Thanks for the violence. Thanks for Walt’ s rude muscle
pushing through the grass, for tiny Gulliver crushed
between the giant’ s breasts. Thanks for Moby’ s triangular hump
and Ahab’ s castrated leg. Thanks for the harpoons.
Thanks for this PBS history of the automatic pistol.
They love me so muchthey have imagined me dead because they fear the loss of my genius above all elseHow literarylike Huck FinnEveryone will be weeping
The Desultory Slut
Do you have one of my books to sign?
Oh nocan you please sign here?
Isn’ t it greatThe old bastard finally kicked
Ta daaa!
Wait, I’ m not dead at all. Here I am. It was all a mistake
Do you realize what this means? This means we’ re free
He’ s dead, he’ s dead. Our enemy is finally dead
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
