Like fossil shells embedded in a stone,
you are an absence, rimmed calligraphy,
a mouthing out of silence, a way to see
beyond the bedroom where you lie alone.
So why not be the vast, antipodal cloud
you soloed under, riven by cold gales?
And why not be the song of diving whales,
why not the plosive surf below the road?
What passing-bells for these who die as cattle?
— Only the monstrous anger of the guns.
Only the stuttering rifles' rapid rattle
Can patter out their hasty orisons.
No mockeries now for them; no prayers nor bells;
Nor any voice of mourning save the choirs,—
The shrill, demented choirs of wailing shells;
And bugles calling for them from sad shires.
Looking at Mapplethorpe’ s Polaroids, I learn that he
liked shoes and armpit crotch-shots of men and women,
both shaved and un’ — all giving a good whiff to the camera.
But best of all are his pictures of ordinary phones
which convey a palpable sense of expectancy as if
at any moment, one of the fabulous, laconic nude men
strewn about might call. One could pick up the receiver
and hear the garbled sound of ancient Greek and Roman
voices reveling in the background. But even when silent,
THE hoar-frost crumbles in the sun,
The crisping steam of a train
Melts in the air, while two black birds
Sweep past the window again.
Along the vacant road, a red
Bicycle approaches; I wait
In a thaw of anxiety, for the boy
To leap down at our gate.
He has passed us by; but is it
Relief that starts in my breast?
Or a deeper bruise of knowing that still
She has no rest.
Love’s language is hyperbole, but whispered,
sibilant similes and promises sotto voce.
It’s easy to imagine you've misheard,
the form and content clash, create this weird
distortion like an echo or a tape delay.
Love’s language is hyperbole, but whispered.
On which do you place emphasis: The words?
Or the breath? The farfetched or the foreplay?
It’s easy to imagine you've misheard
when objectivity has disappeared
and your lover is getting further carried away.
Love’s language is hyperbole, but whispered
"Myrtle loves Harry" — It is sometimes hard to remember a thing like that,
Hard to think about it, and no one knows what to do with it when he has it,
So write it out on a billboard that stands under the yellow light of an "L" platform among popcorn wrappers and crushed cigars,
A poster that says "Mama I Love Crispy Wafers So."
Leave it on a placard where somebody else gave the blonde lady a pencil moustache, and another perplexed citizen deposited:
"Jesus Saves. Jesus Saves."
One can lay this bundle down there with the others,
The humble sense of being alive
under the towering sun
fills the nectary and ripens apricots
down to the last one,
if Mnemosyne wakens from apathy
each moment. It is the soft burly sound
of a bee tumbled in fritillary,
is it not?
But if memory, as if to illustrate
Lately, too much disturbed, you stay trailing in me
and I believe you. How could I not feel
you were misspent, there by books stacked clean on glass,
or outside the snow arriving as I am still arriving.
If the explanations amount to something, I will tell you.
It is enough, you say, that surfaces grow so distant.
Maybe you darken, already too much changed,
maybe in your house you would be content where
no incident emerges, but for smoke or glass or air,
such things held simply to be voiceless.
Pale gold and crumbling with crust
mottled dark, almost bronze,
pieces of honeycomb lie on a plate.
Flecked with the pale paper
of hive, their hexagonal cells
leak into the deepening pool
of amber. On your lips,
against palate, tooth and tongue,
the viscous sugar squeezes
from its chambers, sears sweetness
into your throat until you chew
pulp and wax from a blue city
of bees. Between your teeth
is the blown flower and the flower's
seed. Passport pages stamped
and turning. Death's officious hum.
