English Poems

Like nearly all women under sixty she would have deftly
avoided meeting the eyes of an unknown man —
but occasionally an exception happens by chance
and her unconscious skill at avoidance gets instantly
replaced by a human generosity which is either
inherently feminine or gender-trained, as you please;
she glanced at me exactly when I glanced at her
in the store at the mall and so she gave me
that momentary slight smile which implies
Though many men are dangerous, and I do not intend

For example, I wrote my first poem in 1976 about being in the Vermont house
after my mother’ s death; she died the year before;
she loved that house. My father said he kept having moments
of thinking she must have just stepped outside for a minute
to weed the garden or to walk just a little way
along Prospect Street, for a few minutes only and now
almost now she’ d be coming back, we’ d hear the screen door,
Bev would be back and saying something casual about —

The students eat something and then watch the news,
a little, then go to sleep. When morning breaks in
they find they have not forgotten all: they recall
the speckle of words on certain pages of
the chapter assigned, a phrase of strange weight
from a chapter that was not assigned, and something
said almost flippantly by a classmate on the Green
which put much of the 18th century into perspective.
Noticing themselves at the sink they are aware
the hands they wash are the "same" hands

Sam paused on the stairs. He had forgotten a thing.
In Leland’ s room a copy of Thomas Merton lay on the floor.
The air was full of gnats of possibility. What was the story?
Sam looked at the clock twice. The day was dropping
softly away while Sam’ s sneakers made the wood stairs creak.
The wood was sure it was wood. Alice got home from the store.
The bags had to be unloaded as the day went and went.
Then the sundown kitchen grew quiet.
Sam crossed his legs one way, then the other way. He had chosen

Where does such sadness in wood come
from? How could longing live in these
wires? The box looks like the most fragile
coffin tuned for sound. And laid
across the knees of this woman
it looks less like a baby nursed
than some symbolic Pietà,
and the stretched body on her lap
yields modalities of lament
and blood, yields sacrifice and sliding
chants of grief that dance and dance toward
a new measure, a new threshold,
a new instant and new year which
we always celebrate by
remembering the old and by

Cutlery clatters into the sink.
But always the characters, uniquely themselves,
only some decades older. They search
for their coats. You were, she reminds him,
our resident nomad, come to pitch your tent
here, sidewalks for sand, unaccustomed taboos:
Morningside Heights, one of your lives.
Thirty years
since the awkward goodbye? Before he goes —

it’ s iron, the bottle
crouched on its white pedestal,
long beak spout and wide open handle
you could see starry sky through.

Everybody was doing that new stitch,
it had spread far west, oh yes,
said Mrs. ______ at Knit & Purl,
but how many hats can one person wear?

I’ d like to be more useful — say
apprentice to a bung fitter, or make
chipped ice, to hit something (not live)
on the head, directly,

makes wind
the way it whirls
about and blows
the neighboring names
of other signatories
away. The point
of it is not
the John or Jane
Doe it names;
the point’ s the quill
in motion as if
still stuck
and aquiver in
goose skin.
The trick to writing
well isn’ t up
the sleeve. It is
the sleeve
that fluffs up
the flourish,
that blooms around
the stunted stamens
of the fingers
and distracts us
from our grasping
for the sun

with the medicinal poppies of June
nor with Celan’ s bloom-fest of dredged stone,
not with history’ s choo-choo train of corpses,
not with Nottingham’ s Robin Hood
nor Antwerp’ s Diamondland.