Old court. Old chain net hanging in frayed links from the rim,
the metal blackboard dented, darker where the ball
for over thirty years has kissed it, the blacktop buckling,
the white lines nearly worn away. Old common ground
where none of the black men warming up before the basket
will answer or even look in my direction when I ask
The gregarious dark is shifting
when she puts her second drink,
the free one, half on the coaster.
The tipped wine poised at the brim
is the beginning of the bad girl
she’ ll promise never to be again
tomorrow, who can taunt him now
to prove he doesn’ t love her
and never could: her hand slides
Long scree of pill bottles
spilling over the tipped brim
of the wicker basket, fifty or more,
a hundred,
your name on every one and under
your name the brusque rune of instructions —
which ones to take, how many, and often,
on what days,
I walked from my house down Coolidge Street last night
And air, beginning movement in the trees,
Shook down a hushing from the branches.
On either side of me the houses
Like solid shadow, blocks of silence
In the violet light, so dim without dimming.
And I saw you, Saul, my old friend, waiting
For me at the corner where our two streets met.
1
More than a third of a century later,
meeting for the first time in almost all those years,
we face each other’ s still somewhat familiar faces
across a table in a California restaurant,
and wonder why we did it, why we suddenly said
that night in July in Greenwich Village
“Let’ s go to Connecticut,” and got on a train
and ended up at midnight in Old Greenwich, Connecticut,
holding hands on an empty road that wound past
serious grown-up sleeping houses....
In every life there’ s a moment or two
when the self disappears, the cruel wound
takes over, and then again
at times we are filled with sky
or with birds or
simply with the sugary tea on the table
said the old woman
I know what you mean said the tulip
about epiphanies
for instance a cloudless April sky
the approach of a butterfly
but as to the disappearing self
no
I have not yet experienced that
Matisse, too, when the fingers ceased to work,
Worked larger and bolder, his primary colors celebrating
The weddings of innocence and glory, innocence and glory
Monet when the cataracts blanketed his eyes
Painted swirls of rage, and when his sight recovered
Painted water lilies, Picasso claimed
I do not seek, I find, and stuck to that story
About himself, and made that story stick.
Damn the fathers. We are talking about defiance.
That we await a blessed hope, & that we will be struck
With great fear, like a baby taken into the night, that every boot,
Every improvised explosive, Talon & Hornet, Molotov
& rubber-coated bullet, every unexploded cluster bomblet,
Every Kevlar & suicide vest & unpiloted drone raining fire
On wedding parties will be burned as fuel in the dark season.
That we will learn the awful hunger of God, the nerve-fraying
Cry of God, the curdy vomit of God, the soiled swaddle of God,
My poems: fledglings, heirs,
Plaintiffs and executors,
The silent ones, the loud,
The humble and the proud.
As soon as the shovel of time
Threw me onto the potter’ s wheel —
Myself without kith or kin —
I grew beneath the hand, a miracle.
Something stretched out my long neck
And hollowed round my soul
And marked on my back
Legends of flowers and leaves.
I stoked the birch in the fire
As Daniel commanded
And blessed my red temper
Until I spoke as a prophet.
