The Book of the Dead Man (Food)

- 1937-2020
Live as if you were already dead.
                          Zen admonition
1. About the Dead Man and Food

The dead man likes chocolate, dark chocolate.
The dead man remembers custard as it was, spumoni as it was, shave
          ice as it was.
The dead man talks food with an active tongue, licks his fingers, takes
          seconds, but has moved on to salads.
It's the cheese, it's the crunch of the crunchy, it's the vinegar in the oil
          that makes a salad more than grass.
The dead man has a grassy disposition but no cow stomach for flappy
          leaves and diced croutons.
The dead man remembers oysterettes as they were.
He recalls good water and metal-free fish.
Headlights from the dock drew in blue claw crabs by the bucketful.
A flashlight showed them where the net lay.
If they looked bigger in the water than in the pail, they grew back on the
          stove.
It was like that, before salads.
The dead man, at the age he is, has redefined mealtime.
It being the quantum fact that the dead man does not believe in time, but
          in mealtime.

2. More About the Dead Man and Food

The dead man's happiness may seem unseemly.
By land or by sea, aloft or alit, happiness befalls us.
Were mankind less transfixed by its own importance, it would be harder
          to be happy.
Were the poets less obsessed with the illusion of the self, it would be
          more difficult to sing.
It would be crisscross, it would be askew, it would be zigzag, it would be
          awry, it would be cockeyed in any context of thought.
The dead man has felt the sensation of living.
He has felt the orgasmic, the restful, the ambiguous, the nearly-falling-over,
           the equilibrium, the lightning-in-the-bottle and the bottle in shards.
You cannot make the dead man write what you want.
The dead man offers quick approval but seeks none in return.
Chocolate is the more existential, it has the requisite absurdity, it loosens
          the gland.
The dead man must choose what he ingests, it cannot be anything goes
          in the world the world made.
So we come back to chocolate, which frees the dead man's tongue.
The dead man is every emotion at once, every heartbreak, every falling-
          down laugh riot, every fishhook that caught a finger.

Mars Being Red

Being red is the color of a white sun where it lingers
on an arm. Color of time lost in sparks, of space lost
inside dance. Red of walks by the railroad in the flush
of youth, while our steps released the squeaks
of shoots reaching for the light. Scarlet of sin, crimson
of fresh blood, ruby and garnet of the jewel bed,
early sunshine, vestiges of the late sun as it turns
green and disappears. Be calm. Do not give in
to the rabid red throat of age. In a red world, imprint
the valentine and blush of romance for the dark.
It has come. You will not be this quick-to-redden
forever. You will be green again, again and again.

The Book of the Dead Man (The Foundry)

Live as if you were already dead.  – Zen admonition



1. About the Dead Man and the Foundry

The dead man hath founded the dead man's foundry.
He acted in the past perfect, he funded it with clean dirt, pure water and the spotless air.
Then he was melted, he was molded, he was poured and shook out.
He was ground and sanded, he was machined to a sweet tolerance.
The dead man took pains to stay alive, this was how.
It was the undersong of the self, the subtext, the no-man's-land's calling.
For the dead man was subterranean to start.
He was the tuber in the sun, the worm warming, the root that stays put.
The dead man became again what he was, he germinated.
It was the foundry of the sun, the foundry of the earth's core, the foundry of the electric
     light and the dry cell.
It was the retrofit energy that did it, the assemblage after dispersion, the kick in the
     pants we call chaos.
We are the children of a hothouse, among orchids that grow in lava. 


2. More About the Dead Man and the Foundry

The foundry of the dead man pops and smolders with re-creation.
It is recreated in the titanic and the miniature, every detail.
Within the dead man, the same fire burns.
The same furnace, the same raw materials that made flesh.
The same red water, the same liquid sinew cooling.
The dead man's foundry has made weapons and ploughshares, and those who use them.
The foundry and the forge, the shapes imprisoned in the molten streams of rough matter,
     these are precursors of the human, too.
The steam escaping from a wounded body is the foundry.
The heat of exhalation, the blush of desire, the red sun under the skin—they are the foundry.
And the high temperature of the ill, and the heat of the first foundry reassembling at its
     source.
If you believe in the reformation of energy, then you believe as well in the dead man.
He is heating up, and what is emotion?

The Book of the Dead Man (Fungi)

Live as if you were already dead.  – Zen admonition



1. About the Dead Man and Fungi

The dead man has changed his mind about moss and mold.
About mildew and yeast.
About rust and smut, about soot and ash.
Whereas once he turned from the sour and the decomposed, now he breathes deeply in the underbelly
     of the earth.
Of mushrooms, bakers yeast, fungi of wood decay, and the dogs preceding their masters to the
     burnt acre of morels.
And the little seasonals themselves, stuck on their wobbly pin stems. 
For in the pan they float without crisping.
For they are not without a hint of the sublime, nor the curl of a hand.
These are the caps and hairdos, the mini-umbrellas, the zeppelins of a world in which human
     beings are heavy-footed mammoths.
Puffballs and saucers, recurrent, recumbent, they fill the encyclopedia.
Not wrought for the pressed eternity of flowers or butterflies.
Loners and armies alike appearing overnight at the point of return.
They live fast, they die young, they will be back.


2. More About the Dead Man and Fungi

Fruit of the fungi, a mushroom's birthing is an arrow from below.
It is because of Zeno's Paradox that one cannot get there by half-measures.
It is the fault of having anything else to do.
The dead man prefers the mushroom of the gatherer to that of the farmer.
Gilled or ungilled, stemmed or stemless, woody or leathery, the mushroom is secretive, yes, by
     nature.
Each mushroom was a button, each a flowering, some glow in the dark.
Medicinal or toxic, each was lopped from the stump of eternity.
The dead man has seen them take the shapes of cups and saucers, of sponges, logs and bird nests. 
The dead man probes the shadows, he fingers the crannies and undersides, he spots the mushroom
     underfoot just in time.
When the dead man saw a mushrooming cloud above Hiroshima, he knew.
He saw that death was beautiful from afar.
He saw that nature is equidistant from the nourishing and the poisonous, the good and the bad,
     the beginning and the end.
He knew the littlest mushroom, shivering on its first day, was a signal.