Mid-Atlantic

“I’ m glad you’ re positive.”
“I’ m glad you’ re positive,

too, though, of course, I wish
you weren’ t.” I wish you weren’ t

either is the response I expect,
and you say nothing.

And who can blame you?
Not me. I’ m not the one

who’ ll call you after dinner and a movie.
You’ re not the one who’ ll call me.

We both know we have
that — what? — that ultimate date

one night to come, one bright morning.
Who can blame us? Not the forks

and not the knives that carry on
and do the heavy lifting now.

In which everything goes backwards
in time and motion
Palm trees shrink back into the ground
Mangos become seeds
and reappear in the eyes of Indian
women
The years go back
cement becomes wood
Panama hats are seen upon skeletons
walking the plazas
Of once again wooden benches
The past starts to happen again
I see Columbus’ s three boats
going backwards on the sea
Getting smaller
Crossing the Atlantic back to the

you are falling
sun shine miracle
your lips are wet
rain
to our hearts
floods in every opening

on the stoop your skirt rises
fingers go up your legs

you are falling in the streets

the hallways of east harlem
the dark hallways of east harlem
the dark hallways with mattresses
of east harlem
you are falling

The mountain have changed to buildings
Is this hallway the inside of a stem
That has a rattling flower for a head,
Immense tree bark with roots made out of
Mailboxes?
In the vertical village moons fly out of
Apartment windows and though what you
See is a modern city
The mountain’ s guitars pluck inside
It’ s agriculture taking an elevator
Through urban caves which lead to
Paths underground They say Camuy
To Hutuado
Taino subground like the IRT in
Constant motion

La luna
Sang the miles por los palos
de Nebraska
You bunch of lights
And houses How did you walk
to this place
Buffalo Bill
Better know him some Spanish
Para Horses ride
rubber horseshoes
moderno.

El café
Boiled water/no milk in sight.
Homes that will travel interstate
8 o tomorrow in the morning
for the next edge of town.

Time is crying upon the backs of lizards,
Through the white stone of the medieval city
They dash.
The houses that are walking up the stairs,
Flowers out of ruins,
Further into the fortress,
The sounds of a language registers
In our dreams.

Words which are my hat in the city,
Coming through the bamboo
The shadows of lost meaning —
Tilted light making slivers
Through the forest of the mambo
Behind the eyes.

Two guitars were left in a room all alone
They sat on different corners of the parlor
In this solitude they started talking to each other
My strings are tight and full of tears
The man who plays me has no heart
I have seen it leave out of his mouth
I have seen it melt out of his eyes
It dives into the pores of the earth
When they squeeze me tight I bring
Down the angels who live off the chorus
The trios singing loosen organs
With melodious screwdrivers
Sentiment comes off the hinges

Sometimes after hours of wine I can almost see
the night gliding in low off the harbor
down the long avenues of shop windows

past mannequins, perfect in their gestures.
I leave some water steaming on the gas ring
and sometimes I can slip from my body,

Gone to seed, ailanthus, the poverty
tree. Take a phrase, then
fracture it, the pods’ gaudy nectarine shades
ripening to parrots taking flight, all crest
and tail feathers.
A musical idea.
Macaws
scarlet and violet,
tangerine as a song

At the hour the streetlights come on, buildings
turn abstract. The Hudson, for a moment, formal.
We drink bourbon on the terrace and you speak
in the evening voice, weighted deep in the throat.

They plan to harvest oysters, you tell me,
from the harbor by Jersey City, how the waters
will be clean again in twenty years. I imagine nets
burdened with rough shells, the meat dun and sexual.