They’ re worse than weak links
in chains, which we can blame
on blacksmiths’ fire, and chinks
in armor, made by rain
of arrows. Soft spots,
those parts of us that bruise,
prove we’ re fruit that rots
as hourglasses ooze.
But I’ ve a soft spot for,
a phrase we tend to whisper,
is what we say before
we name our guilty pleasure —
the damper pedal that pounds
sonatas into mush
the critic Ezra Pound
would call, with a shudder, slush.
At the table, at the grave not knowing
whether to grieve or celebrate, they seemed
to find a way within the stalled noon clatter
and the dusk over oily swamps and elder tangle
along a locked stockade of heavy machines,
as the blue heron, looking down, flew farther on.
Nothing dissolved for them the mortal green
and black in transparent power of spacious streams
now gone from earth. The flickering they found,
terror-hope-terror, in fire of sunset clouds
remained unwavering in its progress to night
It is half past ten in Stonington.
The trees droop apprehensive of the heat
And the sky has turned that pale suspicious colour
That means that it cannot support more light.
Here on the terrace I and a companion
Each pretends to read. The papers say
That it is 90 in New York today.
These poems, these poems,
these poems, she said, are poems
with no love in them. These are the poems of a man
who would leave his wife and child because
they made noise in his study. These are the poems
of a man who would murder his mother to claim
the inheritance. These are the poems of a man
like Plato, she said, meaning something I did not
Intractable between them grows
a garden of barbed wire and roses.
Burning briars like flames devour
their too innocent attire.
Dare they meet, the blackened wire
tears the intervening air.
Trespassers have wandered through
texture of flesh and petals.
Dogs like arrows moved along
pathways that their noses knew.
While the two who laid it out
find the metal and the flower
fatal underfoot.
My little lack-of-light, my swaddled soul,
December baby. Hush, for it is dark,
and will grow darker still. We must embark
directly. Bring an orange as the toll
for Charon: he will be our gondolier.
Upon the shore, the season pans for light,
and solstice fish, their eyes gone milky white,
This is the one song everyone
would like to learn: the song
that is irresistible:
the song that forces men
to leap overboard in squadrons
even though they see the beached skulls
the song nobody knows
because anyone who has heard it
is dead, and the others can't remember.
Shall I tell you the secret
and if I do, will you get me
out of this bird suit?
I don't enjoy it here
squatting on this island
looking picturesque and mythical
Money is also a kind of music.
I don't mean the slight sleigh bell
of a pocketed change purse
or an old-time till's single tap
of triangle, ringing
up sale, or even the percussion
of post-pillage coffers filling
up, plink by plink. I think
I mean that current
of classically trained breath
certain amounts of currency
can call forth
and blow through brass.
I mean the mean
current of electricity
Carol Kaye's bass drew
from Capitol Records in the sixties,
Geof Huth
More About Visual Poetry >>
Imperfect things are always —
it seems — a wave
of some wand away
from perfection.
They’ re there — the toady
and the bumpy
with warts — for turning
into princes. Even pumpkins —
propped upon
piles of lumber —
idle like unupholstered
carriages up on cinder
blocks. But a trifle’ s potential —
its capacity for alchemy, actually —
can leave you longing
for lead. So many things
you think are Prince Hals
are really just kings.
