What god will catch me
when I’ m down, when I’ ve taken
sufficient drink to reveal
myself, when my words are little
more than a blurring
of consonant and vowel?
I’ m drunk on spring:
branches of waxy leaves that
greet me at my driveway,
a family clutching
trays of sweets.
How can I sing of this?
If I cannot sing, then
make me mute. Or lend me
words, send me
the taste of another’ s prayer,
cool as a coin
newly minted on the tongue.
If a tree falls in a forest,
does it make a sound?
If a rifle fires a shot in the woods,
whose body first hits the ground?
If a group of angry hunters
surrounds, curses at, and accosts you
for wandering onto their land
If you apologize for being lost,
inform you saw no posted signs, swallow
their chinks this and gooks taking over that;
are walking away over mud and fallen leaves when a loud
crack far behind you kicks up black earth
Hope
The political contributions of whatever he creates are coincidental
and, in any event, irrelevant. The musician may not be relying on
mathematical acoustics in his calculations. He may be performing
for auditoriums; thus, his physical realities change as he travels. Music
seems inevitable. Every question entails some notion of what is being asked.
The motley nature is not alien. Certain sounds guide the vulgar mind
to notions not anticipated by those creating the sounds. A bartender
Model prisoner or not, I won't.
Silver lash, hound's tooth,
meager sinful town's crook.
I am nervous again. I could kill
if you let me. But tonight, I'll be still
under this palm. Zeroed out,
the tea my toilet muck.
Licorice and almond
twisted beneath the sink,
I'm lovely again. Come on
with my dying.
Today the globe's underside
isn't pink, but rather,
I look ahead toward what
has happened.
Savage Beauty
Like hell they'll fall for each other.
In Chicago, it is snowing softly
and a man has just done his wash for the week.
He steps into the twilight of early evening,
carrying a wrinkled shopping bag
full of neatly folded clothes,
and, for a moment, enjoys
the feel of warm laundry and crinkled paper,
flannellike against his gloveless hands.
There’ s a Rembrandt glow on his face,
a triangle of orange in the hollow of his cheek
At six I lived for spells:
how a few Hawaiian words could call
up the rain, could hymn like the sea
in the long swirl of chambers
curling in the nautilus of a shell,
how Amida’ s ballads of the Buddhaland
in the drone of the priest’ s liturgy
could conjure money from the poor
and give them nothing but mantras,
the strange syllables that healed desire.
I lived for stories about the war
my grandfather told over hana cards,
slapping them down on the mats
with a sharp Japanese kiai.
Dark thing,
make a myth of yourself:
all women turn into lilacs,
all men grow sick of their errant scent.
You could learn
to build a window, to change flesh
into isinglass, nothing
but a brittle river, a love of bone.
You could snap like a branch — No,
this way, he says, and the fence
releases the forest,
and every blue insect finds an inch of skin.
He loves low voices, diffidence
on the invented trail,
the stones you fuck him on. Yes
to sweat’ s souvenir, yes to his fist
Between the train's long slide and the sun
ricocheting off the sea, anyone
would have fallen silent in those words,
the language of age in her face, the birds
cawing over the broken earth, gathering near its stones
and chapel doors. In the marina, the sea and its bones
have grown smaller. Though the tide is out,
it is not the tide nor the feathers nor the cat
that jumps into the street, the dust
lifting with each wing and disappearing. The rust-
colored sheets that wrap the sails of ships,
