Dog Tag

- 1953-

At last understanding
that everything my friend had been saying
for the thirty-three months since he knew
were words of the dog tag, words of, whatever else, 
the milled and stamped-into metal of what stays behind.
Blackcap Mountain. Blue scorpion venom. Persimmon pudding.
He spoke them.
He could not say love enough times.
It clinked against itself, it clinked against its little chain.

—2016

More by Jane Hirshfield

I wanted to be surprised.

To such a request, the world is obliging.

In just the past week, a rotund porcupine,
who seemed equally startled by me.

The man who swallowed a tiny microphone
to record the sounds of his body,
not considering beforehand how he might remove it.

A cabbage and mustard sandwich on marbled bread.

How easily the large spiders were caught with a clear plastic cup
surprised even them.

I don’t know why I was surprised every time love started or ended.
Or why each time a new fossil, Earth-like planet, or war.
Or that no one kept being there when the doorknob had clearly.

What should not have been so surprising:
my error after error, recognized when appearing on the faces of others.

What did not surprise enough:
my daily expectation that anything would continue,
and then that so much did continue, when so much did not.

Small rivulets still flowing downhill when it wasn’t raining.
A sister’s birthday.

Also, the stubborn, courteous persistence.
That even today please means please,
good morning is still understood as good morning,

and that when I wake up,
the window’s distant mountain remains a mountain,
the borrowed city around me is still a city, and standing.

Its alleys and markets, offices of dentists,
drug store, liquor store, Chevron.
Its library that charges—a happy surprise—no fine for overdue books:
Borges, Baldwin, Szymborska, Morrison, Cavafy.

—2018

Ledger

Tchaikovsky’s Eugene Onegin is 3,592 measures.
A voice kept far from feeling is heard as measured.
What’s wanted in desperate times are desperate measures.
Pushkin’s unfinished Onegin: 5,446 lines.

No visible tears measure the pilot’s grief
as she Lidars the height of an island: five feet.
Fifty, its highest leaf.
She logs the years, the weathers, the tree has left.

A million fired-clay bones—animal, human—
set down in a field as protest
measure 400 yards long, 60 yards wide, weigh 112 tons.
The length and weight and silence of the bereft.

Bees do not question the sweetness of what sways beneath them.
One measure of distance is meters. Another is li.
Ten thousand li can be translated: “far.”
For the exiled, home can be translated “then,” translated “scar.”

One liter
of Polish vodka holds twelve pounds of potatoes.
What we care about most, we call beyond measure.
What matters most, we say counts. Height now is treasure.

On this scale of one to ten, where is eleven?
Ask all you wish, no twenty-fifth hour will be given.
Measuring mounts—like some Western bar’s mounted elk head—
our cataloged vanishing unfinished heaven.

—2016

On the Fifth Day

On the fifth day
the scientists who studied the rivers
were forbidden to speak
or to study the rivers.

The scientists who studied the air
were told not to speak of the air,
and the ones who worked for the farmers
were silenced,
and the ones who worked for the bees.

Someone, from deep in the Badlands,
began posting facts.

The facts were told not to speak
and were taken away.
The facts, surprised to be taken, were silent.

Now it was only the rivers
that spoke of the rivers,
and only the wind that spoke of its bees,

while the unpausing factual buds of the fruit trees
continued to move toward their fruit.

The silence spoke loudly of silence,
and the rivers kept speaking
of rivers, of boulders and air.

Bound to gravity, earless and tongueless,
the untested rivers kept speaking.

Bus drivers, shelf stockers,
code writers, machinists, accountants,
lab techs, cellists kept speaking.

They spoke, the fifth day,
of silence.

—2017

Related Poems

Roman Poem Number Thirteen

                                      For Eddie

Only our hearts will argue hard
against the small lights letting in the news
and who can choose between the worst possibility
and the last
between the winners of the wars against breathing
and the last
war everyone will lose
and who can choose between the dry gas
domination of the future
and the past
between the consequences of the killers
and the past
of all the killing? There
is no choice in these.
Your voice
breaks very close to me my love.