As with this Jet Ski family
braiding the lake
with bigger and bigger shocks
until the one
car-sized one
cuts his engine
and, following him, for an instant
they all coast
through silences
of self-made
rain —
how much is required now
to carve,
out of the general
livable quiet,
independence?
This poem is concerned with language on a very plain level.
Look at it talking to you. You look out a window
Or pretend to fidget. You have it but you don’ t have it.
You miss it, it misses you. You miss each other.
The poem is sad because it wants to be yours, and cannot.
What’ s a plain level? It is that and other things,
Bringing a system of them into play. Play?
Well, actually, yes, but I consider play to be
Parks and ponds are good by day;
I do not delight
In black acres of the night,
Nor my unseasoned step disturbs
The sleeps of trees or dreams of herbs.
Whether it was a particular beauty
Stirred the tearfall from the eyelid’ s rim,
Rinsing the world once more with self,
Was it not there the general peered,
Thousand-eyed, down from the peak
In the last of all imaginary sunsets?
The light divided in half, the half
Divided again in half, the way
Zeno’ s paradox makes nothing move
Because an infinity of points between
Target and arrow, though never seen,
Exists. And there is snow in a capsule,
A solid floor of individual
Flakes that, shaken, settle in a field —
First
it is one day without you.
Then two.
And soon,
our point: moot.
And our solution, diluted.
And our class action (if ever was)
is no longer suited.
Wherewith I give to looting through
the war chest of our past
like a wily Anne Bonny
who snatches at plunder or graft.
But the wreck of that ransack,
that strongbox, our splintering coffer,
the claptrap bastard
of the best we had to offer,
is sog-soaked and clammy,
empty but for sand.
Not knowing in what season this again
Not knowing when again the arms outyearning
Nor the flung smile in eyes not knowing when
Not sure beyond all doubt of full return
Not sure of time now nor the film’ s reversal
This all done opposite, the waif regathered
Like our lost parents in the blinded song
We bag in hand with wandering steps and slow
Through suburbs take our solitary way
Lilacs look neon in fading light.
Death makes life shine:
a tiredness, a flickering between
ages, which is each age;
a piling up to tottering
and falling back to sand.
So much for cycle. The front door lock
sticks each fall when we’ re first back.
We are advised to oil it.
Olive oil in the keyhole:
again the old key turns.
Once again to meander
along the edge of water,
whether tideless sea or tidal river,
pushing the stroller, dreaming
Words
after all
are syllables just
and you put them
in their place
notes
sounds
a painter using his stroke
so the spot
where the article
an umbrella
a knife
we could find
in its most intricate
hiding
slashed as it was with color
“Earth is the birth of the blues,” sang Yellow Bertha,
as she chopped cotton beside Mama Rose.
It was as hot as any other summer day,
when she decided to run away.
Folks say she made a fortune
running a whorehouse in New Orleans,
but others say she’ s buried somewhere out west,
her grave unmarked,
though you can find it in the dark
by the scent of jasmine and mint,
but I’ m getting ahead of myself.
They explained to me the bloody bandages
On the floor in the maternity ward in Rochester, N. Y.,
Cured the backache I acquired bowing to my old master,
Made me stop putting thumbtacks round my bed.
They showed me an officer on horseback,
Waving a saber next to a burning farmhouse
And a barefoot woman in a nightgown,
Throwing stones after him and calling him Lucifer.
