Poetry & Poets

There's a structure for idiocy — lamplight —
all over the nation; it's an illumination
with such sheer creative force it is misrecognized genius.
I have misunderstood people's duplicitous ways — their lightbulbs —
as righteous forms of complexity;
not calculated obfuscations.
Much like the voice in a poem that insists it sing
the most important seer of light.
Am I providing this luxury as well?
Or is this my radical assertion in order to
call into question what an aesthetic authority looks like?

And I didn't see that now you were here on the page

Breakfast, and I’ m eating plain yogurt, figs from my garden, and honey.
I’ m sitting in a lawn chair on the backyard patio —

life is good, and the sunlight warming my lap and the pages
of a book remind me of Tucson

and the subterranean apartment I rented alone and far from home.
There was a sofa in front of my one window

where at noon the sun burned briefly on the cushions as starlings
stirred in the trees with their admonishments.

THAT ONE, is a poet for all poets
AH, then I would suppose
to be an edwin for all edwins
OH, then there is only one of you
you are being one for
AH, I am one of me
but one is too many for all
OH, then how can this one be for all
when that one is truly for truly’ s sake
Which one?
It isn’ t a which or a what but a be
HMMPF, an ending for all endings
UMMPF, to be a poet for poets
is a mere suppose
BLECHH, you covered suppose in an earlier poem
YUCHH, but no one heard it

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.

I have been cherish’ d and forgiven
By many tender-hearted,
’ Twas for the sake of one in Heaven
Of him that is departed.

Because I bear my Father’ s name
I am not quite despised,
My little legacy of fame
I’ ve not yet realized.

When the first mechanical picker had stripped the field,
It left such a copious white dross of disorderly wispiness
That my mother could not console herself to the waste
And insisted on having it picked over with human hands,

Though anyone could see there was not enough for ten sheets
And the hands had long since gone into the factories.
No matter how often my father pointed this out,
She worried it the way I’ ve worried the extra words

Would that you were alive today, Catullus!
Truth ’ tis, there is a filthy skunk amongst us,
A rank musk-idiot, the filthiest skunk,
Of no least sorry use on earth, but only
Fit in fancy to justify the outlay
Of your most horrible vocabulary.

My Muse, all innocent as Eve in Eden,
Would yet wear any skins of old pollution
Rather than celebrate the name detested.
Ev’ n now might he rejoice at our attention,
Guess'd he this little ode were aiming at him.

O! were you but alive again, Catullus!

Lots of contemporaries —
but “me” is not my contemporary.

My birth without “me”
was a blemished offering on the collection plate.
A moment of flesh, imprisoned in flesh.

And when to the tip of this tongue of flesh
some word comes, it kills itself.
If saved from killing itself,
it descends to the paper, where a murder happens.

Gunshot —
if it strikes me in Hanoi
it strikes again in Prague.

A little smoke floats up,
and my “me” dies like an eighth-month child.
Will my “me” one day be my contemporary?

If one takes
a walk on a clear sunny
day in middle April,

when the first
willows are in bloom,
one may often see

young bumblebee queens
eagerly sipping
nectar from the catkins —

thus begins
the one book written
by Otto Emil Plath.

It is a delightful thing
to pause and watch
these queens, clad