POLARIZATIONS
“A madman doesn’t need success. All he needs is a good hospital.”
Mohammed Mrabet
Experiment is an accident
no matter how carefully planned.
Can’t you see
I’m walking
between abstraction and magic
Because that’s who I am
The buffalo of the Great Plains
ghosting skittish herds
on Champs d’Élysées
under deconstruction. Supervised
by The New Pound Projective
Semioticians
and The Magicians of Jazz Street
Medicines & Mirrors
Weight gain & Hair-loss
Wallpaper of Hollywood Muse
Switching between Calvinist
projection and a drunken buffet
Call the doctor
or print your own magazine
Distribution is academic.
11/23/2000
—Michael Rothenberg
____
Previously published in Small Town
REDWOOD FLOODWATCH
Below the radar
Used up
I’ve forgotten
what to write...
Historically
Geographically
GUERNEVILLE
Redwood decks, a middle-class colonialism
I don’t write
when morning comes,
a bell, the terror of quotidian
Heaven in a coffee pot
Winter rain
90,000 W/OUT POWER
No, I haven’t forgotten
what to write. I have a list.
FLOOD LEVEL- 32 FT
RUSSIAN RIVER TO CREST AT 46 FT
“What’s your address in the redwoods?”
Redwood, “Sequoia sempervirens
A very tall, evergreen, coniferous tree
“Sequoia, Cherokee who invented Cherokee alphabet
Sempervirens means ‘ever-living’”
And beyond that:
A POT OF CHICKEN
SQUASH ONIONS MUSHROOMS
IN WOOD STOVE
Components
Constructs
“Native to coastal ranges
of southern Oregon and central and northern California,
having small seed-bearing cones
with peltate scales and unflattened branches.”
CREEKS SPILLS SEEPS FALLS
“Some Native Americans stripped bark off redwood trees
to gather sweeter cambium layers for food”
Hot tub in the redwoods
HIGH WINDS OFF PACIFIC BLOW DOWN
FROM ALASKA BAY
Donald says he’ll show me how to climb a redwood
Listen to wood stove
(Audible)
RED CROSS
Shuffle wood in stove
BLIZZARD IN SIERRAS
Dennis says,
“Do you believe it, you own all these trees!
“You own me,” I tell the trees
(under the stars)
Begin again
Continue
Pretend
Preview
Vacuum carpet downstairs
“One of the survival strategies of redwood trees
is ability to sprout from bud tissue called burl”
HIGHEST TIDE OF THE YEAR
“If a tree falls, logged, or trunk damaged,
the burl can be triggered to start sprouting new growth”
EVACUATION
(Audible)
“The sprouts use the root system
of the parent tree and are genetically identical”
Who’s to say they’re not the same tree?
NEW YEAR’S EVE IN THE DARK
Past
Present
Future disconnected
Who wears a hat?
Who discusses this?
Who is? (In the immovable grove)
scratch twitch scratch rumble
NO WAY OUT OF THE CANYON
madrone oak tick black tick toc creek
green mossy coffee mug
“Second-growth redwoods often grow very fast”
CONDITIONS WORSEN (AUDIBLE)
“Often, stumps in old logged-over areas are ringed
by smaller trees that grew from roots of parent tree
These rings are called ‘fairy rings’"
gray hum
Opossum stalks creek with walking stick
MUD SLIDES ROCK SLIDES LAND SLIDES
Submission
Natural O-Currency
EVERY DAY A NEW DESTRUCTION
Needles clog the gutter
Quail scratch bark mulch to find seed
fallen from bird feeder
DEAD DEER IN THE SLOW LANE
What war?
Which war?
Is it ever a good war?
Fog on the deck
What door?
The open one?
What for?
The war?
NERVOUS EYE ON THE HIGHWAY
Oh, The Redwoods!
This New Growth
door
Go ahead, open it!
Frogs!
(audible)
BLUE SKIES
Blue Jays wake the morning
Yes! Come in! Sit!
I’ll be right with you
There’s a war I must finish!
I will win it shortly
December 19-28, 2005
March 3, 2006
—Michael Rothenberg
____
Previously published in Golden Handcuff Review
ANGELS SLEEP IN PEACE!
Angels sleep in peace!
Devils stay past midnight
listen to Paganini
Pretenders, King Of America, Heartless Liars
Have you heard them playing 8-ball while reading Content’s Dream?
Did it matter when the Army closed
imagination’s terrifying halls to Strategists of Art?
No, it doesn’t make sense to matter
No explanation needed for transfer of funds
from one pocket to another
For those Charlie Chaplins entering data, boiling nouvelle shoe leather soup
Supping on Valentine’s Desires and Therapeutic seasonings
It makes sense
Angels sleep in peace!
Devils stay past insomnia
& possum scud across the roof
Listening to accusations of the trite and trivial from Fashion Fascists
Reveling in accusations of the ideal & naïve
soaked in gross dependencies & mother
Have you heard them in their drunken dance
on granite floors,
in the rhythm of Sisyphus?
Would it matter if Superman
disappeared in his glacial fortress and forgot about Lois Lane?
No, it doesn’t make sense to matter
No explanation is needed for the transfer of sperm
from one pocket to another
For Cryogenic Automatons taking surveys & grants, boiling eclectic dialectics
Gorging on Cornish hens & Sweet & Low
It makes sense
Angels sleep in peace!
Devils stay past gunshot
& sweat soaked orgies
& tender whisperings
Have you made up your mind,
in those white silk gowns,
hair loose on freckled shoulder,
licking your own nipples,
raising your naked ass to four impossible walls?
That I should be persuaded by repressed exhibitions of genitalia
Does it matter when crisis rings
the death of a poet & saw-grass fires kiss his naked guilt?
No, it didn’t add up to verse, or wake the angels to salve the clawing innocent
No, it doesn’t make sense to matter longer
No explanation needed for the transfer
of one fish from one
Amazon to one aquarium
on a bookshelf on one hill above Pacific shoreline
For Game Hunters tracking down genuine tears & renderings, boiling conceptual logic
Mounting vanquished language of invisible jaguars & hornless rhinos
On walls…
It makes sense
For those lazy drifters beneath the stars
2/21/98
—Michael Rothenberg
____
First published in Kickass Review
DONALD HALL WOULD
HATE ME
if he knew me
I don’t want to be great
it takes me 10 minutes
to write a poem
sometimes
& then
I want to whisper or
shout it about
town
My poems are usually brief
they resemble each other
they are anecdotal
they do not extend themselves
they make no great claims
they connect small things to other small things
I LIKE SHORT!
I just want to kick the leaves
& have done
—Mairéad Byrne
Post-Coital Depression
Now
after the parties
and after the Seders
a few scant hours before the POWs come home
(and
home is here, this is their home, and this is my home,
far from my friends and
family and far from their friends
and family and the things that any of us
would call home)
Now, on a quiet Saturday, I ponder art for art’s sake
and art for society’s sake
and art which by its nature could never last
because it is too specific
too focused in its condemnations
and not at all metaphorical
Today I ponder the role of an artist
at the close of a war
and the dawn of an empire
And what it means
to believe in something
anything
in a time of blind faith
in blind and stupid leaders
Today I am an artist and a businessman
so I look over my projects
what is due, what is due me, what will be due soon
what must be achieved today so that
other artists will still consider me important
so they will come to my rallies
and come to my readings
and thank me for my politics
and thank me for my energy
Today at home
I think of the best way to relieve the burden
of living, writing, and voting in the country
destined to conquer the world
Today I think of stacks of burning bodies
dictatorships established in the name of democracy
and the motherless sons who will come back to America
and do everything they can to bring it down
and what does that mean to anyone,
anyway?
Today
the POWs come home
tortured beaten terrorized
and I will celebrate
with my city and with my country
and I know
that this is the last day we can call ourselves
a Republic of Laws
today
I fear for myself
I fear for my son
I fear for the Arabs
I fear for the Israelis
I fear for the Persians
I fear for the Americans
and I fear for every artist
who makes art for art’s sake
who won’t speak out
at the end of our world
—Jonathan Penton
“Post-Coital Depression” was previously published in the anthology, BANNED (Meta4, 2004)
Deep Throat Nihilism
Never forget that beauty is destructive
and poetry is its most destructive form
Poets do not ask permission
When you sing Ave Maria in the library, sing it loud
—Jonathan Penton
“Deep Throat Nihilism” was first published on kagablog.
Atonement Fast
If you could take
every time
a Muslim fucked someone over during Ramadan
every time a Jew killed someone during Pesach
and every single St. Valentine’s Day massacre
and put them all on the page
you’d have no more room
for angry little poems
—Jonathan Penton
In the Company of Them
So I’m sitting here in San Fran
In another used bookstore
On another hipster block
In this fuzzy hipster town
And I’m browsing through the bookstore
And I’m looking through the comics
There are shelves of graphic novels
And I think they must be recent
From the flashy well-done covers
And the hip PoMo technique
So I grab some graphic novels
And I’m setting on the benches
And I’m getting up, and walk around, and find a comfy chair
So I lean back, and I’m comfy, and I open up the comics
Which are trendy, which are clever,
Which have lots of lit-techniques
There’s this one with the stone giant
Who starts out as a hero
Who might be old King David
or George Washington Carver
and he bests the evil villain
who was belittling his race
but now he’s getting bigger
and he just keeps getting bigger
and pretty soon he’s enslaved all the creatures all around
the metaphor was obvious
though the subject imprecise
He might have been Israel
Or maybe Nashville, Tennessee
But the book was tortured, troubled
And so exquisitely drawn
The artist must’ve worked
As long as Karen Hughes been ugly
It was twenty-eight dollars
U.S. dollars
with proceeds going to charity
And I’m looking at these novels
And I’m looking at the shelves
’Cause there’s dozens of these comics
Dozens of these graphic novels
’Cause there’s dozens of these artists
Dozens angry tortured artists
Who sort of kind of made it
In the graphic novel world
But if you walk down through the Mission
Past the chickenhawks and junkies
You’ll find hundreds of these artists
Who will never, ever make it
Though it’s hard to see the difference
Between the published and the losers
Because every artist’s screaming
Every artist’s fucking screaming
Every artist wants to warn us
Of all the evil that we do
They’re all warning and they’re screaming
And they’re bringing up the issues
With their hip PoMo devices
And their so unique techniques
And besides the hundred artists
There’s a thousand folk musicians
With their lyrics tried and tested
And their chords so true and blue
And besides the thousand singers
There’s a million sock-drawer poets
Who’ve put down their San Fran paintbrush
To write of what will happen
To warn the world of what will happen
If we let a madman rule us
If we let the wealthy lead us
If we sign away our neighbors for another cup of Starbucks
And the artists are all drawing
And the folkies are all singing
And the poets all recite their angry lines at open mics
But there’s no one really listening
No there’s no one really listening
And the few who clap politely never do a goddamned thing
But the days are getting hotter
And our lives are getting shorter
And the Fertile Crescent won’t be fertile for four billion years
While MSN reports on Fox News
CNN reports on Slate
CBS reports on Sharpton
And Al Sharpton studies Fox
While the talking heads keep talking
And the bloggers keep on blogging
And the artists keep pretending there is something left to say
—Jonathan Penton
Regarding Your Career:
Your books are worthless.
Your perfect-bound, professionally-made, trade paperbacks from the bigger names
in the small press are worthless.
Your rice-paper handcrafted signed and numbered achievements are worth less
than the formaldehyde stuck to a dead poet’s balls.
Your credits, your blog, your hand-stapled ’zines will be forgotten as soon as they are produced. Your friends will laugh at them at your funeral. Your hopes for immortality mean less than the knots in your noose.
Yes, I admire the tall trannies with glamorous coats
in the laundromat documentary
Yes, I admire the Ocean Queen
with her marijuana fire department
Solicit their opinions on your goulash.
Let your work die with you
—Jonathan Penton
“Regarding Your Career” was previously published in a different form in Antipatico
Third Crush
After David Mamet
One day I met a woman with eyes like a Townes Van Zandt song
She told me I looked like Jesus, or perhaps Adam
We got along like dykes and dogs, but
I knew it wouldn’t last
so I decided to love her leave her and spend the rest of my life writing poems
about how much I missed her
That way, I could enjoy the pain of losing her and not have to listen to her voice
I was proud of my plan and I decided to tell my mother about it
But my mother didn’t like my plan
In fact, she got very angry
She told me that it wasn’t right to love someone when you knew you were going to leave them
I asked her if she felt that way about it why did she kick me out of the house when I was only thirty-eight?
But mother wouldn’t listen to reason
She was so upset that she called the beautiful woman
and told her what I was planning
But the beautiful woman didn’t believe her
So I loved the woman and left her
and then I sat down and wrote this poem
I hope you like it
I hope the beautiful woman reads it
I hope it makes her happy
—Jonathan Penton
On the many things I do not understand
He speaks of a passion, strange and wonderful
I think of Joanie Vollmer
I study her death beside Tupac’s and Cobain’s
I wonder at the precise size
of the hole in her forehead
I think of writing, this attempt to force others
to spend a moment with the thoughts I think every day
He tells me that he caught the literary bug at a young age
That’s good, I tell him
Better that
than for it to catch you…
—Jonathan Penton
Why I Don't Write Love Poems
In love, too busy.
And out, too caught
by poetry's essence:
yearning.
—Paul Dutton
____
previously collected in Aurealities (Toronto: Coach House Press, 1991)
Missed Haiku
In the only room that matters
a slight sound
obscures the one thought that counts.
—Paul Dutton
____
previously collected in Aurealities (Toronto: Coach House Press, 1991)
Shakespeare’s Sonnets
shake shake shake shake shake
shake the darling buds of May
shake hands to torture me
shake against the cold
that looks on tempests and is never shaken
if you were by my unkindness shaken
shake shake shake shake shake
ssssssssssssssssssssssssssssssssssssssss
-pear -pear -pear -pear -pear -pear -pear peer
doth homage to his new-appearing
as interest of the dead which now appear
and says in him thy fair appearance
The other as your bounty doth appear
On your broad main doth wilfully appear
I love not less, though less the show appear
Look in your glass, and there appears
No, nor neither he nor his compeers
-pear -pear -pear -pear -pear -pear -pear peer
Shakespeare Shakespeare Shakespeare Shakespeare
Shakespeare Shakespeare Shakespeare Shakespeare
ssssssssssssssssssssssssssssssssssssssss
son son son son son son son
you know / You had a father: let your son
And when a woman woos, what woman’s son
Speak of the spring and foison
Yet then my judgement knew no reason
But thence I learn and find the lesson
true / Drugs poison
but despised straight, / Past reason
son son son son son son son
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn
net net net
Yet him for this my love no whit disdaineth
Suns of the world may stain when heaven’s sun staineth
Or captain jewels in the carcanet
net net net
ssssssssssssssssssssssssssssssssssssssss
sonnets sonnets sonnets sonnets sonnets sonnets sonnets sonnets
—Paul Dutton
____
“Shakepeare’s Sonnets” was published in an incorrect
version that incorporated editor’s errors in a student publication,
The Mitre (Bishop’s University, 2004)
A POEM
If the sea rakes and scrapes it
long enough
it may crack
revealing beneath
its inscrutable surface
ammonite, frond, shell
residue of process
and what it seems to hold
balanced and weighed
and sent with a flick to skim
like a real stone
the surface of meaning
—Alan Baker
____
(A version of this poem was published in Poetry Nottingham and in the pamphlet 'Not Bondi Beach')
WHITE PALL
(for regina writing her exit)
but for the death of each word
it's this white pall of the page i must bear
white pillow of the page
that leads me to [poetry?]
luxurious open space
for my eyes to rest
~
quiet enough to listen
to see what's listened to beyond
nothing to do with thinking
~
a private language written in a secret handwriting
~
this strained white tension of silence
for my words to blurt
~
but how can i not help erase myself
in the ridiculousness of
ink the embalming fluid of
words the sarcophagi of
thought the death of
knowing
ridicule
~
what if by greeting each other
we speak poetry
what if our language upon arrival
breaks down into profound syllables of seeing
i mean seeing each other as an ecstatic first moment
and when we part
as if we'll never see each other again
~
inhuman and obscene
breaking the dreaminess of your morning thoughts
reading a newspaper
~
as seldom as i see you
your death with me is ok
i know you are always where you're supposed to be
our conversation continues
the look you give me continually guides/chides
~
stretched out on the beach
i am the horizon
stretched out on my bed of sand
cry of gulls rolling slamming surf
as the horizon i will also be forever
—Craig Czury
____
from IN MY SILENCE TO JUSTIFY, FootHills Publishing, 2003
http://foothillspublishing.com/pre-2005/id39.htm
DIVERSE ARTICULITUS
there is something inexorable under the surface
a word i’ve never used
poetry the last language before death
~
of the two schools
writing what i don’t know interests me most
~
somewhere between looking and seeing
it only appears i’m not paying attention
the punishment is severe
~
do you still think memory
has anything to do with thinking
~
what else in this transparent beauty
at which moment
~
the distance between reading and visualizing
transversation
~
you already know not to open your eyes
~
all this talk of memory
we were both there
yet your telling and my telling
~
that quizzical look
takes me under language
~
that lost look never more found
~
between what i remember
and what i’ve imagined
~
all the way from death to show me
~
at the brink recognizable
~
i don’t believe in a poetry written from a singular mind
neither do I
~
the odds favor sea salt
blood breaking in on the blood
—Craig Czury
____
from IN MY SILENCE TO JUSTIFY, FootHills Publishing, 2003
http://foothillspublishing.com/pre-2005/id39.htm
UNCOVERING THE MINE SHAFT
by accident
we stumbled upon the last breath
and knelt down
our one good ear tight against its lips
and rotted teeth
we could not tell
if it was night or the eclipsing sun
but from somewhere deep within its wound
we heard drums
and a circle of clapping bones closing in
again the woolly mammoth being roused
from its black slumbering dust
crude figures of men with sticks
and mud-sling barrows
illumined the cankerous mouth
—Craig Czury
____
from GOD’S SHINY GLASS EYE, FootHills Publishing. 2005,
http://foothillspublishing.com/pre-2005/id39.htm
CANADA DRY
My pay says heave ‘er
So chinooked in Chicoutimi
For all the Mary-Christs & Little Johns
Broken from faith but still wrong
So fuck a grand vessel, tails dance or mastiffs
A shinny I’d say Souris
For liquour laws controlled by the Crown
And the midst leaves no bars
Juicy uncaged deuce ode
Batawa bound with a Bloody Caesar
For inquiring mimes want to show
In a bureaucrat’s five-pound drain
Seek ye delay nut
Ookpik onboard an Okanagan outpost
For man bites God
A left hook, a broken aye
Languish new mitten rev sir divest plain
Fiddleheads of Flin Flon
For a priestly demolition
A feckless skimmer in that old lean development
Sizzle bats or canoe havin’ bat’s teeth
Pogey people passing Penetanguishine
For the Merry Devil of Edmonton
Like fossils on the scrotum of the quay
There’s none serving ten
With toques touted to Trenton
For a Bilingual Tim Donut
For the hate stint stinging its part
Feign sea surround petty round taut
Sasquatch skookum stupid so Sackville
For Now’s here; why’s I?
They are creating new minds for dimming
No try justification, no try method, no try eaten
Tourtiere tastes of Toronto
For it made this town CRAZY for kung fu!
I cruise, a lone rat
Disease our mutters
A potlatch for Point Pelee
For whatever else poetry is free & dumb
And we have acquired the ways of strangers
— Stephen Cain
____
from the Coach House Books collection, American Standard/Canada Dry
ars poetica: the language of light verse
upon reading w.h. auden
Experiment 99a. Where do poems come from?
Moisten your finger and hold it straight up in the air. You will notice at once that one side of the finger is cold. This is the direction from which the poem is coming.
—Sharon Harris
____
From Fun With 'Pataphysics, as found in a bookthug chapbook of the same name (www.bookthug.ca), and AVATAR, a full length collection published by The Mercury Press (www.themercurypress.ca)
Language Is A Game With Two Players
Stuck 100’ up in the air on the connector between the E-1 and the A-20
Gridlock in all directions
A kid on the radio sings “It ain’t the end of the world but you can see it from here”
My second perfect moment of the day
And the sun’s still only an inch above the eastern horizon
“OK ok,” says Uomo Bhob, “The first?”
“A revelation”
“Language is a game with two players: an I and a Thou”
“You would think that,” says Bhob, “you’re a translator”
“You know why I play?” asks Borul
He stares into whatever people stare into when they stare that way
“So you and I and all of us are a little less lonely”
And then he grins
“It’s the most live feeling I know”
Bhob says, “This is one hell of a tape job if I say so myself”
He’s busy wrapping packages of Captions II
“You’re still the king of the shipping clerks,” I say
He pumps like Mr Universe and says, “I know”
These are my friends
These are people I care about
—John Bloomberg Rissman
How the Work Gets Done
I challenge my dream: “Show me the Equator. I’ve never seen the Equator.” And I’m there, registering at a hotel on some tropical island in the middle of the ocean. I look around expecting the exotic but everything looks depressingly ordinary, as if this were some grubby convenience store in Canarsie. “Show me things I’ve never seen,” I command my dream. I’m imagining succulent equatorial flowers, blossoms billowing like parachutes, and juicy fuchsia-hued fruits big as boulders.
The scene changes, but instead of embroidered nature, I find myself in the hotel’s unremarkable cocktail lounge. Some guests have dressed formally. Others are naked. We’re just a bunch of people sipping our drinks, probably waiting for dinner. We attempt conversation, but it goes nowhere. “This is nothing,” I scold my dream. “Show me the horrors, the spectacular horrors of the Equator!” I’m imagining spiders towering like skyscrapers on stick legs, and malevolent vampire insects numerous and unremitting.
Nothing outwardly changes, although, one by one, I begin to recognize my fellow guests. In fact, I realize that I know every one of them and I wouldn’t voluntarily spend a second in their company! I notice, too, that everyone now is looking around the room and recognizing everyone else. From their gloom I surmise that everybody has discovered universal, mutual hatred.
Can it be that, compelled by the rules of civility, we must spend our short, once-in-a-lifetime equatorial vacations in this Sartrean hellhole in intimate contact with those who revolt us?
But then it dawns on me: “Thank you,” I tell my dream. “For this true horror of the Equator!”
—Sandy McIntosh
IFUGAO RED
Wings flare. Hawk soars
as if the sky is Ifugao red
and her wrists shake
with seven silver bracelets, each
dangling a stone etched with
memories formed as feathers,
teardrops, arrowheads. The sound
of her grandmother crushing
gabi leaves for a spell
fills the room. The window persists
with its lack of your face
supplanting the pumice stones
during the monsoon season
in Pampanga. After tasting
salt through her tears
why did you open your pores
to the temptress' curved copper
tongue? Does the witch paint
heavy verbs on your thighs? Boulders
like "ravage," "pillage," "ransack"
or "despoiled"? Peel off their signs
for sweetness: her damp eyes walking
to the front mahogany door
to answer your wing beats
discerned through the breeze.
To arrive home is to release your
armor, dropping it on ancient terrazzo.
—Nick Carbo and Eileen Tabios
____
First published in Saints of Hysteria: A Half Century of Collaborative Poetry (Eds. Denise Duhamel, Maureen Seaton, and David Trinidad, Brooklyn, Soft Skull Press, 2007) and forthcoming in THE LIGHT SANG AS IT LEFT YOUR EYES (Marsh Hawk Press, Fall 2007).
ATHENA
What’s deemed necessary
changes. Hear
me
listening in another
decade, editing
last
and first lines.
A different
Singer
croons from behind
an impassive
speaker.
I listen, cross
out more
lines.
The poem cannot
be pure.
Sound
never travels unimpeded
by anonymous
butterflies.
Writing it down
merely freezes
flight—
Translation: an inevitable
fall. Take
control
by shooting it
as if
pigeons
were clay: This
one is.
But
It provided pleasure
once, was
“necessary.”
Once, it flew
with non-imaginary
wings.
O, clay pigeon.
Translation: the
error
is my ear’s.
The sky
ruptured
suddenly—I saw
but did
not
hear the precursor
fall of
leaves.
*****
Edit it down.
Edit it
down.
Silence is Queen,
not lady
-in-waiting.
Edit it down.
Edit it.
Edit
it down. Edit
it. Edit.
Edit.
—Eileen Tabios
_____
From DREDGING FOR ATLANTIS (Otoliths, 2006)
SENTENCES
The same sky imaging your eyes folded over me as a perfume’s memory of “wine, pearls and stone” when I received your dream marveling I’ve become “a footnote grown larger than the book.”
The same book you read to excavate me is a fiction I sculpted to soften my marble core, as if—and I still don’t know—words can save me from myself.
The same poem you are feeling your way through is a thin, blue vein dug out from beneath my flesh for the color of a sky breaking into scarlet to set words afire.
The same byline your fingers caress now is text on a page, “which is to say,” yet another tree was axed for you to find the Iron Gate behind which I long hid with uncut hair and wounds as eyes, waiting for You.
—Eileen Tabios
_____
First printed in Five Fingers Review and forthcoming in THE LIGHT SANG AS IT LEFT YOUR EYES (Marsh Hawk Press, Fall 2007)
Poetry Reading
There are four in the audience,
five if you count the poet’s son
who is slumped in the metal maw
of folding chair as if he’d rather be
eaten alive than endure another reference
to millennial decrepitude, wind
in the rattle of oaks or the big ugly lizard
of heartbreak. He knows all of her stories,
where her voice will rise and lift for effect.
She’s reading the poem about the feather again. At eight
he learned to take out the e to spell father.
The woman hunkered in the front row is clothed
in an armor of silver jewelry. She emits a low
sigh at the end of every poem. Later, she will
corner his mother over styrofoam coffee
and little cookies to tell her how moved
she was, but really to relate her own stories of lizards.
He imagines the soccer ball he could kick
high over their heads like a dicey moon, the shouts
from the crowd as it sails toward its goal. His dream
is interrupted by his mother’s voice breaking like a shock
of crows on the word “resistance.” She loves
that word, carries it in her purse,
coiled in her tubes of lipstick. She powders
it on her nose, on the cheek that he kisses
goodnight.
—Jennifer Hill-Kaucher
I Hate Poetry
I have tried to like poetry –
its enjambed stares
and the patient writers of it
who toil at their desks,
scribble into black notebooks
in parks with the pigeons
and bread-crumbed homeless
who snore their way to inspiration.
I admit I dated a poet
in an attempt to fall in love with the genre
not the person. I fell in love with
his cologne instead, the zaftig waft
of it behind him, an aura of an aura.
I shampooed my hair in coffee
and drank in the tweed of his sweaters,
as metaphor trudged beyond us,
then took the A-train into an alley
for a mugging.
Now that I am too old
for my death to be sad
I wish for poetry to knock
on my door, let himself inside
and leave a black mountain
of punctuation marks
like a garden of orchids
on the open field
of my neck.
—Jennifer Hill-Kaucher
Ars Poetica
You don't go looking for poetry finds.
You go, looking, for poetry finds.
—Dan Waber