Distance brings proportion. From here
the populated tiers
as much as players seem part of the show:
a constructed stage beast, three folds of Dante’ s rose,
or a Chinese military hat
cunningly chased with bodies.
“Falling from his chariot, a drunk man is unhurt
because his soul is intact. Not knowing his fall,
he is unastonished, he is invulnerable.”
So, too, the “pure man”“pure”
in the sense of undisturbed water.
Sleepless
in the cold dark,
I look
through the closed dim
door be-
fore me, which be-
comes an
abyss into
which my
memories have
fallen
past laughter or
horror,
passion or hard
work — my
memories of
our past
laughter, horror,
passion,
hard work. An ache
of be-
ing. An ache of
being,
over love. An
ache of
being over
love. Like
projections on
the screen
of the heavy
window
curtains, flashing
I’ m sitting at Nathan’ s, reading a biography of Darwin
who, right now, is dissecting a barnacle
“no bigger than a pinhead (and with two penises)”:
he’ ll work like this on barnacles, his wrists supported
by rigged-up blocks of workshop wood, for eight years.
Nathan is reading too, in the worn-down banged-up “daddy chair”:
those philosophical poems of William Bronk’ s. What’ s
most delightful is that Tristan, eleven, and Aidan, ten,
It is not so much that I miss you
as the remembering
which I suppose is a form of missing
except more positive,
like the time of the blackout
when fear was my first response
followed by love of the dark.
They say you can jinx a poem
if you talk about it before it is done.
If you let it out too early, they warn,
your poem will fly away,
and this time they are absolutely right.
Take the night I mentioned to you
I wanted to write about the madmen,
as the newspapers so blithely call them,
who attack art, not in reviews,
but with breadknives and hammers
in the quiet museums of Prague and Amsterdam.
Reckless and white as a flashlight beam cast
into some dark corner, the moon
insists on the deeper blackness
surrounding it. Perhaps it wishes
to be a woman or a window,
cushioning everything, full of itself
for the moment, yet frightened, like any egotist.
But still the stars patiently insist
on their presence, pinholes to nothingness.
When else would I walk on such a night in the world?
Once I wasn’ t always so plain.
I was strewn feathers on a cross
of dune, an expanse of ocean
at my feet, garlands of gulls.
Sirens and gulls. They couldn’ t tame you.
You know as well as they: to be
a dove is to bear the falcon
at your breast, your nights, your seas.
My fear is simple, heart-faced
above a flare of etchings, a lineage
in letters, my sudden stare. It’ s you.
Three years, Huang Gongwang
worked on his famous handscroll,
Dwelling in the Fuchun Mountains.
As he put successive applications of ink to paper
over the “one burst of creation,” his original design,
it is said he often sang like a tree frog
and danced on his old bare feet.
One day, he adds one hemp fiber stroke,
the next a moss dot.
What patience he had,
like a cat who comes back season after season to a mole’ s tunnel.
All that has tamed me I have learned to love
and lost that wildness that was once beloved.
All that was loved I’ ve learned to tame
and lost the beloved that once was wild.
All that is wild is tamed by love —
and the beloved (wildness) that once was loved.
The lump on his neck that no collar
could hide, and the charity of his presence
there in the neighborhood each fall,
door-to-door, standing in the swept porches,
waiting for the housewives to answer.
