Twenty-four thousand times in any year, lightning strikes
and kills. On the Heath, the timber shells, like bony Flemish spires,
point heavenwards in warning. The stags take note and bow their heads
at the sky’ s first challenge, or hurl a bellowing peal back in defiance.
There are eyes, glasses even, but still he can’ t see
what the world sees seeing him.
They know an image of him they themselves created.
He knows his own: fine-lined from foot to finger,
each limb adjusted, because it’ s had to,
to achieve finally flight —
You don’ t need a machine to do that.
A plastic bag will do. But he built it,
his tools cast about in the unit
while he got up his nerve to use it.
Nothing more was stored there.
A poured cement floor, a triple-locked door
after door after door down a corridor
reeking with the odor of everything over.
In heretofore phrases, he left a note
outlining his Help! in argot
so wrought it was hopeless to ferret out
his intent, meant or not.
Frères humains qui après nous vivez,
Soon they’ ll have the speed freak twisting
On a scaffold, soon the birds
Will come to peck out his eyes, & when
He’ s too weak & exhausted to turn
His head away, they’ ll do it, too,
They’ ll peck his eyes right out.
You’ ll want to watch it happen, you’ ll want
To witness it. You’ ll want to see Paolo
And Francesca almost touch before
They’ re swept away again, him in one line
Waiting for rations, her in another one,
Both of them naked, standing there,
Don't be misled:
that sea-song you hear
when the shell's at your ear?
It's all in your head.
That primordial tide —
the slurp and salt-slosh
of the brain's briny wash —
is on the inside.
Truth be told, the whole place,
everything that the eye
can take in, to the sky
and beyond into space,
lives inside of your skull.
When you set your sad head
down on Procrustes' bed,
you lay down the whole
In goes the cafeteria worker in her hairnet.
In goes the philosophy teacher
explaining the theory of eternal
return, and Anton Stadler with his clarinet,
still owing money to Mozart. In
goes Mozart. Everyone flopped into the creel
of the happy fisherman, everyone eaten.
Every river is Lethean,
so why should we care
if it’ s not the same river? I hate
how everything changes, tree
to failing term paper, chatelaine
to beheaded plotter, drug dealer to narc.
The heart softening faster than cereal
1
The long incision. The incipient voyage from aortic arch to thoracic inlet. Small-particled is the corpuscled city. (Bustling opuscula.) A city of animal electricity. A lowing cycling mass. Calm the cowed heart. Still the browbeating heart. Cool the controversial hearthstone. Let the blade intervene where the divine intersects bovinity.
2
On the platter set out in the center of the Matyó-embroidered tablecloth
was the syringe. And around it was silence. My father
gazed at my mother, and she back at him. Slowly,
faltering, he began to speak. I was seized by
an unusual shuddering. I recall that he used the word fate,
and that if I consented to the injected dose,
we could all fall asleep. We would stay together
for all time. And evade the uncertainty in mortifying
desperation. A fifteen-year-old’ s desire to live
cried out in me: “No!” To which
1
I now release from my blood the bird of thirty she wasted
that’ s how wars crumble us
I now tell those who are exhausted from the expense
of children the secret of happiness and happiness itself
What I adore is not horses, with their modern
domestic life span of 25 years. What I adore
is a bug that lives only one day, especially if
it’ s a terrible day, a day of train derailment or
chemical lake or cop admits to cover-up, a day
when no one thinks of anything else, least of all
that bug. I know how it feels, born as I’ ve been
into these rotting times, as into sin. Everybody’ s
busy, so distraught they forget to kill me,
and even that won’ t keep me alive. I share
my home not with horses, but with a little dog
