Plankton rise toward the full moon
spread thin on Wakaya’ s surface.
Manta rays’ great curls of jaw
scoop backward somersaults of ocean
in through painted caves of their mouths, out
through sliced gills. Red sea fans
pulse. The leopard shark
lounges on a smooth ramp of sand,
skin jeweled with small hangers-on.
Pyramid fish point the way to the surface.
I am the Woman, ark of the law and its breaker,
Who chastened her steps and taught her knees to be meek,
Bridled and bitted her heart and humbled her cheek,
Parcelled her will, and cried "Take more!" to the taker,
Shunned what they told her to shun, sought what they bade her seek,
Locked up her mouth from scornful speaking: now it is open to speak.
How do you explain why elephants
appear to move their unwieldy hulks
with greater dignity than most humans do
in their finest moments,
as if they had evolved beyond wanting
anything but what they have?
Why does the field begin to ripple
before the wind arrives in whispers,
as if there were a communication,
as if the landscape were poorly dubbed,
and we weren’ t expected to notice?
What butterfly does not dart away from us
as if it could sense our latent cruelties,
and yet return to check and double-check?
Panic attacks your pain-porous skin?
Imagine the layers of onion, Sufi-circling
and circling until there is no tear-making body.
If the issue is anorexia, taking starvation’ s
dark spirit-flight, or anhedonia, running from
the skin’ s having fun, consider the mushroom’ s
fleshy erection, and the pumpkins, earth goddesses
Winter is out for a lot this year
the beach already is stiff
all will be one will be one this year
wings and ice will be one in the world
all will be changed in the world:
the boat will hear its steps on the ice
the war will hear its war on the ice
the woman will hear her hour on the ice
the hour of birth in the ice of death
winter is out for a lot.
Out for the houses the cities
out for the forests the clouds
the mountains the valleys fear
the heart the children peace.
I tracked it through the one mind of the woods.
Its hoofprints pressed in snow were smallish hearts.
Buck fawn: he let me come so near, take aim.
Crouched against a fir, I was anything.
Bush, stump, doe in estrus he could rut.
Not his maimer, though, not his final thought.
He stared me down until I shot him: low.
Then the forest forgot he’ d ever been.
Nascent, there were signs: bonechip, spoor, frail hair.
But no memory, wounded, wants to die.
He hid in the dark timber, twice crossed the creek.
Butter, like love,
seems common enough
yet has so many imitators.
I held a brick of it, heavy and cool,
and glimpsed what seemed like skin
beneath a corner of its wrap;
the décolletage revealed
a most attractive fat!
And most refined.
Not milk, not cream,
not even crème de la crème.
It was a delicacy which assured me
that bliss follows agitation,
that even pasture daisies
through the alchemy of four stomachs
may grace a king's table.
Sometimes in time’ s near
unassailable sangfroid there is
a thawing
& the memory
asserts its musicality again
reminds one that it is at heart
heart’ s artificer
* * *
Somewhere in Okinawa there are stairs
“My husband is the only
constant in”
are concrete stairs that lead one
(or at least led me, age six)
near straight from top to bottom of a cliff face
& they ended in a black-sand beach
The damselfly folds its wings
over its body when at rest. Captured,
it should not be killed
in cyanide, but allowed to die
slowly: then the colors,
especially the reds and blues,
will last. In the hand
it crushes easily into a rosy
slime. Its powers of flight
are weak. The trout
That sea we see of surfaces
Turned upside down would be another world:
A bone shop, soaked in pearl, a dumping-
Ground for rarities, the sea-maws pumping
Grecian garbage Roman cities hurled
Seaward westward toward our faces.
