landscape 
with weather and part of a breast in the frame.

I had a girl, I named her soap.
I had a soap, I named her cat.
One day I played the accordion on paper,
and it sounded like a birth certificate
drifting into the sun, a disintegration station
in a vast bewildered wilderness—
which sounds like a slide whistle at first
but later like the back porch flytrap I named
jungle. I have never before mentioned
these names in the airway, and neither has the girl
I named name ever faltered—
though the question of remains
in the hallway remains: Does one's imagination
also disintegrate, or does it flutter forever
like a boa constrictor, circling the world
or a warthog? The warthog I named babe;
the boa constrictor I called pasture.
The last time I found myself ensnared
in the pastoral, I imagined a rope
and escaped by climbing up it.
Then I named it laminate, but I called it
overwhelming. Me and overwhelming
covered in skulls. One superhero
to another to another. I boiled a lobster,
I named it travel. I had an agent,
and I named her mob.
Then I took out the garbage
and went running with my dog
ostensibly to prove my existence,
if not also my purchase. I made a purchase,
I named it purpose. There is nothing so bright
as a toddler on fire. We don't need no water...
I named the water deathstar.

Click the icon above to listen to this audio poem.

Snow White was nude at her wedding, she's so white
the gown seemed to disappear when she put it on.

Put me beside her and the proximity is good
for a study of chiaroscuro, not much else.

Her name aggravates me most, as if I need to be told
what's white and what isn't.

Judging strictly by appearance there's a future for me
forever at her heels, a shadow's constant worship.

Is it fair for me to live that way, unable 
to get off the ground?

Turning the tables isn't fair unless they keep turning.
Then there's the danger of Russian roulette

and my disadvantage: nothing falls from the sky
to name me.

I am the empty space where the tooth was, that my tongue
rushes to fill because I can't stand vacancies.

And it's not enough. The penis just fills another
gap. And it's not enough.

When you look at me,
know that more than white is missing.

I looked at all the trees and didn't know what to do.

A box made out of leaves.
What else was in the woods? A heart, closing. Nevertheless.

Everyone needs a place. It shouldn't be inside of someone else.
I kept my mind on the moon. Cold moon, long nights moon.

From the landscape: a sense of scale.
From the dead: a sense of scale.

I turned my back on the story. A sense of superiority.
Everything casts a shadow.

Your body told me in a dream it's never been afraid of anything.

We did right by your death and went out,
Right away, to a public place to drink,
To be with each other, to face it.

We called other friends—the ones
Your mother hadn't called—and told them
What you had decided, and some said

What you did was right; it was the thing
You wanted and we'd just have to live
With that, that your life had been one

Long misery and they could see why you
Had chosen that, no matter what any of us
Thought about it, and anyway, one said,

Most of us abandoned each other a long
Time ago and we'd have to face that
If we had any hope of getting it right.

    Tonight I get down from my horse, 
before the door of the house, where 
I said farewell with the cock's crowing.
It is shut and no one responds. 

    The stone bench on which mama gave birth 
to my older brother, so he could saddle 
backs I had ridden bare, 
through lanes, past hedges, a village boy; 
the bench on which I left my heartsick childhood 
yellowing in the sun ... And this mourning 
that frames the portal? 

    God in alien peace, 
the beast sneezes, as if calling too; 
noses about, prodding the cobbles. Then doubts,
whinnies, 
his ears all ears. 

    Papa must be up praying, and perhaps
he will think I am late. 
My sisters, humming their simple, 
bubblish illusions, 
preparing for the approaching holy day,
and now it's almost here. 
I wait, I wait, my heart 
an egg at its moment, that gets blocked. 

    Large family that we left 
not long ago, no one awake now, and not even a candle 
placed on the altar so that we might return. 

    I call again, and nothing. 
We fall silent and begin to sob, and the animal 
whinnies, keeps on whinnying. 

    They're all sleeping forever, 
and so nicely, that at last 
my horse dead-tired starts nodding 
in his turn, and half-asleep, with each pardon, says 
it's all right, everything is quite all right.

My Dolphin, you only guide me by surprise,
a captive as Racine, the man of craft,
drawn through his maze of iron composition
by the incomparable wandering voice of Phèdre.
When I was troubled in mind, you made for my body
caught in its hangman's-knot of sinking lines,
the glassy bowing and scraping of my will. . . .
I have sat and listened to too many
words of the collaborating muse,
and plotted perhaps too freely with my life,
not avoiding injury to others,
not avoiding injury to myself—
to ask compassion . . . this book, half fiction, 
an eelnet made by man for the eel fighting 

my eyes have seen what my hand did.

So that each
is its own, now—each a fallen, blond stillness.
Closer, above them,
the damselflies pass as they would over water,
if the fruit were water,
or as bees would, if they weren’t
somewhere else, had the fruit found
already a point more steep
in rot, as soon it must, if
none shall lift it from the grass whose damp only
softens further those parts where flesh
goes soft.

There are those
whom no amount of patience looks likely
to improve ever, I always said, meaning
gift is random,
assigned here,
here withheld—almost always
correctly
as it’s turned out: how your hands clear
easily the wreckage;
how you stand—like a building for a time condemned,
then deemed historic. Yes. You
will be saved.

She said, I love you.

He said, Nothing.


(As if there were just one
of each word and the one
who used it, used it up).


In the history of language
the first obscenity was silence.

There is something dense, united, settled in the depths,
repeating its number, its identical sign.
How it is noted that stones have touched time,
in their refined matter there is an odor of age,
of water brought by the sea, from salt and sleep.
 
I'm encircled by a single thing, a single movement: 
a mineral weight, a honeyed light
cling to the sound of the word "noche":
the tint of wheat, of ivory, of tears,
things of leather, of wood, of wool,
archaic, faded, uniform,
collect around me like walls.

I work quietly, wheeling over myself,
a crow over death, a crow in mourning.
I mediate, isolated in the spread of seasons,
centric, encircled by a silent geometry:
a partial temperature drifts down from the sky,
a distant empire of confused unities
reunites encircling me.

You are food.
You are here for me
to eat. Fatten up,
and I will like you better.

Your brother will be first,
you must wait your turn.
Feed him yourself, you will
learn to do it. You will take him

eggs with yellow sauce, muffins
torn apart and leaking butter, fried meats
late in the morning, and always sweets
in a sticky parade from the kitchen.

His vigilance, an ice pick of hunger
pricking his insides, will melt
in the unctuous cream fillings.
He will forget. He will thank you

for it. His little finger stuck every day
through cracks in the bars
will grow sleek and round,
his hollow face swell

like the moon. He will stop dreaming
about fear in the woods without food.
He will lean toward the maw
of the oven as it opens

every afternoon, sighing
better and better smells.

   What thoughts I have of you tonight, Walt Whitman, for I
walked down the sidestreets under the trees with a headache self-
conscious looking at the full moon.
   In my hungry fatigue, and shopping for images, I went into the
neon fruit supermarket, dreaming of your enumerations!
   What peaches and what penumbras! Whole families shopping
at night! Aisles full of husbands! Wives in the avocados, babies in
the tomatoes!—and you, García Lorca, what were you doing
down by the watermelons?

   I saw you, Walt Whitman, childless, lonely old grubber, poking
among the meats in the refrigerator and eyeing the grocery boys.
   I heard you asking questions of each: Who killed the pork
chops? What price bananas? Are you my Angel?
   I wandered in and out of the brilliant stacks of cans following
you, and followed in my imagination by the store detective.
   We strode down the open corridors together in our solitary
fancy tasting artichokes, possessing every frozen delicacy, and
never passing the cashier.

   Where are we going, Walt Whitman? The doors close in a hour.
Which way does your beard point tonight?
    (I touch your book and dream of our odyssey in the 
supermarket and feel absurd.)
   Will we walk all night through solitary streets? The trees add
shade to shade, lights out in the houses, we’ll both be lonely.
   Will we stroll dreaming of the lost America of love past blue
automobiles in driveways, home to our silent cottage?
   Ah, dear father, graybeard, lonely old courage-teacher, what
America did you have when Charon quit poling his ferry and you
got out on a smoking bank and stood watching the boat disappear
on the black waters of Lethe?

—Berkeley, 1955

Before you kissed me only winds of heaven
Had kissed me, and the tenderness of rain—
Now you have come, how can I care for kisses
Like theirs again?

I sought the sea, she sent her winds to meet me,
They surged about me singing of the south—
I turned my head away to keep still holy
Your kiss upon my mouth.

And swift sweet rains of shining April weather
Found not my lips where living kisses are;
I bowed my head lest they put out my glory
As rain puts out a star.

I am my love's and he is mine forever,
Sealed with a seal and safe forevermore—
Think you that I could let a beggar enter
Where a king stood before?

There is no magic any more,
      We meet as other people do,
You work no miracle for me
      Nor I for you.

You were the wind and I the sea—
      There is no splendor any more,
I have grown listless as the pool
      Beside the shore.

But though the pool is safe from storm
      And from the tide has found surcease,
It grows more bitter than the sea,
      For all its peace.

What do I care, in the dreams and the languor of spring,
That my songs do not show me at all?
For they are a fragrance, and I am a flint and a fire,
I am an answer, they are only a call.

But what do I care, for love will be over so soon,
Let my heart have its say and my mind stand idly by,
For my mind is proud and strong enough to be silent, 
It is my heart that makes my songs, not I.

The sea is calm tonight.
The tide is full, the moon lies fair
Upon the straits; on the French coast, the light
Gleams and is gone; the cliffs of England stand,
Glimmering and vast, out in the tranquil bay.
Come to the window, sweet is the night-air!
Only, from the long line of spray
Where the sea meets the moon-blanched land,

Listen! you hear the grating roar
Of pebbles which the waves draw back, and fling,
At their return, up the high strand,
Begin, and cease, and then again begin,
With tremulous cadence slow, and bring
The eternal note of sadness in.

Sophocles long ago
Heard it on the Aegean, and it brought
Into his mind the turbid ebb and flow
Of human misery; we
Find also in the sound a thought,
Hearing it by this distant northern sea.

The Sea of Faith
Was once, too, at the full, and round earth's shore
Lay like the folds of a bright girdle furled.
But now I only hear
Its melancholy, long, withdrawing roar,
Retreating, to the breath
Of the night-wind, down the vast edges drear
And naked shingles of the world.

Ah, love, let us be true
To one another! for the world, which seems
To lie before us like a land of dreams,
So various, so beautiful, so new,
Hath really neither joy, nor love, nor light,
Nor certitude, nor peace, nor help for pain;
And we are here as on a darkling plain
Swept with confused alarms of struggle and flight,
Where ignorant armies clash by night.

Click the icon above to listen to this audio poem.

Click the icon above to listen to this audio poem.

Click the icon above to listen to this audio poem.

When you are old and grey and full of sleep,
And nodding by the fire, take down this book,
And slowly read, and dream of the soft look
Your eyes had once, and of their shadows deep;

How many loved your moments of glad grace,
And loved your beauty with love false or true,
But one man loved the pilgrim soul in you,
And loved the sorrows of your changing face;

And bending down beside the glowing bars,
Murmur, a little sadly, how Love fled
And paced upon the mountains overhead
And hid his face amid a crowd of stars.

Wine comes in at the mouth
And love comes in at the eye;
That’s all we shall know for truth
Before we grow old and die.
I lift the glass to my mouth,
I look at you, and I sigh.

Memory: I can take my head and strike it on a wall     on Cumberland Island

Where the night tide came crawling under the stairs     came up the first

Two or three steps     and the cottage stood on poles all night

With the sea sprawled under it     as we dreamed of the great fin circling

Under the bedroom floor. In daylight there was my first brassy taste of beer

And Payton Ford and I came back from the Glynn County slaughterhouse

With a bucket of entrails and blood. We tied one end of a hawser

To a spindling porch-pillar and rowed straight out of the house

Three hundred yards into the vast front yard of windless blue water

The rope out slithering its coil     the two-gallon jug stoppered and sealed

With wax     and a ten-foot chain leader     a drop-forged shark-hook nestling.

We cast our blood on the waters     the land blood easily passing

For sea blood     and we sat in it for a moment with the stain spreading

Out from the boat     sat in a new radiance     in the pond of blood in the sea

Waiting for fins     waiting to spill our guts also in the glowing water.

We dumped the bucket, and baited the hook with a run-over collie pup. The jug

Bobbed, trying to shake off the sun as a dog would shake off the sea.

We rowed to the house     feeling the same water lift the boat a new way,

All the time seeing where we lived rise and dip with the oars.

We tied up and sat down in rocking chairs, one eye on the other responding

To the blue-eye wink of the jug. Payton got us a beer and we sat

All morning sat there with blood on our minds     the red mark out

In the harbor slowly failing us     then     the house groaned     the rope

Sprang out of the water     splinters flew     we leapt from our chairs

And grabbed the rope     hauled     did nothing     the house coming subtly

Apart     all around us     underfoot     boards beginning to sparkle like sand

Pulling out     the tarred poles we slept propped-up on     leaning to sea

As in land-wind     crabs scuttling from under the floor     as we took runs about

Two more porch-pillars     and looked out and saw     something     a fish-flash

An almighty fin in trouble a moiling of secret forces     a false start

Of water a round wave growing     in the whole of Cumberland Sound the one ripple.

Payton took off without a word     I could not hold him either

But clung to the rope anyway     it was the whole house bending

Its nails that held whatever it was     coming in a little and like a fool

I took up the slack on my wrist. The rope drew gently     jerked     I lifted

Clean off the porch and hit the water     the same water it was in

I felt in blue blazing terror at the bottom of the stairs and scrambled

Back up looking desperately into the human house as deeply as I could

Stopping my gaze before it went out the wire screen of the back door

Stopped it on the thistled rattan     the rugs I lay on and read

On my mother's sewing basket with next winter's socks spilling from it

The flimsy vacation furniture     a bucktoothed picture of myself.

Payton came back with three men from a filling station     and glanced at me

Dripping water     inexplicable     then we all grabbed hold like a tug-of-war.

We were gaining a little     from us a cry went up     from everywhere

People came running. Behind us the house filled with men and boys.

On the third step from the sea I took my place     looking down the rope

Going into the ocean, humming and shaking off drops. A houseful

Of people put their backs into it     going up the steps from me

Into the living room     through the kitchen     down the back stairs

Up and over a hill of sand     across a dust road     and onto a raised field

Of dunes     we were gaining     the rope in my hands began to be wet

With deeper water     all other haulers retreated through the house

But Payton and I on the stairs     drawing hand over hand on our blood

Drawing into existence by the nose     a huge body     becoming

A hammerhead     rolling in beery shallows     and I began to let up

But the rope strained behind me     the town had gone

Pulling-mad in our house     far away in a field of sand they struggled

They had turned their backs on the sea     bent double     some on their knees

The rope over their shoulders like a bag of gold     they strove for the ideal

Esso station across the scorched meadow     with the distant fish coming up

The front stairs     the sagging boards     still coming in     up     taking

Another step     toward the empty house     where the rope stood straining

By itself through the rooms     in the middle of the air.     "Pass the word,"

Payton said, and I screamed it     "Let up, good God, let up!"     to no one there.

The shark flopped on the porch, grating with salt-sand     driving back in

The nails he had pulled out     coughing chunks of his formless blood.

The screen door banged and tore off     he scrambled on his tail     slid

Curved     did a thing from another world     and was out of his element and in

Our vacation paradise     cutting all four legs from under the dinner table

With one deep-water move     he unwove the rugs in a moment     throwing pints

Of blood over everything we owned     knocked the buckteeth out of my picture

His odd head full of crashed jelly-glass splinters and radio tubes     thrashing

Among the pages of fan magazines     all the movie stars drenched in sea-blood

Each time we thought he was dead     he struggled back and smashed

One more thing     in all coming back to die     three or four more times after death.

At last we got him out     logrolling him     greasing his sandpaper skin

With lard to slide him     pulling on his chained lips as the tide came,

Tumbled him down the steps as the first night wave went under the floor.

He drifted off     head back     belly white as the moon. What could I do but buy

That house     for the one black mark still there     against death     a forehead-

     toucher in the room he circles beneath     and has been invited to wreck?

Blood hard as iron on the wall     black with time     still bloodlike

Can be touched whenever the brow is drunk enough. All changes. Memory:

Something like three-dimensional dancing in the limbs     with age

Feeling more in two worlds than one     in all worlds the growing encounters.

This is what our dying looks like.
You believe in the sun. I believe
I can’t love you. Always be closing,
Said our favorite professor before
He let the gun go off in his mouth.
I turned 29 the way any man turns
In his sleep, unaware of the earth
Moving beneath him, its plates in
Their places, a dated disagreement.
Let’s fight it out, baby. You have
Only so long left—a man turning
In his sleep—so I take a picture.
I won’t look at it, of course. It’s
His bad side, his Mr. Hyde, the hole
In a husband’s head, the O
Of his wife’s mouth. Every night,
I take a pill. Miss one, and I’m gone.
Miss two, and we’re through. Hotels
Bore me, unless I get a mountain view,
A room in which my cell won’t work,
And there’s nothing to do but see
The sun go down into the ground
That cradles us as any coffin can.

               1

Thank god he stuck his tongue out.
When I was twelve I was in danger 
of taking my body seriously. 
I thought the ache in my nipple was priceless. 
I thought I should stay very still 
and compare it to a button, 
a china saucer, 
a flash in a car side-mirror, 
so I could name the ache either big or little, 
then keep it forever. He blew no one a kiss, 
then turned into a maw.

After I saw him, when a wish moved in my pants.
I nurtured it. I stalked around my room
kicking my feet up just like him, making
a big deal of my lips. I was my own big boy.
I wouldn't admit it then,
but be definitely cocks his hip
as if he is his own little girl.

               2

People ask me--I make up interviews
while I brush my teeth--"So, what do you remember best 
about your childhood?" I say
mostly the drive toward Chicago.
Feeling as if I'm being slowly pressed against the skyline. 
Hoping to break a window.
Mostly quick handfuls of boys' skin.
Summer twilights that took forever to get rid of.
Mostly Mick Jagger. 

               3

How do I explain my hungry stare?
My Friday night spent changing clothes?
My love for travel? I rewind the way he says "now" 
with so much roof of the mouth.
I rewind until I get a clear image of myself:
I'm telling the joke he taught me
about my body. My mouth is stretched open 
so I don't laugh. My hands are pretending
to have just discovered my own face. 
My name is written out in metal studs 
across my little pink jumper.
I've got a mirror and a good idea
of the way I want my face to look.
When I glance sideways my smile should twitch 
as if a funny picture of me is taped up 
inside the corner of my eye.
A picture where my hair is combed over each shoulder, 
my breasts are well-supported, and my teeth barely show. 
A picture where I'm trying hard to say "beautiful."

He always says "This is my skinny rib cage, 
my one, two chest hairs."
That's all he ever says. 
Think of a bird with no feathers
or think of a hundred lips bruising every inch of his skin.
There are no pictures of him hoping
he said the right thing.

I've died enough by now I trust
just what's imperfect or ruined.  I mean God,
God who is in the stop sign
asking to be shotgunned, the ocean that evaporates even
as we float.  God the bent nail & broken lock,
and God the hangnail.  The hangnail.
And a million others might be like me, our hopes
a kind of illegal entry, a belief in smashed windows,
every breakage
like breaking & entering into a concert hall,
the place my friend & I crawled into an air shaft, & later
fell asleep.  After breakage
there is always sleep.
We woke to gospel hymns from the dressing room
below, songs commending
embrace to the fists, & return to the prodigal.
And hasn't my luck always been a shadow, stepping out, stretching?
I mean I trust what breaks.
A broken bone elicits condolence,
and the phone call sounds French if the transmission fritzes,
and our brains--our blessed, desirable brains--are composed
of infinitesimal magnets, millions of them
a billionth-of-a-milligram in weight, so
they make us knock our heads against hard walls.
When we pushed through the air vent,
the men singing seemed only a little surprised,
just slightly freaked,
three of them in black tuxes, & the fourth in red satin,
crimson, lit up like a furnace trimmed with paisley swirls,
the furnace of a planet, or of a fatalistic ocean liner
crisscrossing a planet we've not discovered yet,
a fire you might love to be thrown into.
That night they would perform the songs half
the country kept on its lips half of every day.
Songs mostly praising or lamenting or accusing some loved one
of some beautiful, horrendous betrayal or affection.
But dressing, between primping & joking about
their thinning afros, they sang of Jesus.  Jesus,
who said, "Split a stick, & you shall find me inside."
It was the winter we put on asbestos gloves, & flameproof
stuck our hands in the fireplace, adjusting logs.
Jesus, we told them, left no proof of having sung a single note.
And that, said the lead singer, is why we are all sinners.
What he meant was
we are all like the saints on my neighbors' lawns--
whose plaster shoulders & noses,
chipped cloaks & tiaras, have to be bundled
in plastic sheets, each winter, blanketed
from the wind & the cold.  That was what he meant,
though I couldn't know it then.

No sensation of falling, which suggests that this condition may be flight.

My eyes might be open or not. My coffee poured into a cup or

onto the countertop. This, a ball of saved rubberbands or the thick clot of tremors

I usually keep deep in the drawer that I can trust will stick

when I absent-mindedly forget, and try to open it.

What would it mean for a body to yield?

A use.

That is to say, dew moistens the grass and is gone.

The body moves from out of its past with each glimpse of its own

disappearance, cumulatively. With each drop of rain the earth’s atmosphere pelts

its grove of tall cedars and saplings

with equal force. A body

negating itself as an object possessable. To hold one’s breath would be to drown

in order to avoid drowning.

If I were to live my life
in catfish forms
in scaffolds of skin and whiskers
at the bottom of a pond
and you were to come by
   one evening
when the moon was shining
down into my dark home
and stand there at the edge
   of my affection
and think, “It’s beautiful
here by this pond. I wish
   somebody loved me,”
I’d love you and be your catfish
friend and drive such lonely
thoughts from your mind
and suddenly you would be
   at peace,
and ask yourself, “I wonder
if there are any catfish
in this pond? It seems like
a perfect place for them.”

The tide ebbs and reveals orange and purple sea stars. 
I have no theory of radiance, 

                but after rain evaporates 
off pine needles, the needles glisten. 

In the courtyard, we spot the rising shell of a moon,
and, at the equinox, bathe in its gleam. 

Using all the tides of starlight, 
                we find 
                vicissitude is our charm.

On the mud flats off Homer, 
I catch the tremor when waves start to slide back in; 

and, from Roanoke, you carry 
                the leafing jade smoke of willows. 

Looping out into the world, we thread 
                and return. The lapping waves 

cover an expanse of mussels clustered on rocks; 
and, giving shape to what is unspoken, 
		
                forsythia buds and blooms in our arms.

A spring snow coincides with plum blossoms.
In a month, you will forget, then remember
when nine ravens perched in the elm sway in wind.

I will remember when I brake to a stop,
and a hubcap rolls through the intersection.
An angry man grinds pepper onto his salad;

it is how you nail a tin amulet ear
into the lintel. If, in deep emotion, we are
possessed by the idea of possession,

we can never lose to recover what is ours.
Sounds of an abacus are amplified and condensed
to resemble sounds of hail on a tin roof,

but mind opens to the smell of lightening.
Bodies were vaporized to shadows by intense heat;
in memory people outline bodies on walls.

A black biplane crashes through the window 
of the luncheonette. The pilot climbs down, 
removing his leather hood. 
He hands me my grandmother's jade ring. 
No, it is two robin's eggs and 
a telephone number: yours.

This is what was bequeathed us:
This earth the beloved left
And, leaving,
Left to us.

No other world
But this one:
Willows and the river
And the factory
With its black smokestacks.

No other shore, only this bank
On which the living gather.

No meaning but what we find here.
No purpose but what we make.

That, and the beloved’s clear instructions:
Turn me into song; sing me awake.

Will answers be found
like seeds
planted among rows of song?

Will mouths recognize
the hunger
in their voices, all mouths in unison,

the ah in harmony, the way words
of hope are more
than truth when whispered?

Will we turn to each other and ask,
how long
has it been...how long since?

A world now, a world then
and each
is seeking a foothold, trying

to remember when we looked
at one another
and found—A world again—Surely

what we long for is at the wheel 
contending.

Surely, we'll soon hear 
its unearthly groan.

The downward turning touch
the cry of time
fire falling without sound
plunge my hand in the wound

children marching and dying
all that I do is a crime
because I do not reach
their mouths silently crying

my boychild reaches with his mouth
it is easy, being a mother
his skin is tender and soft
kisses stitch us together

we love as long as we may
then come years without kisses
when he will turn away
not to waste breath

when I too will fall
embracing a pillow at night
touching the stone of exile
reaching my hand to death

Not for all the whiskey in heaven
Not for all the flies in Vermont
Not for all the tears in the basement
Not for a million trips to Mars

Not if you paid me in diamonds
Not if you paid me in pearls
Not if you gave me your pinky ring
Not if you gave me your curls

Not for all the fire in hell
Not for all the blue in the sky
Not for an empire of my own
Not even for peace of mind

No, never, I'll never stop loving you
Not till my heart beats its last
And even then in my words and my songs
I will love you all over again

consciousness

        in itself

of itself carrying

    'the principle
        of the actual' being

actual

itself ((but maybe this is a love 
poem

Mary) ) nevertheless

        neither

the power
of the self nor the racing 
car nor the lilly

        is sweet but this

I was forcing a wasp to the top of a window
where there was some sky and there were tiger lilies
outside just to love him or maybe only
simply a kiss for he was hurrying home
to fight a broom and I was trying to open
a door with one hand while the other was swinging
tomatoes, and you could even smell the corn
for corn travels by wind and there was the first
hint of cold and dark though it was nothing
compared to what would come, and someone should mark
the day, I think it was August 20th, and 
that should be the day of grief for grief
begins then and the corn man starts to shiver
and crows too and dogs who hate the wind
though grief would come later and it was a relief
to know I wasn't alone, but be as it may,
since it was cold and dark I found myself singing
the brilliant love songs of my other religion.

             after James Wright

Startled by my breath it bolts
to the other end of the field.

The horizon’s brow rasps
against a green cloud

which seems both
desperate and sincere. 

Into a dead tree
a flame of bird

drives its burning beak.
And somewhere out here

I have come to terms
with my brother’s suicide.

I wish the god of this place
would put me in its mouth

until I dissolve, until
the field doesn’t end

and I am broken open
like a shotgun,

swabbed clean.

I always thought death would be like traveling
in a car, moving through the desert,
the earth a little darker than sky at the horizon,
that your life would settle like the end of a day
and you would think of everyone you ever met,
that you would be the invisible passenger,
quiet in the car, moving through the night,
forever, with the beautiful thought of home.

Away from leaf touch, from twig.
Away from the markings and evidence
of others. Beyond the shale night
filling with rain. Beyond the sleepy
origin of sadness. Back, back into
the ingrown room. The place where
everything loved is placed, assembled
for memory. The delicate hold
and tender rearrangement of what is missing,
like certain words, a color reflected off 
water a few years back. Apricots and 
what burns. It has obtained what it is.
Sweet with a stone. Sweet with the
concession of a few statements,
a few lives it will touch without bruising.

The fist clenched round my heart
loosens a little, and I gasp
brightness; but it tightens
again. When have I ever not loved
the pain of love? But this has moved

past love to mania. This has the strong
clench of the madman, this is
gripping the ledge of unreason, before
plunging howling into the abyss.

Hold hard then, heart. This way at least you live.

Between the blinds Past the coded locks
Past the slanted gold bars of the day
Smelling of all-night salt rain on the docks
Of grief Of birth Of bergamot Of May

In the wind that lifts the harbor litter
Wet against my fingers in a dream
Salvaging among the tideline's bitter
gleanings Generous Exigent Lush and lean

Your voice A tune I thought I had forgotten
The taste of cold July brook on my tongue
A fire built on thick ice in the winter
The place where lost and salvaged meet and fit
The cadences a class in grief is taught in
The sound when frozen rivers start to run

                                        I caught sight of it at a bus stop:
a white T-shirt, though
                                                     it was partly covered by
     the turning form of a lanky youth massed
                with other human forms intent upon
          boarding the bus on which
                                I was riding, tucked in a corner seat on
                the last row of seats on the bus, the right side, sheltered,
        watching the surge as it entered the double rear doors that
                        soon welcomed as a bottleneck the half dozen
     new passengers — tall, he walked back along the aisle until he stood
                                maybe a dozen feet from me, holding a rail
      with one hand (the right), the other arm dangling, his hips relaxed,
every color — hair, eyebrows, lashes, half-day beard shadow,
        heavy cotton pants, a
jacket dangling from the dangling left arm — black except for his
      white T-shirt, unornamented, the folds from his twist
           as he stood, deep drapery folds, the cotton heavier than ordinary
     for such a garment, the trim at waist and short sleeves the same material rolled,
      eye-catching for its clean bright whiteness, hinting at his beauty, and
                        beautiful in its self:                a white T-shirt, an
        object, he
                                would move slightly, the creases deepen
    as the twist deepened
                             slightly —
                                        at Castro, Market and 17th streets
        he got off, many did, many boarded, his eyes, a light brown, met mine through
                the bus window for a moment, the T-shirt at his neck white,
                                an object still

You sit at a window and listen to your father
crossing the dark grasses of the fields

toward you, a moon soaking through his shoes as he shuffles the wind
aside, the night in his hands like an empty bridle.

How long have we been this way, you ask him.
It must be ages, the wind answers. It must be the music of the wind

turning your fingers to glass, turning the furniture of childhood
to the colors of horses, turning them away.

Your father is still crossing the acres, a light on his tongue
like a small coin from an empire that has always been ruined.

Now the dark flocks are drifting through his shoulders
with an odor of lavender, an odor of gold. Now he has turned

as though to go, but only knelt down with the heavy oars
of October on his forearms, to begin the horrible rowing.

You sit in a chair in the room. The wind lies open
on your lap like the score of a life you did not measure.

You rise. You turn back to the room and repeat what you know:
The earth is not a home. The night is not an empty bridle

in the hands of a man crossing a field with a new moon
in his old wool. We abandon the dead. We abandon them.
 

I bathe my television    in total attention    I give it my corneas
I give it my eardrums    I give it my longing
In return I get pictures      of girls fighting    and men flying
and women in big houses    with tight faces    blotting down tears
with tiny knuckles    Sometimes my mother calls
and I don't answer      Sometimes a siren     sings past the window
and summer air     pushes in     dripping with the scent
of human sweat       But what do I care      I've given my skin
to the TV     I've given it my tastes     In return    it gives me so many
different sounds     to fill the silence   where the secrets
of my life     flash by like ad space     for the coming season

I am yours as the summer air at evening is
Possessed by the scent of linden blossoms,

As the snowcap gleams with light
Lent it by the brimming moon.

Without you I'd be an unleafed tree
Blasted in a bleakness with no Spring.

Your love is the weather of my being.
What is an island without the sea?

I carry myself out into the rainswept blur.
I lift my pleasant voice over the coming flood.
I have nothing to do that I’m going to do.
I keep meaning to purchase a dog. I keep waiting

to email you back. When I see you again will
I know who you are? Once I wove you a mask
of rattan and hair. Once I carved you a mask
of painted wood. I brushed my wooden leg

against your wooden leg. We had learned to imitate
each other’s breath. When I see you again will
you know who I am? Will you place your words back
into my open mouth? Once I held you for years

in the stones of my eyes. You were an ineluctable act of God.
Into the drainage ditch we hurled our toys.

A piece of green pepper
   fell
off the wooden salad bowl:
   so what?

Three crates of Private Eye Lettuce, 
the name and drawing of a detective 
with magnifying glass on the sides 
of the crates of lettuce, 
form a great cross in man's imagination 
and his desire to name 
the objects of this world. 
I think I'll call this place Golgotha 
and have some salad for dinner.

A few hours after Des Moines
the toilet overflowed.
This wasn't the adventure it sounds.

I sat with a man whose tattoos
weighed more than I did.
He played Hendrix on mouth guitar.
His Electric Ladyland lips
weren't fast enough
and if pitch and melody
are the rudiments of music,
this was just
memory, a body nostalgic
for the touch of adored sound.

Hope's a smaller thing on a bus.

You hope a forgotten smoke consorts
with lint in the pocket of last
resort to be upwind
of the human condition, that the baby
sleeps
and when this never happens,
that she cries 
with the lullaby meter of the sea.

We were swallowed by rhythm.
The ultra blond
who removed her wig and applied 
fresh loops of duct tape
to her skull,
her companion who held a mirror
and popped his dentures
in and out of place,
the boy who cut stuffing
from the seat where his mother
should have been—
there was a little more sleep 
in our thoughts, 
it was easier to yield.

To what, exactly—
the suspicion that what we watch 
watches back,
cornfields that stare at our hands,
downtowns
that hold us in their windows
through the night?

Or faith, strange to feel
in that zoo of manners.

I had drool on my shirt and breath
of the undead, a guy
dropped empty Buds on the floor
like gravity was born
to provide this service,
we were white and black trash
who'd come
in an outhouse on wheels and still

some had grown—
in touching the spirited shirts
on clotheslines,
after watching a sky of starlings
flow like cursive
over wheat—back into creatures 
capable of a wish.

As we entered Arizona
I thought I smelled the ocean,
liked the lie of this
and closed my eyes 
as shadows
puppeted against my lids. 

We brought our failures with us,
their taste, their smell.
But the kid
who threw up in the back
pushed to the window anyway,
opened it 
and let the wind clean his face,
screamed something 
I couldn't make out
but agreed with
in shape, a sound I recognized
as everything I'd come so far
to give away.

Dear murderous world, dear gawking heart,
I never wrote back to you, not one word

wrenched itself free of my fog-draped mind
to dab in ink the day's dull catalog

of ruin. Take back the ten-speed bike
which bent like a child's cheap toy

beneath me. Accept as your own
the guitar that was smashed over my brother,

who writes now from jail in Savannah,
who I cannot begin to answer. Here

is the beloved pet who died at my feet 
and there, outside my window,

is where my mother buried it in a coffin
meant for a newborn. Upon

my family, raw and vigilant, visit numbness.
Of numbness I know enough.

And to you I've now written too much,
dear cloud of thalidomide,

dear spoon trembling at the mouth,
dear marble-eyed doll never answering back.

Someone went away / but once they were here / so I don't die / instead I see a movie / the one about a boy / falling into / the green screen / sky lit up / phosphorescent / spiders and chandeliers / like that one time / near an island / out on the lash / I fell out of you / you laughed / your eyes closed / spread wide / standing open / I asked you / who are you / pretending I am / I did / you said / I'm pretending you / are you / drawing a jacked up heart / across my hand / in every airport / rocking this depression electric / I dry swallow / a video pill / we smoke glitter / until my suit sounds good / I long to be alive / when the world ends / so in love / with someone / I end up / ending everyone