What did the Old Doctor do
in a cattle car
riding to Treblinka on the 5th of August
over a few hours of blood flow
over the dirty river of time
I do not know
What did Charon the volunteer do
ferryman without an oar
did he give the children the remains
of his breath
and leave for himself
just the shiver in the bones
I do not know
Did he lie to them for instance
in small numbing
doses
picking from their sweaty heads
the skittish lice of fear
I do not know
They were nearing the end of their story.
The fire was dying, like the fire in the story.
Each page turned was torn and fed
to flames, until word by word the book
burned down to an unmade bed of ash.
Wet kindling from an orchard of wooden spoons,
snow stewing, same old wind on the Gramophone,
same old wounds. Turn up the blue dial
under the kettle until darkness boils
with fables, and mirrors defrost to the quick
before fogging with steam, and dreams
rattle their armor of stovepipes and ladles.
This is Tarsus, one place like anyplace else.
And this is my circuit, the rodeo, fair.
The farmboys blow through here in pickups, wild
as horses in their oat sacks.
The women wear spurs.
In the trailers the cattle are pounding for air.
It hangs on its
stem like a plum
at the edge of a
darkening thicket.
It’ s swelling and
blushing and ripe
and I reach out a
hand to pick it
1
In the Forest of Wearisome Sadness,
Where one day I found myself wandering alone,
I met my heart, who called to me, asking me where I was going.
The path was long and straight, row after row of conifers receding
To a horizon that because of the geometry
Seemed farther than it really was,
Like the door at the top of a staircase in Versailles.
But as if the forest’ s maker had been offended by elegance,
A pile of rocks disrupted the rows: the forest once
Had been a field. I remember that field.
A huge purple door washed up in the bay overnight,
its paintwork blistered and peeled from weeks at sea.
The town storyteller wasted no time in getting to work:
the beguiling, eldest girl of a proud, bankrupt farmer
had slammed that door in the face of a Freemason’ s son,
who in turn had bulldozed both farm and family
over the cliff, except for the girl, who lived now
by the light and heat of a driftwood fire on a beach.
On my birthday
A crow guffaws, dirty man throwing the punch of his
one joke. And now, nearer, a murder
answers, chortling from the pale hill’ s brow.
From under my lashes’ wings they stretch
clawed feet. There the unflappable years
perch and stare. When I squint, when I
grin, my new old face nearly hops
off my old new face. Considering what’ s flown,
what might yet fly, I lean my chin
on the palm where my half-cashed fortune lies.
Why I’ m going to the Taklamakan Desert:
the emptiness there.
Why I’ m going to the Taklamakan Desert
at seventy-five, leaving all words behind: the cry
of the emptiness there.
Why I’ m going to the Taklamakan Desert:
I can no longer stand
the world’ s greed
or mine.
There, in the Taklamakan Desert,
the silence of a thousand-year-old skull.
Translated from the Korean
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.
For your birthday, I’ m learning to pop champagne corks
with a cossack sword when all you asked for was world peace.
I’ m actioning the deliverables to wish you many happy returns
of the ecstasies that are imminent when all you requested
was a contentment so quiet it’ s inaudible. Remember when
I gave you a robe of black silk that floats and does not rustle?
When all you desired was to turn from what was finished and hard
