Marriage & Companionship

has been written in mud and butter
and barbecue sauce. The walls and
the floors used to be gorgeous.
The socks off-white and a near match.
The quince with fire blight
but we get two pints of jelly
in the end. Long walks strengthen
the back. You with a fever blister
and myself with a sty. Eyes
have we and we are forever prey
to each other’ s teeth. The torrents
go over us. Thunder has not harmed
anyone we know. The river coursing
through us is dirty and deep. The left
hand protects the rhythm. Watch

No animals were harmed in the making of this joyful noise:
A thick, twisted stem from the garden
is the wedding couple's ceremonial ram's horn.
Its substance will not survive one thousand years,
nor will the garden, which is today their temple,
nor will their names, nor their union now announced
with ritual blasts upon the zucchini shofar.
Shall we measure blessings by their duration?
Through the narrow organic channel fuzzily come
the prescribed sustained notes, short notes, rests.

The sky was laced with Irish cream mist, that mellow tan overhanging the hills, which were studded with deathmasks and baskets spilling flowers from both ends.
We scanned the haze for lightning.
They were studded with earthworks and iron forks inserted between leaves of grass, jacks and bearings and balances, sinuous fingers of pink marble and synovial joints in bronze.
But if we got struck by lightning — not a lot; say glanced, or shaved, there was a chance (we heard) it wouldn't be so bad: a little refreshing, a little like La Vita Nuova in a readable translation.

Chewing slowly,
Only after I’ d eaten
My grandmother,
Mother,
Son-in-law,
Two brothers-in-law,
And father-in-law
(His big family included)
In that order,
And had for dessert
The town’ s inhabitants,

Did I find, says Kabir,
The beloved that I’ ve become
One with.

for my love, Charles (1938-2000)

Say: 言

She wants a house full of cups and the ghosts
of last century’ s lesbians; I want a spotless
apartment, a fast computer. She wants a woodstove,
three cords of ash, an axe; I want
a clean gas flame. She wants a row of jars:
oats, coriander, thick green oil;
I want nothing to store. She wants pomanders,
linens, baby quilts, scrapbooks. She wants Wellesley
reunions. I want gleaming floorboards, the river’ s
reflection. She wants shrimp and sweat and salt;
she wants chocolate. I want a raku bowl,

tend their yard every weekend,
when they paint or straighten
the purple fencepickets canting
each other at the edge of their lot,
hammering them down into soil
to stand. How long will they stay
put? My neighbors mend their gate,
hinges rusted to blood-colored dust,
then weave gold party-lights with
orange lobster-nets & blue buoys
along the planks. So much to see
& not see again, each chore undone
before they know it. I love how
faithfully they work their garden

She took the spareribs out of the oven
and set them steaming on a plate
before leaving her apartment.
I didn't know how long to wait,
tore into cold meat when I decided

my mother wasn't coming back.

*

No one knew about the gun she kept
in her purse until the authorities
called — a.38 caliber pistol
with a pearl handle and a trigger
even she could easily pull —
her car still waiting to be towed
from a roadside ditch

when they arrived on the scene.

*

Ventura because she was hungry and because
She was curious — but more because she was curious —
Took the dare, a kiss for a pomegranate.
Everyone gathered, her friends and his. Everyone
Watched: the boys, the girls, the pigs and the chickens,
And more. Moving to the front were the children
She and Clemente would one day have,
And the children of those children, too,
Gathered and loud with everyone and everything else,
Loud as the pigs and fast as the chickens
Though she could not see them.

Yesterday afternoon, I hung a framed print in the living room —
a task that took two head-throbbing hours.
It’ s a wedding portrait that we love: Frida and Diego Rivera.
I wonder how two people could consistently hurt each other,
but still feel love so deeply as their bones turned into dust?
Before Frida died, she painted a watermelon still life;
before his death, Diego did too.
I want to believe that those paintings were composed
during parallel moments because of their undying devotion.