Not Angels: 44th Post

ADMITTANCE TO THE CITY OF ANGELS

Returning from Central America I made
the smallest jest at the passport station
and found myself in line C4. Three places
ahead stood a Latino—tall, late thirties
perhaps, crisp white clothes, Panama hat,
shepherding two large bags and a
rolled hammock.

He stood straight and still as they
emptied his bags mechanically,
two factory workers deconstructing, unfolding trousers,
uncoiling a belt, unrolling mated socks, tossing item after item
on the stilled conveyor belt.
He kept his hands in his pockets as they opened bottles and tubes
and poured and squeezed them empty into a bucket
that smelled at first like wheat fields.

He removed his hands from his pockets and hung them
as they opened every envelope and read each letter,
hefted, smelled, and felt the safety razor, hairbrush, and dental floss,
removed the back from a framed picture and separated the photo from
its backing, tapped the heels of tall black boots, unscrewed the barrel
of a gold fountain pen, dropping each item
onto the growing heap.

They spoke, and he removed his hat. They slit the hatband
neatly as surgeons. I saw him breathe in
when they cut the cord that held the large hammock,
pulling the ornate poles from the grip
of knotted white loops, leaving them stretched and dangling,
close-parentheses in a tight row.
They pried off the ends of the poles and peered inside,
tilting them like telescopes toward the fluorescent lights above.

The agents closed the line and went away with the man
for half an hour. The rest of us waited, assembling our faces into
nothing. He was buttoning his white shirt as they returned.

After the agents turned to the next person in line, the man labored
to assemble the hammock but gave up, wrapping the pieces
in the stretched body. He worked over his clothes, moving
his large hands through the wrinkled heap of shirts,
pants, envelopes, camera, underwear. Just before I was called
I saw him wrap a belt around his hand and jab it into the solar plexus
of his bathrobe. He stood a moment, hand buried, then went on,
folding a towel, blue with a white monogram.

One of My Favorite Birds: 43rd Post

the vulture eats between her meals
   a bottle fly, a pair of eels
a rotting carcass in the ditch
   a taste to make your stomach hitch
to tide her o'er till dinner bell
   a politician straight from hell
putrid, lifeless, soulless lout
   see the vulture crunch his snout
swallow his ears, his fingers, a toe
   spit out eyebrows, the tie must go
even the vulture has her limits
   she vomits him out in a matter of minutes
   

Erosion: 40th Post

Flowers starting to wilt sm

THE WOMAN WHO FELL INTO DISREPAIR

forgets that parts of her
are missing
that other parts once
angled for attention

she took time
as if it couldn’t be bent, flattened, eliminated, reordered
and effort
as if it was matter
as if it mattered
as if it could be compressed or exploded, colored in, Photoshopped out
with her everywhere,
twin burdens slung from a yoke

she ignored the warnings all around
the flags, sirens, scars, flashing
beacons, allergic reactions, slaps on the
cheek, fullness, emptiness, the color red,
the lack of color

she had let it go let it all go let it go let the cells
puff up or fall where they would into the cracks in her arms and legs
over the dents in her lips through the tunnels in her scalp
into the empty spaces she’d forgotten

a landfill of woman
a historical dustbin
an entire lost tribe
too remote and ugly to signify

Some Give Up: 39th Post

Abstract Glowing Tree in Front of a Blue Moon sm

THE WOMAN WHO GAVE UP SPEAKING

has heard enough.

The enterprise is not loyalty.
Daggers.  Blood.  Mermaids.

She has seen
best intentions

fall like the snapped bodies
of cedar
waxwings beneath
unimpressed windows.

The enterprise is stolen words.
Death Before Dishonor.
Jesus.  Mother.  Semper Fi.

She has tried to pull the no-trick
ponies from their sunken
groove.

The enterprise is cold so
bitter the tears
crystallize
before they’ve left your eyes.

She is not
a symbol-dove
nor a
symbol-donkey.

Along twisted pathways
leaves reach for
the back of something
that ran by
centuries ago.

Her anger
hunches close,

a staring ape.

 

In a Strange Land: 36th Post

Cloister ladies

Along with many of my closest friends and friends I don’t know yet, I often feel like I’m living in a landscape made hostile by the decisions, sometimes mere whims, of others over whom I have no control and with whom I doubt I could have a conversation that would include any meaningful mutual understanding. I wrote this poem many years ago, and enjoyed the self-imposed task of inventing a language and grammar to make it work, while also expressing the humor, homesickness, fear, and isolation that so often pushes one to put pen to paper or finger to keyboard. It still feels true to me, so I share it today.

I’ve recited this poem at readings many times over the years, and it takes some rehearsal but is always fun to say aloud. To get you started, I’ll tell you that the speaker is a human writer living on another planet.

HIS LAND OF ROOMS

Please, come in.
Don’t be shy, take a seat.  Or,
I should say, extend your nemdops and lower your fleegrong’n.
—The candles?  Well, no, not for heat.  Does it bother you?  Sometimes,
for atmosphere,
—well, yes, they do use oxygen.  Never mind.
So, Pargffen, I hope this will be the first of many
—In English.  I plan to read in English.
(I cannot.  I will not.  I tried some lines:
fentonn reb fleedeep miss’rab soor
   nempebb, pebb nggit Pargffeen ho’or
The damned apostrophes are to be squeaked.
Insupportable.)  Shall we go on?
I’d like to begin with one of my early works that
—Yes, I understand your position on ownership.
I don’t own these words; I merely arrange them.
Shall I continue?  (This habit they have,
of putting reensamsam in their slomgrong’ni,
I should have expressly forbid it.)  All right.
This piece is called “Land of Rooms”
and I suppose I’d best explain a word or two:
Humans begin their lives as small, dependent creatures called children, who live in
“childhood.”
“Insomnia” is an inability to sleep.  It is usually frustrating.  Many things cause it,
believe me.
Let’s see, do you know what a “mistake” is?
—I thought not.  (Why did I pick this one to read?)
It means doing something wrong, unintentionally.
Sometimes you get to try again.
I think you’ll understand the rest.  Wait,
do you know “silence”?  (No,   no,   no,   no.)
Silence is the absence of sound.  As if your dapgrong’ni stopped working.
—But that’s possible to imagine, isn’t it?  Listen,
silence is sometimes very pleasant.  Humans find it restful,
which, as you know, we like.  Now, let’s proceed.
—Yes, Hjǽm?  —Ahh.
The idea is that I will read and you will listen
or rather, p’liff with your dapgrong’ni,
and at the end, if you enjoyed it,
you will applaud.  —Umm, you could wave your dapgrong’ni,
or push one rarpeen against the other until a sound comes out.  —Oh,
I had no idea.  Well,
how might you show approval then?  Perhaps you could just
nod your bogrong’n.  (Can we settle on it, please?)  Shall I just begin?
—Yes, I have, actually, tried to.  Describing this place
has been…challenging, shall we say.
—No, I’m not ready to read that piece; it’s not right yet.  (Never again.
I shall never do this again.)  —You must believe me when I say it’s a slow process.
No telling when I’ll be ready to share that one.  Please,
please can we go on?  (Oh no, it’s nearly ffenzod’nǿth time.
I should have chosen another day.)  I say,
would you prefer that we do this another time?
—Pardon me, I forgot.  (All time one ocean
and all that, god damn this place, even if it is,
by hell, all places.)  I’ll just read
while you zod’nǿthne, if that’s all right.
—No, no, I’m not unhappy; please don’t think that.
(I know what they do to unhappy aliens, by god.)  And neither is my poem.
Suppose we do this:
you’ll zod’nǿthne; I’ll read,
you’ll applaud—somehow; I’ll go back to my quarters and work,
and then sleep.
I shall sleep while you zod’nǿthne.  In the same time.

The Good Girl: 33rd Post

IMG_7529 sm

While the meaning of words can and often does shift over time, there is often an echo of the original meaning that lingers.

 

Urtext

The Good Girl sleeps quietly
with other women’s husbands.
Dimples cast in concrete,
she cleaves a breast of white meat;
a potato bursts in the oven.

At first, the word ‘win’ meant merely to struggle.

Homeostasis: maintaining a couch,
a fire, a coffee table behind your ribs,
fine art on your turbulent heart.

At first, ‘attack’ meant to stick a tack into.

The Good Girl has forgiven music
for the pain it has caused her.
Bathing herself in vanilla and almonds,
she gets a job and keeps it,
collecting her pay like rainwater
in clean pools and pockets.

Here are the morning, the noon, and the night,
her silent partners, investors
in waiting, their solar and lunar coins
strung out like a dazzling bracelet
shimmering a dance of lust.

 

 

 

Good Writing Habits: 32nd Post

IMG_0232 cr sm

 

Not About

Poems often are about
exactly what they are not about.
This poem, for instance,
is not about the person
all those other poems were about.
Good writing habits forbid my telling
what this poem is about, but I
assure you
it is not about
what it is not about. Here
you see no mention of smooth hands,
no sly references to sex disguised
as descriptions of long train trips,
rivers slamming into bridge pilings,
or autumn trees bursting into flame,
no metaphor comparing that person’s eyes
to whatever the next best thing was.
Not even anything like a simile.
Not in this poem that is not about that.

 

 

 

 

We Eat the Seeds: 31st Post

Walking Across a Plaza sm

This poem first appeared in The Centennial Review, Vol. XXXVIII, No. 2.

 

FIVE PEOPLE (HOMELESS)

  1. Sally, Inauguration Eve

This dirt gone?—white.  I am
and Everyone says He’ll do the job
Give us hope but I was
wearing wool A-line skirts with
the very clouds above for shirts
last time, when my opinion
meant something.  Click click
my tiny Italians on polished
boardroom floors Gentlemen,
I said I fail to see I
did fail to imagine this cardboard
throwing its brown cast on me.

 

  1. This Red Scarf

White clothes mean sticks in the arm
but if you stay clean sheets
one night or two.  On the lake bank there were
white trees!  I had ice skates.
They had no leaves so the light came through.
The Polish girls wore scarves tied under their chins.
I was no Polack but see, I tie this scarf
tight and keep my head down
watching for ice.  You fall here
no boys laugh or help you up.
But if they stick you
they help you up real nice.

 

  1. Richard

I’m used to being in charge
so this will be about you.
I want you to know I appreciate the aluminum cans
so neatly stacked beside the trash can.
I see you see me take them, see you hurrying
to meet my six o’clock pickup daily.
I admire your scheduling abilities:
kitchen scraps to the chickens before work,
the soft globs of their droppings to the compost heap
before dark; the garden weeded Saturday mornings,
fruit plucked and distributed to neighbors in the afternoon.
I would have hired you in the old days—
kept an eye on you, as they say—
recommended you.
I keep you a secret now,
for the cans.

 

  1. K.L.

What’s left of this planet is my home.
Birds are not afraid of me, curled in this bush,
unless I jerk my legs, dreaming
I fly with them over the roofs
and across the highways.
We eat the seeds that drop
and peck at the not-ripe pears,
scattering when the farmer comes
to nail his straw-filled savior to a post.

 

  1. When I Was One of the People

All these things I shall tell you are true.

When I was a warrior my skin flowed yellow, red and green

like the sashes of the old ones.

When I was a warrior I devoured the night

and spit stars at the immaculate moon.

When I was a warrior my courage rode in front of me,

a blind slave stolen from an enemy camp.

When I was a warrior the wind and I embraced with great joy

and we brought forth spring, summer, fall

and the weaver child, winter.

When I was a warrior I kept sadness behind my eyes, mute as light.

When I was a warrior I could swell until the earth was inside me,

feverish and bloody,

and I could sweat until the earth was healed

and I could bleed until the earth was whole.

I am the owl and the darkness now.

I am the hawk and the light.

I am the crack in the clouds now.

I am the wind in the night.