LAMENTA: 423
Kwangju, 1980
Sarajevo, 1992
Kwangju, 1980
Sarajevo, 1992
1
A Personage is seen
Leaning upon a cushion
Printed with cornflowers.
A Child appears
Holding up a pencil.
“This is a picture
(Says the Child to the Personage)
Of the vortex.”
“Draw it your own way,”
Says the Personage.
(Music is heard
Pure in the island windows,
Sea-music on the Child’ s
Interminable shore, his coral home.)
Because Yosemite’ s high altitude lake’ s
tadpoles wash up in
glow-in-the-dark condoms
and every fish lip has a hook in it. Because
there’ s bird shit
in the clouds. Things catch, get caught.
Things are consumed.
The hummingbird hovers over bougainvillea, darting in and out
of blossoms as the bride throws
her corset among laughter and waving hands. Seeing you, glass in hand, sunlight
piercing the punch bowl’ s crystal, I remember
the horse, an Appaloosa, the white and gray markings
like clouds, cumulus, one
Frosty, green through gray rising steeply,
top of the bank a big top, red with a sign,
misty, fantastical on the walk to school.
“My sister can’ t express herself properly.
Imagine if those performers
were stuck in their caravans
forever. If round the back of the big top
the doors were locked. That’ s her.
She’ s a trapeze artist, lion tamer,
cramped clean-faced clown
drinking tea, practicing tricks,
movement through frosted windows.
Language is her caravan on bricks,
with tiny little windows in.”
"With sacrifice before the rising morn
Vows have I made by fruitless hope inspired;
And from the infernal Gods, 'mid shades forlorn
Of night, my slaughtered Lord have I required:
Celestial pity I again implore; —
Restore him to my sight — great Jove, restore!"
I have heard that hysterical women say
They are sick of the palette and fiddle-bow,
Of poets that are always gay,
For everybody knows or else should know
That if nothing drastic is done
Aeroplane and Zeppelin will come out,
Pitch like King Billy bomb-balls in
Until the town lie beaten flat.
Look in the mirror. Let us both look.
Here is my naked body.
Apparently you like it,
I have no reason to.
Who bound us, me and my body?
Why must I die
together with it?
I have the right to know where the borderline
between us is drawn.
Where am I, I, I myself.
Struck a pair of stones to start off. Left behind
ten men curled like scythes round the fire.
Left behind the bracing moon. Passed a pack
of ibex, passed the mammoth. Left the carious
canines before the rath, left the scapula —
freed space for petal dyes, for fixatives.
Passed (in a dream) Chauvet. Alsace. Lorraine.
Past the scree, past the wolf standing sentinel, her
mouth. Struck two stones to hearten the blaze,
sped up; pulled from the sack the manganese, the gilt
mixture of ochre and ore, the animal fat,
We visit by phone as the morphine haze
retreats, late afternoon, most days.
Our mingled past is set against the pin-
hole lights of cars cruising the blacked-out streets: