Gone to seed, ailanthus, the poverty
tree. Take a phrase, then
fracture it, the pods’ gaudy nectarine shades
ripening to parrots taking flight, all crest
and tail feathers.
A musical idea.
Macaws
scarlet and violet,
tangerine as a song
There is so much sweetness in children’ s voices,
And so much discontent at the end of day,
And so much satisfaction when a train goes by.
I don’ t know why the rooster keeps crying,
Nor why elephants keep raising their trunks,
Nor why Hawthorne kept hearing trains at night.
A handsome child is a gift from God,
And a friend is a vein in the back of the hand,
And a wound is an inheritance from the wind.
When the first mechanical picker had stripped the field,
It left such a copious white dross of disorderly wispiness
That my mother could not console herself to the waste
And insisted on having it picked over with human hands,
Though anyone could see there was not enough for ten sheets
And the hands had long since gone into the factories.
No matter how often my father pointed this out,
She worried it the way I’ ve worried the extra words
Whenever my father was left with nothing to do —
waiting for someone to 'get ready',
or facing the gap between graduate seminars
and dull after-suppers in his study
grading papers or writing a review —
he played the piano.
sometimes the deaf
hear better than the blind
some men
when they first
heard her sing
were only attracted
to the flower in her hair
Despite the geologists’ knowledge and craft,
mocking magnets, graphs, and maps —
in a split second the dream
piles before us mountains as stony
as real life.
And since mountains, then valleys, plains
with perfect infrastructures.
Without engineers, contractors, workers,
bulldozers, diggers, or supplies —
raging highways, instant bridges,
thickly populated pop-up cities.
Without directors, megaphones, and cameramen —
crowds knowing exactly when to frighten us
and when to vanish.
It is autumn but early. No crow cries from the dry woods.
The house droops like an eyelid over the leprous hill.
In the bald barnyard one horse, a collection of angles
Cuts at the flies with a spectral tail. A blind man’ s
Sentence, the road goes on. Lifts as the slope lifts it.
Comes now one who has been conquered
By all he sees. And asks what — would have what —
Poor fool, frail, this man, mistake, my hero?
Would that you were alive today, Catullus!
Truth ’ tis, there is a filthy skunk amongst us,
A rank musk-idiot, the filthiest skunk,
Of no least sorry use on earth, but only
Fit in fancy to justify the outlay
Of your most horrible vocabulary.
My Muse, all innocent as Eve in Eden,
Would yet wear any skins of old pollution
Rather than celebrate the name detested.
Ev’ n now might he rejoice at our attention,
Guess'd he this little ode were aiming at him.
O! were you but alive again, Catullus!
Lots of contemporaries —
but “me” is not my contemporary.
My birth without “me”
was a blemished offering on the collection plate.
A moment of flesh, imprisoned in flesh.
And when to the tip of this tongue of flesh
some word comes, it kills itself.
If saved from killing itself,
it descends to the paper, where a murder happens.
Gunshot —
if it strikes me in Hanoi
it strikes again in Prague.
A little smoke floats up,
and my “me” dies like an eighth-month child.
Will my “me” one day be my contemporary?
If one takes
a walk on a clear sunny
day in middle April,
when the first
willows are in bloom,
one may often see
young bumblebee queens
eagerly sipping
nectar from the catkins —
thus begins
the one book written
by Otto Emil Plath.
It is a delightful thing
to pause and watch
these queens, clad
