U.S.

Where does such sadness in wood come
from? How could longing live in these
wires? The box looks like the most fragile
coffin tuned for sound. And laid
across the knees of this woman
it looks less like a baby nursed
than some symbolic Pietà,
and the stretched body on her lap
yields modalities of lament
and blood, yields sacrifice and sliding
chants of grief that dance and dance toward
a new measure, a new threshold,
a new instant and new year which
we always celebrate by
remembering the old and by

with the medicinal poppies of June
nor with Celan’ s bloom-fest of dredged stone,
not with history’ s choo-choo train of corpses,
not with Nottingham’ s Robin Hood
nor Antwerp’ s Diamondland.

Surfeit of distance and the wracked mind waiting,
nipping at itself, snarling inwardly at strangers.
If I had a car in this town I'd
rig it up with a rear bumper horn,
something to blast back at the jackasses
who honk the second the light turns green.
If you could gather up all the hornhonks
of just one day in New York City,
tie them together in a big brassy knot
high above the city and honk
them all at once it would shiver
the skyscrapers to nothingness, as if
they were made of sand, and usher

Believe it or not,
the old woman said,
and I tried to picture it:
a girl,
the polished white ribs of a roast
tied to her boots with twine,
the twine coated with candle wax
so she could glide
uninterrupted
across the ice —
my mother,
skating on bones.

The leaves talked in the twilight, dear;
Hearken the tale they told:
How in some far-off place and year,
Before the world grew old,

I was a dreaming forest tree,
You were a wild, sweet bird
Who sheltered at the heart of me
Because the north wind stirred;

What god was it that would open
earth’ s picture book and see the two
of us on a road, snowfields glittering
on every side and poplars bent like
the fingers of an old man clutching
what he loved about the sun?

Which one was it that would peer
into our thatched, white-washed
farmhouse, and see the fur, flies,
and shit-stained walls? Which one
laughed at the barbed wire fences,
the wall topped with broken glass?

That whine is the sound
of waste, rot, the frantic,
grinding inability to attend
to anything but sere thwarting
of yourself, a dry corrosion
which some say they know,
but you and I —

(my jaw clenched as you
turn a page,
you with a heart like drywall,
I who would
lace my arms with razors,
then press them
slowly to your lips,
the metal taste
mixing with flesh,
and through gritted teeth
I making the sound
of you, you, you
do not know, meaning
only me, me)

As we sipped and mingled,
regaled
with oldfangled
canapés and beguiled,
or entertained at least, by gargled
oldies, I disengaged
and angled
across grass tenderly groomed,
past where electric tiki torches gleamed,
and, alone, gazed,
now truly beguiled,
at my hosts’ grand
expensive vista, mortgaged,
yes, and, yes, remortgaged.
A low gold
moon glowed
against a plush black sky gauzed,
even filigreed,
with stars. Gowned
in old-growth oaks glazed

Rain so dark I
can’ t get through —
train going by

in a hurry. The voice
said walk or die, I
walked, — the train

and the voice all
blurry. I walked with
my bones and my heart

of chalk, not even
a splintered notion:
days of thought, nights

of worry, — lonesome
train in a hurry.

The housework, the factory work, the work
that takes from the body
and does not put back.
The white-collar work and the dirt
of its profits, the terrible politeness
of the office worker, the work that robs
the viscera to pay the cool
surfaces of the brain. All the work
that makes love difficult, brings on
sleep, drops the body off
at the liquor cabinet. All the work
that reaches the intestines and sprawls.
And the compulsive work after the work
is done, those unfillable spaces