Living

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.

I'm Ramón González Barbagelata from anywhere,
from Cucuy, from Paraná, from Rio Turbio, from Oruro,
from Maracaibo, from Parral, from Ovalle, from Loconmilla,
I'm the poor devil from the poor Third World,
I'm the third-class passenger installed, good God!
in the lavish whiteness of snow-covered mountains,

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.

This sunlight on snow.

This decrescendo
of covered stumps & brush —
stop for it.

Stop before the sled end-
over-ends down
the chin of the hill —

the way it always will
at the rock ⅔ of the way down.

Stop & shiver in it: the ring
of snow inside gloves,
the cusp of red forehead

like a sun just waiting to top
the hill. Every ill-built

I can’ t swim because I can’ t fit
into the water

I am
two million feet tall

but thank you for inviting me

I am standing in line
inside my giant shirt

If someone wanted to weaponize me
they would tell me to lie down on New York

and the city I destroyed
would hurt me back

I eat stars
It’ s a riot

I know
my big mouth
full of  their light

Of all living monuments has the fewest
facts attached to it, they slide right off
its surface, no Lincoln lap for them to sit
on and no horse to be astride. Here is what
I know for sure:

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

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.

We wash up side by side
to find each other

in the speakable world,
and, lulled into sense,

inhabit our landscape;
the curve

of that chair draped
with your shirt;

my glass of  water
seeded overnight with air.

After this bed
there’ ll be another,

so we’ ll roll
and keep rolling

until one of  us
will roll alone and try to roll

the other back — a trick
no one’ s yet pulled off —

and it’ ll be
as if   I dreamed you, dear,