Let us honor the topmost banner
fluttering over the kingdom of commodities —
the encoded soul of price
rose of the name and name of the rose,
bundle of stems, fasces
of tendons and veins —
wrist on which
to auscultate
the pulse of money.
Things happen when you drink too much mescal.
One night, with not enough food in my belly,
he kept on buying. I’ m a girl who’ ll fall
damn near in love with gratitude and, well, he
was hot and generous and so the least
that I could do was let him kiss me, hard
and soft and any way you want it, beast
and beauty, lime and salt — sweet Bacchus’ pards —
and when his friend showed up I felt so warm
and generous I let him kiss me too.
His buddy asked me if it was the worm
We burrowed night and day with tools of lead,
Heaped the bank up and cast it in a ring
And hurled the earth above. And Caesar said,
"Why, it is excellent. I like the thing."
We, who are dead,
Made it, and wrought, and Caesar liked the thing.
And here we strove, and here we felt each vein
Ice-bound, each limb fast-frozen, all night long.
And here we held communion with the rain
That lashed us into manhood with its thong,
Cleansing through pain.
And the wind visited us and made us strong.
A hundred and one butter lamps are offered to my uncle who
is no more.
Distraction proves fatal in death. A curtain of butter imprints
in air.
After the burning of bones, ashes are sent on pilgrimage. You are
dead, go into life, we pray. My uncle was a man given to giggles
in solemn moments.
Memory springs like crocuses in bloom. Self conscious and
precise.
Without blurring the cornea, details are resuscitated. Dried yak
meat between teeth. Semblance of what is.
Do not be distracted, Uncle who is no more.
An old woodcut of the London Bridge
and a colored lithograph of a barley field.
There are no other pictures on Ward D.
The London Bridge lifts sooty towers above the river.
But it's the barley field I see.
A golden ocean of barley.
It's not like the other grain-fields.
Maybe it's those inward-looking eyes
gone into it so it becomes heaven?
Every day I peruse the box scores for hours
Sometimes I wonder why I do it
Since I am not going to take a test on it
And no one is going to give me money
The pleasure’ s something like that of codes
Of deciphering an ancient alphabet say
So as brightly to picturize Eurydice
In the Elysian Fields on her perfect day
The day she went 5 for 5 against Vic Raschi
These are the saddest of possible words:
“Tinker to Evers to Chance.”
Trio of bear cubs, and fleeter than birds,
Tinker and Evers and Chance.
Ruthlessly pricking our gonfalon bubble,
Making a Giant hit into a double —
Words that are heavy with nothing but trouble:
“Tinker to Evers to Chance.”
The cave looked much like any other
from a little distance but
as we approached, came almost
to its mouth, we saw its walls within
that slanted up into a dome
were beating like a wild black lung —
it was plastered and hung with
the pulsing bodies of bats, the organ
music of the body’ s deep
interior, alive, the sacred cave
with its ten thousand gleaming eyes
They billow from a hillside in Cha’ am.
Together, they are more than plural:
the planet’ s darkest song, a tongue,
a serpent muscling air apart,
a dire banner come unfurled,
a river flowing wholly from
the old, mute mountain’ s desperate heart,
the last confession of the world.
Not a sign of life we rouse
In any square close-shuttered house
That flanks the road we amble down
Toward far trenches through the town.
The dark, snow-slushy, empty street...
Tingle of frost in brow and feet...
Horse-breath goes dimly up like smoke.
No sound but the smacking stroke
Of a sergeant flings each arm
Out and across to keep him warm,
And the sudden splashing crack
Of ice-pools broken by our track.
