Social commentaries

America is inconceivable without drugs
and always has been. One of the first acts
was to dump the tea. The drug that furnished
the mansions of Virginia was tobacco,
a drug now in much disrepute.
Sassafras, a cure-all, is what they came for
and they dealt it by the bale altho it
was only a diaphoretic to make you perspire —
people were so simple in those days.
The Civil War saw the isolation of morphine
making amputation a pleasure and making
the block of wood between the teeth,

The show did not start off
auspiciously, the contestants
were nervous and kept fiddling
with the wires attached
to their privates, the men
being especially anxious
over the question of balls.
The women were more querulous.

I'm Ramón González Barbagelata from anywhere,
from Cucuy, from Paraná, from Rio Turbio, from Oruro,
from Maracaibo, from Parral, from Ovalle, from Loconmilla,
I'm the poor devil from the poor Third World,
I'm the third-class passenger installed, good God!
in the lavish whiteness of snow-covered mountains,

The fury that breaks a grown-up into kids,
a kid into scattered birds
and a bird into limp eggs,
the fury of the poor
takes one part oil to two parts vinegar.

The fury that breaks a tree into leaves,
a leaf into deranged flowers
and a flower into wilting telescopes,
the fury of the poor
gushes two rivers against a hundred seas.

The fury that breaks the true into doubts,
doubt into three matching arches
and the arch into instant tombs,
the fury of the poor
draws a sharpening stone against two knives.

When I read about the garden
designed to bloom only white flowers,
I think about the Spanish friar who saw one
of my grandmothers, two hundred years
removed, and fucked her. If you look
at the word colony far enough, you see it
traveling back to the Latin
of  inhabit, till, and cultivate. Words

Of all living monuments has the fewest
facts attached to it, they slide right off
its surface, no Lincoln lap for them to sit
on and no horse to be astride. Here is what
I know for sure:

Why I’ m going to the Taklamakan Desert:
the emptiness there.

Why I’ m going to the Taklamakan Desert
at seventy-five, leaving all words behind: the cry
of the emptiness there.

Why I’ m going to the Taklamakan Desert:
I can no longer stand
the world’ s greed
or mine.

There, in the Taklamakan Desert,
the silence of a thousand-year-old skull.

Translated from the Korean

It lists beneath a sycamore
swashing in high summer leaf,
and takes a hit from underneath:
a root knuckle bulges along the floor.

Its eight loopholes have fissures, sprouting
thistles; through each the wheat is fattening.
“What’ s this thing   for?” A starling sings
its wind-up song. The sun slides out.

And this taste of piss, that Fetherlite
slumped in the corner, those Holsten cans,
the markered slogan
do not try to answer. Might.

The truck grinds by
and pumps out grit;
the road glints and
goes still.

The barn owl that
had not finished here
returns. But with
its fill

of scavenges,
face ruffled in mulch,
the vole is lost
and safe

so the silent specter
flits away, its
moon face to
the moon

and rears unknown
against a copse,
claws tipped for
the strafe

and something dies
too soon.

He filled her between
the hay bales in
that Dutch barn, now
abandoned,

Only this boy moves
between the runes of trees
on his tricycle
when an eagle swoops,
releases two arrows
from its silver wings, and melts
away faster than lightning.
Then a loud whistle
and a bang like dry thunder.
In a blink the boy sees
his house roof sink.
Feels his ears ripped off.
The blast puffs up a fawn smoke
bigger than a mountain cloud.
The slow begonias rattle
their scarlet like confetti.
Metal slashes
the trees and ricochets.
Wires and pipes snap