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.
I. e., the kind of verse
That doesn’ t try to force
People to their knees
(Seeing as it sees
To people’ s being thrown
By forces of their own).
a face stares back.
across the hostile centuries.
add a twist — delicious.
and never feel a thing.
commercial — added stretch to every gesture.
how it is made.
I almost admire it. I almost wrote despise.
I’ d be all give. Let me put it like this==
in the nocturnal, recessed bed==
of nettles.
resembles the bird it will fly into.
Right now I’ m trying to open wide.
she turns to a tree.
she would be neither-nor.
smoky field.
that is space.
the bride.
name appears
everywhere and in dream
body armor removed
what now, legacy, archivum
we female archons preserve of
intensity a durance a hand you recognize
(sounds sound)
assurance as lives on
drank of that
drank of this
almost suffocated, then drowned
downed but never
what only she could only know
as herself living in the brute time
speak of a syntax of rendition?
the politics of Empire chip away
as poetry attests, give it up
Frères humains qui après nous vivez,
Soon they’ ll have the speed freak twisting
On a scaffold, soon the birds
Will come to peck out his eyes, & when
He’ s too weak & exhausted to turn
His head away, they’ ll do it, too,
They’ ll peck his eyes right out.
You’ ll want to watch it happen, you’ ll want
To witness it. You’ ll want to see Paolo
And Francesca almost touch before
They’ re swept away again, him in one line
Waiting for rations, her in another one,
Both of them naked, standing there,
‘Aber die Thronen, wo? Die Tempel, und wo die Gefäße,
Wo mit Nektar gefüllt, Göttern zu Lust der Gesang?
‘Someone’ s got it in for me’
for Jack Spicer
the fabber craftsman
I. THE FUNERAL MARCH (CHICAGO AND ORLEANS)
1.
Book of Splendor
2. family ways
Oh family ways, ah family ways
If all the trees in all the woods were men;
And each and every blade of grass a pen;
If every leaf on every shrub and tree
Turned to a sheet of foolscap; every sea
Were changed to ink, and all earth's living tribes
Had nothing else to do but act as scribes,
And for ten thousand ages, day and night,
The human race should write, and write, and write,
Till all the pens and paper were used up,
And the huge inkstand was an empty cup,
Still would the scribblers clustered round its brink
In the hallway of life
you were a rose with no stem
and I, the janitor sweeping
away the fallen petals.
You said the world revolves
while we ourselves remain
in the darkness of the never-
ending, never-beginning never.
I say that the man who
was humiliated in the second act
and shot himself in the fifth,
stands up, smiles, bows.
The lamp asks,
is it the shadow writing this,
the pen, or their converging?
The paper asks nothing.
Jerboa on a triple: I was in for it,
my zither on a double looking feeble
as a "promising" first book. Oedipal & reckless,
my scheme would fail: keep him a couple drinks
ahead, & perhaps the muse would smile
upon me with some ses or some blanks.
