Down in the shipyard, day and night,
The Galahads of the dock,
Hard as the sinews of basin rock,
Build an ocean cosmopolite.
The rivets stab and the hammers bite
Into the beams and plates of steel
Of the Diesel heart and the belly keel.
We,
The workers of the world strike catholic notes
On woods and irons, wring from brassy throats
Epics of industry.
i.
I grew up an anxious painting by my dad’ s shaking hand.
In the painting of my dad, a quiet hole beats
through the dull, black night. I’ m heir to an orange heart
in the rhythmic black where a man leans quietly
and wonders. I wonder about my dad, a hole
in my painting. I used to think my dad was dull,
but his shaking hand gave rhythm to my body.
In my dad’ s painting, a hole glows orange in the dull night
where I sit beneath the canvas looking up.
My dad looks down and laughs.
Ah, ah cries the crow arching toward the heavy sky over the marina.
Lands on the crown of the palm tree.
Ah, ah slaps the urgent cove of ocean swimming through the slips.
We carry canoes to the edge of the salt.
Ah, ah groans the crew with the weight, the winds cutting skin.
We claim our seats. Pelicans perch in the draft for fish.
Ah, ah beats our lungs and we are racing into the waves.
Though there are worlds below us and above us, we are straight ahead.
The world begins at a kitchen table. No matter what, we must eat to live.
The gifts of earth are brought and prepared, set on the table. So it has been since creation, and it will go on.
We chase chickens or dogs away from it. Babies teethe at the corners. They scrape their knees under it.
It is here that children are given instructions on what it means to be human. We make men at it, we make women.
At this table we gossip, recall enemies and the ghosts of lovers.
We were dreaming on an occupied island at the farthest edge
of a trembling nation when it went down.
Two towers rose up from the east island of commerce and touched
the sky. Men walked on the moon. Oil was sucked dry
by two brothers. Then it went down. Swallowed
by a fire dragon, by oil and fear.
Eaten whole.
It was coming.
We had been watching since the eve of the missionaries in their
long and solemn clothes, to see what would happen.
Any fool can get into an ocean
But it takes a Goddess
To get out of one.
What’ s true of oceans is true, of course,
Of labyrinths and poems. When you start swimming
Through riptide of rhythms and the metaphor’ s seaweed
You need to be a good swimmer or a born Goddess
To get back out of them
Look at the sea otters bobbing wildly
Out in the middle of the poem
They look so eager and peaceful playing out there where the
I hid the deed:
— would my life end?
The grackle called it back again.
The grackle then
became
my life. A swan’ s neck
curling to ask
what if
uncurled
to reachinto the reed,
Each morning in the little white cabin
by the river they woke to a raccoon
clawing under the floorboards or banging
in the wood stove. They did not discuss this.
Instead they said it was a perfect day
to pick blueberries on the hill, or that
a hike to the old glassworks sounded good.
My dear, I wonder if before the end
You ever thought about a children’ s game —
I’ m sure you must have played it too — in which
You ran along a narrow garden wall
Pretending it to be a mountain ledge
So steep a snowy darkness fell away
On either side to deeps invisible;
And when you felt your balance being lost
You jumped because you feared to fall, and thought
Where does such sadness in wood come
from? How could longing live in these
wires? The box looks like the most fragile
coffin tuned for sound. And laid
across the knees of this woman
it looks less like a baby nursed
than some symbolic Pietà,
and the stretched body on her lap
yields modalities of lament
and blood, yields sacrifice and sliding
chants of grief that dance and dance toward
a new measure, a new threshold,
a new instant and new year which
we always celebrate by
remembering the old and by
