The Sciences Sing a Lullabye

Albert Goldbarth - 1948-
Physics says: go to sleep. Of course
you're tired. Every atom in you
has been dancing the shimmy in silver shoes
nonstop from mitosis to now.
Quit tapping your feet. They'll dance
inside themselves without you. Go to sleep.

Geology says: it will be all right. Slow inch
by inch America is giving itself
to the ocean. Go to sleep. Let darkness
lap at your sides. Give darkness an inch.
You aren't alone. All of the continents used to be
one body. You aren't alone. Go to sleep.

Astronomy says: the sun will rise tomorrow,
Zoology says: on rainbow-fish and lithe gazelle,
Psychology says: but first it has to be night, so
Biology says: the body-clocks are stopped all over town
History says: here are the blankets, layer on layer, down and down. 

More by Albert Goldbarth

27,000 Miles

These two asleep . . . so indrawn and compact,
like lavish origami animals returned

to slips of paper once again; and then
the paper once again become a string

of pith, a secret that the plant hums to itself . . . . 
You see? — so often we envy the grandiose, the way

those small toy things of Leonardo’s want to be
the great, air-conquering and miles-eating

living wings
they’re modeled on.  And the bird flight is

amazing: simultaneously strength, 
escape, caprice: the Arctic tern completes

its trip of nearly 27,000 miles every year;
a swan will frighten bears away

by angry aerial display of flapping wingspan.
But it isn’t all flight; they also

fold; and at night on the water or in the eaves
they package their bodies

into their bodies, smaller, and deeply
smaller yet: migrating a similar distance

in the opposite direction.


Eight hours by bus, and night
was on them. He could see himself now
in the window, see his head there with the country
running through it like a long thought made of steel and wheat.
Darkness outside; darkness in the bus—as if the sea
were dark and the belly of the whale were dark to match it.
He was twenty: of course his eyes returned, repeatedly,
to the knee of the woman two rows up: positioned so
occasional headlights struck it into life.
But more reliable was the book; he was discovering himself
to be among the tribe that reads. Now his, the only
overhead turned on. Now nothing else existed:
only him, and the book, and the light thrown over his shoulders
as luxuriously as a cashmere shawl.


We could say that Rembrandt was a greater painter than Kandinsky. We could not say that Rembrandt was three and a half times better than Kandinsky. . . . We could say, "I have more pain than I had yesterday." When we tried to say, "I have nine dols of pain," we found we were talking nonsense.

		   - Leshan and Morgenau

This is the pain you could fit in a tea ball.
This is the pain you could pack in a pipe
 – a plug of pungent shag-cut pain,
a pain to roll between the thumb and the forefinger.
Here: this pain you could pour down the city sewers,
where it would harden, and swell, and crack
those tubes like the flex of a city-wide snake,
and still you would wake and
there would be more for the pouring.
Some pain believes its only true measure is litigation.
For other pain, the glint of the lamp
in a single called-forth tear is enough.
Some pain requires just one mouth, at an ear.
Another pain requires the Transatlantic Cable.
No ruled lines exist by which to gauge its growth
(my pain at three years old. . . at five. . . ) and yet
if we follow the chronolinear path of Rembrandt's face
self-imaged over forty years - a human cell
in the nurturing murk of his signature thick-laid paint – 
we see the look-by-look development,
through early swank and rollick, of a kind of pain
so comfortable it's worn, at the last,
like a favorite robe, that's frayed by now, and intimate
with the frailties of its body, and has
an easy fit that the showiest cloak of office
never could. In 1658, the gaze is equally
into himself, and out to the world-at-large
 – they've reached a balance of apportioned
disappointment – and the meltflesh under the eyes
is the sallow of chicken skin, recorded
with a faithfulness, with really a painterly
tenderness, that lifts this understanding of pain
into something so accommodating, "love" is the word
that seems to apply to these mournfully basso
bloodpan reds and tankard-bottom browns. Today
in the library stacks, the open face of a woman
above this opened book of Rembrandt reproductions
might be something like the moon he looked to,
thinking it shared in his sadness. What's
her pain? her ohm, her acreage, her baker's dozen,
of actual on-your-knees-in-the-abattoir misery?
I don't know. I'm not writing this
pretending that I know. What I can say is that
the chill disc of the stethoscope is known to announce
an increment of pain not inappropriate
to being blurted forth along the city wall
by a corps of regalia' d trumpeters.
Who's to say what a "unit" of pain is?
On a marshy slope beyond the final outpost,
Rembrandt stares at the moon, and stares at the moon,
until the background drumming-in of the ocean
and the other assorted sounds of the Amsterdam night,
and then the Amsterdam dawn, are one
with his forlornness, and the mood fades
into a next day, and a woman here
in Kansas turns to face the sky: she's late
for her appointment. She's due
for another daily injection of nine c.c.'s of undiluted dol.