1
She pressed her ear against the shell:
she wanted to hear everything
he never told her.
2
A single inch
separates their two bodies
facing one another
in the picture:
a framed smile
buried beneath the rubble.
3
Whenever you throw stones
into the sea
it sends ripples through me.
4
My heart’ s quite small:
that’ s why it fills so quickly.
5
Water needs no wars
to mix with water
and fill up spaces.
6
Taffy was a Welshman, Taffy was a thief;
Taffy came to my house and stole a piece of beef;
I went to Taffy's house, Taffy wasn't in;
I jumped upon his Sunday hat and poked it with a pin.
‘Mamma! mamma!’ two eaglets cried,
‘To let us fly you’ve never tried.
We want to go outside and play;
We’ll promise not to go away.’
The mother wisely shook her head:
‘No, no, my dears. Not yet,’ she said.
‘But, mother dear,’ they called again,
‘We want to see those things called men,
And all the world so grand and gay,
Papa described the other day.
And – don’t you know? – he told you then
About a little tiny wren,
That flew about so brave and bold,
When it was scarcely four weeks old?’
Why I’ m going to the Taklamakan Desert:
the emptiness there.
Why I’ m going to the Taklamakan Desert
at seventy-five, leaving all words behind: the cry
of the emptiness there.
Why I’ m going to the Taklamakan Desert:
I can no longer stand
the world’ s greed
or mine.
There, in the Taklamakan Desert,
the silence of a thousand-year-old skull.
Translated from the Korean
In the rental cottage it comes to me,
how the four lives of myself
and my brothers
crisscross
like tracer bullets,
and how, from a distance maybe,
if you had the right kind of glasses,
there might appear to be a target
we all were aiming at
beyond that black escutcheon of cloud
above Santa Rosa Bay
as we lie on the deck
drinking tequila and beer,
I will not tend. Or water,
pull, or yank,
I will not till, uproot,
fill up or spray.
The rain comes.
Or not. Plants: sun-fed,
moon-hopped, dirt-stuck.
Watch as flocks
of wild phlox
appear, disappear. My lazy,
garbagey magic
makes this nothing
happen.
I love
the tattered
camisole of
nothing. The world
runs its underbrush
course fed by
the nothing I give it.
Wars are fought.
Blood turns.
Dirt is a wide unruly room.
You might as well take a razor
to your pecker as let a woman in your heart.
First they do the wash and then they kill you.
They flash their lights and teach your wallet to puke.
They bring it to you folded — if you see her
stepping between the coin laundry and your building
over the slushy street and watch the clothing steam,
you can’ t wait to open up the door when she puts
I-gv-yi-i Tsa-la-gi Go-whe-lv-i: A-sgo-hni-ho-’ i/
FIRST CHEROKEE LESSON: MOURNING
Find a flint blade
Use your teeth as a whetstone
Cut your hair
Talk to shadows and crows
Cry your red throat raw
Learn to translate the words you miss most:
dust love poetry
I thought I was so tough,
But gentled at your hands,
Cannot be quick enough
To fly for you and show
That when I go I go
At your commands.
Even in flight above
I am no longer free:
You seeled me with your love,
I am blind to other birds —
The habit of your words
Has hooded me.
As formerly, I wheel
I hover and I twist,
But only want the feel,
In my possessive thought,
Of catcher and of caught
Upon your wrist.
Distance brings proportion. From here
the populated tiers
as much as players seem part of the show:
a constructed stage beast, three folds of Dante’ s rose,
or a Chinese military hat
cunningly chased with bodies.
“Falling from his chariot, a drunk man is unhurt
because his soul is intact. Not knowing his fall,
he is unastonished, he is invulnerable.”
So, too, the “pure man”“pure”
in the sense of undisturbed water.
