I tell her I love her like not killing
or ten minutes of sleep
beneath the low rooftop wall
on which my rifle rests.
I tell her in a letter that will stink,
when she opens it,
of bolt oil and burned powder
and the things it says.
Up — or out? — here:
a problem of preposition,
my uneasy relation
with the world. Whether I’ m
above it or apart. On the other side
of the latched glass door, a man
loves me. Worries. Calls my name.
•
Where — for art — thou-
sands of windows go dark
in slow succession. On Essex
and Ludlow and Orchard.
A thousand times goodnight.
•
A boy throwing stones at a window.
Right window, wrong boy.
•
As we sat at the feet of the string quartet,
in their living room, on a winter night,
through the hardwood floor spurts and gulps
and tips and shudders came up, and the candle-scent
air was thick-alive with pearwood,
ebony, spruce, poplar, and horse
howled, and cat skreeled, and then,
When we talk about when to tell the kids,
we are so together, so concentrated.
I mutter, “I feel like a killer.” “I’ m
the killer” — taking my wrist — he says,
holding it. He is sitting on the couch,
the old indigo chintz around him,
rich as a night sea with jellies,
I am sitting on the floor. I look up at him,
as if within some chamber of matedness,
some dust I carry around me. Tonight,
to breathe its Magellanic field is less
painful, maybe because he is drinking
a wine grown where I was born — fog,
The bugle sounds the measured call to prayers,
The band starts bravely with a clarion hymn,
From every side, singly, in groups, in pairs,
Each to his kind of service comes to worship Him.
After the steaming bodies swept
through the hungry streets of swollen cities;
after the vast pink spawning of family
poisoned the rivers and ravaged the prairies;
after the gamble of latex and
diaphragms and pills;
I invoked the white robes, gleaming blades
ready for blood, and, feeling the scourge
of Increase and Multiply, made
affirmation: Yes, deliver us from
complicity.
In the northwest corner of Dakota, I saw a room
someone had left, a plush sofa returning its button-
eyed stare to the glance she gave it over her shoulder,
the dog, too, turning. In the next room, the mattress,
with mattress stories one after another tumbling
out of each spring, the window she opened first thing,
its vista of mile after mile, and the windmill hauling
its load.
I saw that, and nothing alive —
The first seated takes the chance he’ ll be
stood up. She’ s getting on with the hope she may
get off. One and one make one
in this riddle. Or, more closely, comedy routine:
first, impressions; second, observations.
Impolite to have thirds. Bachelors and bachelorettes
beware: more than tonight they can mess up your order.
Who would go for the lobster expects the claws.
No pets allowed, keep your shirt on, places this strict —
like loony bins — require a jacket, sir. Mark sudden pauses,
I have a yong suster
Fer beyonden the se,
Many be the drowryes
That she sente me.
She sente me the cherye
Withouten ony ston;
And so she dede the dove
Withouten ony bon.
She sente me the brer
Withouten ony rinde;
She bad me love my lemman
Withoute longing.
How shuld ony cherye
Be withoute ston?
And how shuld ony dove
Be withoute bon?
How shuld ony brer
Been withoute rinde?
How shuld I love myn lemman
Withoute longing?
A woman’ s looks
Are barbed hooks,
That catch by art
The strongest heart,
When yet they spend no breath.
But let them speak,
And sighing break
Forth into tears,
Their words are spears
That wound our souls to death.
The rarest wit
