It’s neither red
nor sweet.
It doesn’t melt
or turn over,
break or harden,
so it can’t feel
pain,
yearning,
regret.

It doesn’t have 
a tip to spin on,
it isn’t even
shapely—
just a thick clutch
of muscle,
lopsided,
mute. Still,
I feel it inside
its cage sounding
a dull tattoo:
I want, I want—

but I can’t open it:
there’s no key.
I can’t wear it
on my sleeve,
or tell you from
the bottom of it
how I feel. Here,
it’s all yours, now—
but you’ll have
to take me,
too.

(September, 1918)

This lonely beautiful word
                                                means church
and it is quiet here; the stone
walls curve
                        like slow water.
When we arrived the people were already gone,
green shutters latched and stoops swept clean.
A cow lowed through the village,
pushing into our gloves her huge
sodden jaw.

It’s Sunday and I’m standing
on the bitter ridge of France, overlooking the war.
La Guerre is asleep. This morning early
on patrol we slipped down through
the mist and scent of burning woodchips
(somewhere someone was warm)
                                                            into Moyenmoutier,
cloister of flushed brick and a little river
braiding its dark hair.

Back home in Louisiana the earth is red,
but it suckles you until you can sing
yourself grown.
                                    Here, even the wind has edges.
Drizzle splintered around us; we stood
on the arched bridge and thought
for a moment of the dead we had left
behind in the valley, in the terrible noise.

But I’m not sad—on the way back
through the twigs I glimpsed
in a broken windowbox by the roadside
mums:
stunned lavenders and pinks
dusted with soot.
                                                I am a little like them,
heavy-headed,
rough curls open to the rain.

I work a lot and live far less than I could,
but the moon is beautiful and there are
blue stars . . . . I live the chaste song of my heart.

—Garcia Lorca to Emilia Llanos Medinor,
November 25, 1920

The moon is in doubt
over whether to be
a man or a woman.

There’ve been rumors,
all manner of allegations,
bold claims and public lies: 

He’s belligerent. She’s in a funk.
When he fades, the world teeters.
When she burgeons, crime blossoms.

O how the operatic impulse wavers!
Dip deep, my darling, into the blank pool. 

^{It is difficult/ to get the news from poems / yet men die miserably every day / for lack / of what is found there. / Hear me out / for I too am concerned / and every man/ who wants to die at peace in his bed / besides.}

                      ^{—William Carlos Williams, “Asphodel, that Greeny Flower”}

Move along, you don’t belong here.
This is what you’re thinking. Thinking
drives you nuts these days, all that
talk about rights and law abidance when
you can’t even walk your own neighborhood
in peace and quiet, get your black ass gone.
You’re thinking again. Then what?
Matlock’s on TV and here you are,
vigilant, weary, exposed to the elements
on a wet winter’s evening in Florida
when all’s not right but no one sees it.
Where are they – the law, the enforcers
blind as a bunch of lazy bats can be,
holsters dangling from coat hooks above their desks
as they jaw the news between donuts?

Hey! It tastes good, shoving your voice
down a throat thinking only of sweetness.
Go on, choke on that. Did you say something?
Are you thinking again? Stop!— and
get your ass gone, your blackness,
that casual little red riding hood
I’m just on my way home attitude
as if this street was his to walk on.
Do you hear me talking to you? Boy.
How dare he smile, jiggling his goodies
in that tiny shiny bag, his black paw crinkling it,
how dare he tinkle their laughter at you.

Here’s a fine basket of riddles:
If a mouth shoots off and no one’s around
to hear it, who can say which came first—
push or shove, bang or whimper?
Which is news fit to write home about?

Hell,

we just climbed. Reached the lip
and fell back, slipped

and started up again––
climbed to be climbing, sang

to be singing. It's just what we do.
No one bothered to analyze our blues

until everybody involved
was strung out or dead; to solve

everything that was happening
while it was happening

would have taken some serious opium.
Seriously: All wisdom

is afterthought, a sort of helpless relief.
So don't go thinking none of this grief

belongs to you: Even if
you don't know how it

feels to fall, you can get my drift;
and I, who live it

daily, have heard
that perfect word

enough to know just when
to use it––as in:

Oh hell. Hell, no.
No ––

this is hell.

We were dancing—it must have
been a foxtrot or a waltz,
something romantic but
requiring restraint,
rise and fall, precise
execution as we moved
into the next song without
stopping, two chests heaving
above a seven-league
stride—such perfect agony
one learns to smile through,
ecstatic mimicry
being the sine qua non
of American Smooth.
And because I was distracted
by the effort of
keeping my frame
(the leftward lean, head turned
just enough to gaze out
past your ear and always
smiling, smiling),
I didn’t notice
how still you’d become until
we had done it
(for two measures?
four?)—achieved flight,
that swift and serene
magnificence,
before the earth
remembered who we were
and brought us down.

Who comforts you now that the wheel has broken?
No more princes for the poor. Loss whittling you thin.
Grief is the constant now, hope the last word spoken.

In a dance of two elegies, which circles the drain? A token
year with its daisies and carbines is where we begin.
Who comforts you now? That the wheel has broken

is Mechanics 101; to keep dreaming when the joke’s on
you? Well, crazier legends have been written.
Grief is the constant now; hope, the last word spoken

on a motel balcony, shouted in a hotel kitchen. No kin
can make this journey for you. The route’s locked in.
Who comforts you now that the wheel has broken

the bodies of its makers? Beyond the smoke and
ashes, what you hear rising is nothing but the wind.
Who comforts you? Now that the wheel has broken,

grief is the constant. Hope: the last word spoken.