I sit with my railroad face and ask God to forgive me
for being a straight line toward the dead
who were buried with their poor clothes
in the Arizona desert of iron borders.
This way of waving to the embers of the past,
not apologzing for carrying torn rosaries inside
my pockets where beads of worry became fossilized
insects whose dry husks I kept since a child.
When I stop to consider my calling, remark
the places a wayward temper impelled me
I’ ve found in light of where I wandered lost
the most appalling evils could have befallen;
but when I disregard the journey it’ s hard to
even fathom I endured so much affliction;
what’ s more, my days being spent, I feel I’ ve
seen my wariness go with them. I’ ll come to
my end, for I surrendered artless to someone
with the science to dispel and destroy me if
so inclined, else the know-how to want to;
Our big city is a city of big bombs and big bicycles, we hire grafters for their pretty art. To force a shoot inside a shoot, to grow an apple on a crab, to grow a plum upon a leprechaun. Dyspepsia is often grafted upon hysteria. To grow a boy inside a belly, cutting capers. Words, through grace, are grafted in our heart and the orange bears a greener fruit that blossoms as it swells. With imperfect grace from that perfect grace from wherever that perfect grace may remain.
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
There, in that lost
corner of the ordnance survey.
Drive through the vanity —
two pubs and a garage — of Satley,
then right, cross the A68
past down-at-heel farms and a quarry,
Like words put to a song, the bunched tobacco leaves
are strung along a stick, the women
standing in the August heat for hours — since first light —
under the pitched tin roof, barefoot, and at their feet
the babies, bare-assed, dirty, eating dirt.
The older children hand the leaves from the slide,
three leaves at a time, stalks upright, three handers
for each stringer, and three more heaped canvas slides
In the Bavarian steeple, on the hour,
two figures emerge from their scalloped house
carrying sledges that they clap, in turn,
against the surface of the bell. By legend
they are summer and winter, youth and age,
as though the forces of plenty and of loss
played equally on the human soul, extracted
easily the same low bronze note spreading
1.
Betrayed by his five mechanic agents, falling
Captive to consciousness, he summons light
To all its duties, and assumes the world
Like a common penance. Rust on the green tongue burns
Like history’ s corrosive on his living tree.
But all the monsters of his sleep’ s dark sea
Are tame familiars in the morning sun.
2.
You're dreaming
of Cratoids, Armpullers, the Blownose Dragon.
Who knows what Anna Brichtova dreamed about, the girl
who comes looking for us tonight with her mosaic
of colored paper: her house
with its red roof, some trees on a green lawn,
the sky — outside, the concentration camp.
This is the real gift
I brought back from Prague without telling you.
It was with me on the train the morning
I thought I was living in hell: Stuttgart,
or south of there, amid a drone
of people working — they don't know at what
Stumps. Railroad tracks. Early sicknesses,
the blue one, especially.
Your first love rounding a corner,
that snowy minefield.
Whether you step lightly or heavily,
you have to get over to that tree line a hundred yards in the distance
before evening falls,
letting no one see you wend your way,
that wonderful, old-fashioned word, wend,
meaning “to proceed, to journey,
to travel from one place to another,”
as from bed to breakfast, breakfast to imbecile work.
