Wednesday, November 6, 2013

An Adrienne Rich Poem








Stepping Backward


Good-by to you whom I shall see tomorrow,
Next year and when I'm fifty; still good-by.
This is the leave we never really take.
If you were dead or gone to live in China
The event might draw your stature in my mind.
I should be forced to look upon you whole
The way we look upon the things we lose.
We see each other daily and in segments;
Parting might make us meet anew, entire.

You asked me once, and I could give no answer,
How far dare we throw off the daily ruse,
Official treacheries of face and name,
Have out our true identity? I could hazard
An answer now, if you are asking still.
We are a small and lonely human race
Showing no sign of mastering solitude
Out on this stony planet that we farm.
The most that we can do for one another
Is let our blunders and our blind mischances
Argue a certain brusque abrupt compassion.
We might as well be truthful. I should say
They're luckiest who know they're not unique;
But only art or common interchange
Can teach that kindest truth. And even art
Can only hint at what disturbed a Melville
Or calmed a Mahler's frenzy; you and I
Still look from separate windows every morning
Upon the same white daylight in the square.

And when we come into each other's rooms
Once in awhile, encumbered and self-conscious,
We hover awkwardly about the threshold
And usually regret the visit later.
Perhaps the harshest fact is, only lovers--
And once in a while two with the grace of lovers--
Unlearn that clumsiness of rare intrusion
And let each other freely come and go.
Most of us shut too quickly into cupboards
The margin-scribbled books, the dried geranium,
The penny horoscope, letters never mailed.
The door may open, but the room is altered;
Not the same room we look from night and day.

It takes a late and slowly blooming wisdom
To learn that those we marked infallible
Are tragi-comic stumblers like ourselves.
The knowledge breeds reserve. We walk on tiptoe,
Demanding more than we know how to render.
Two-edged discovery hunts us finally down;
The human act will make us real again,
And then perhaps we come to know each other.

Let us return to imperfection's school.
No longer wandering after Plato's ghost,
Seeking the garden where all fruit is flawless,
We must at last renounce that ultimate blue
And take a walk in other kinds of weather.
The sourest apple makes its wry announcement
That imperfection has a certain tang.
Maybe we shouldn't turn our pockets out
To the last crumb or lingering bit of fluff,
But all we can confess of what we are
Has in it the defeat of isolation--
If not our own, then someone's, anyway.

So I come back to saying this good-by,
A sort of ceremony of my own,
This stepping backward for another glance.
Perhaps you'll say we need no ceremony,
Because we know each other, crack and flaw,
Like two irregular stones that fit together.
Yet still good-by, because we live by inches
And only sometimes see the full dimension.
Your stature's one I want to memorize--
Your whole level of being, to impose
On any other comers, man or woman.
I'd ask them that they carry what they are
With your particular bearing, as you wear
The flaws that make you both yourself and human.


(1951)

Sunday, October 27, 2013

A Lauren K. Alleyne Poem

Poem of the Week: Lauren K. Alleyne

What Night Knows

(After Gauguin's Le Cheval Blanc)

Some women ride horses.
Some women are horses.
Some horses are wolves
who have lost their teeth
and are ridden by women.
Some wolves are horses
ridden wild with dreams.
Some women are dreams
in the shape of horses
free of the ghost of wolves.
Some ghosts are women,
their bent air a kind of riding.
Some women ride dreams
and bend the air, freeing
the ghosts and the wolves,
and the horses.


(2013)

Saturday, October 19, 2013

POEM: "Her"

Her


I love you I see inside

you say it’s outside you
broken against a wall
in back of a wooden crate
splinters taken by a rat
in the innards of a mind
fetched to the second nest

which has two faulty hinges
the smile easy to remember
moving like a tired spine 
the corner of a rainy night.


© 2013 Rob Schackne

Friday, October 18, 2013

Vermeer, "Girl With A Pearl Earring" (1665)




You know you want to write something about her pale face, the almost smile at the almost man. Her eyes. Is she experienced? She never walked the streets wearing the turban or the big ball thing. On Saturday night she cooked dinner for me. For her birthday I gave her a deep blue lapus lazuli necklace with 6 pale amber pieces. I see her again and ask her if she ever wears it. I don't, she says, actually I prefer a gold necklace. So nice to see you tonight. Another drink? Throws the dice for another vigor. Throws the dice again.

Saturday, October 12, 2013

POEM: "On Turning Sixty Jesus"

On Turning Sixty Jesus


Counting positrons against the tide
As if to balance the oceans of this world
In directions likely to be better curled

Though accidents and near-accidents proved
A different physics it never stopped the climb
The jump the fight the poems the wrong ones
The desperadoes the women and the beasts

(Get everything you want & you still don’t have it)
Nearly killed me turning their horns my way
Horses snakes bugs diseases borne by air
By water times a hundred the swell looked on
Nodding there was really nothing left to do

But wait and watch the great idiot ride it out
The sun faded on the beach there were shells 
I barely saw the luck collected in the sand.

                                                     In the Year of the Snake


© 2013 Rob Schackne

Saturday, October 5, 2013

POEM: "After Horace"

After Horace


It wasn’t till I got old and cranky
my shields scuffed by faster men
and shadows played with my eyes
that I remembered being told 
slow down, find peace with them.
That was after the last one. Comrades
could think of nothing more helpful
than reprove my new infirmity. Only pity?
Remember the blood that fell along the way.
Consider how long the winter will last.
When I recovered I went back hard.
The trick, like it always is, even limited
is never to be where you have to be
to endure the unendurable. Say it.


© 2013 Rob Schackne

Tuesday, September 24, 2013

A Horace Poem

To Licinius


You'll do better, Licinius, not to spend your life
Venturing too far out on the dangerous waters,
Or else, for fear of storms, staying too close in
To the dangerous rocky shoreline. That man does best
Who chooses the middle way, so he doesn't end up
Living under a roof that's going to ruin
Or in some gorgeous mansion everyone envies.
The tallest pine shakes most in a wind storm;
The loftiest tower falls down with the loudest crash;
The lightning bolt heads straight for the mountain top.
Always expect reversals; be hopeful in trouble,
Be worried when things go well. That's how it is
For the man whose heart is ready for anything.
It's true that Jupiter brings on the hard winters;
It's also true that Jupiter takes them away.
If things are bad right now, they won't always be.
Apollo isn't always drawing his bow;
There are times when he takes up his lyre and plays,
And awakens the music sleeping upon the strings.
Be resolute when things are going against you,
But shorten sail when the fair wind blows too strong.


(Horace, Odes II, 10
Tr. David Ferry, 1998

Sunday, September 22, 2013

POEM: "How We Might Look Like Fools"

How We Might Look Like Fools


When a little kid puts his pants on backwards
the shoes on the wrong foot proudly to display
ah we might look like fools mismatched ideas
a bit of this a bit of that maybe you don’t get it
a little kid listening to the grown-ups laughing
the glasses raised high the noise getting louder
Uncle Alice is passed out and put into my room
I go in to look at him snoring and touch his nose
how we might look like fools strange match moods
it’s one part Paul Desmond one part of Jim Hall
then time for bed like the kid what does it mean
I see this but I want something else go to sleep
aye we might look like fools look at everything
proudly the ideas images and music come along
don’t look like anything you’ve ever seen before
you're told it’s different maybe the dreams will fit.


© 2013 Rob Schackne

Saturday, September 14, 2013

A Jack Gilbert Poem (2)

Ovid in Tears


Love is like a garden in the heart, he said.
They asked him what he meant by garden.
He explained about gardens. “In the cities,”
he said, “there are places walled off where color
and decorum are magnified into a civilization.
Like a beautiful woman,” he said. How like
a woman, they asked. He remembered their wives
and said garden was just a figure of speech,
then called for drinks all around. Two rounds
later he was crying. Talking about how Charlemagne
couldn’t read but still made a world. About Hagia
Sophia and putting a round dome on a square
base after nine hundred years of failure.
The hand holding him slipped and he fell.
“White stone in the white sunlight,” he said
as they picked him up. “Not the great fires
built on the edge of the world.” His voice grew
fainter as they carried him away. “Both the melody
and the symphony. The imperfect dancing
in the beautiful dance. The dance most of all.”



(2009)

Thursday, September 12, 2013

A Michael Palmer Poem









Your Diamond Shoe


Don't write poems about what's going on.
Murderers and liars, dreams and desires,

they're always going on.
Leave them outside the poem.

Don't describe your sad-eyed summer home
or wide-eyed winter home.

Don't write about your being homeless
or your home-away-from-home.

Don't write about war,
whether you're against or for,

it's the same fucking war.
Don't talk about language,

don't talk about loss.
Don't mention truth or beauty

or your grandpa's bones.
No one wants to know

how your father/brother/lover
deducted himself. Razor, rope, or gun,

what's the difference?
Whisper nothing of the snow

on the Contrescarpe,
nothing of moths, their fluttering arcs,

or the towers--how we watched them fall.
Don't write at all.


(2005)

Thursday, September 5, 2013

A K.J. Bishop Poem

The Crone Meets Her Son (On The Battlefield)


The revolution, this time, was 'to actualise the marvellous'. 
   The gunslinger

enlisted, far from sure of his part, for his weapons fired only
   common lead,

not multicoloured lights or waves of kundalini. But he had,
   in his dreams,

dived to the bottom of the ocean and seen the carcass of a
   whale, with hagfish

at it all around like mad sperm around a dead egg, devouring
   the infertile germ,

and felt his private share of responsibility, like a new organ
   in his body, a harmonica,

maybe. He had always been around the edges, among the
   listeners, tapping a foot,

but if he really was a boar leaping out of the sea, he wanted
   to know that furious joy.

There was no commander as such to give orders, so he found
   a place on the left flank

with the giraffes, and an old woman who had a tray of
   buttons and a thermos

of black coffee, infinitely replenishing, which she shared
   around like a suave host.

With gratitude he drank the unsweet brew in the tin cup and
   remembered how, as a boy,

he'd loved the tubes of buttons in the haberdasher's shop,
   like lasting candy,

kaleidoscopes, or magic money for buying magic things
   from magicians.

Perhaps, he mused, that was where his longtime love of
   finery budded in tulip-stripes.

Looking back, said the woman, it's all ravines and tempests.
   You're cold, have my coat,

he said, stripping down to waistcoat and watch-chain. It's
   bulletproof, and keeps the rain out.

Well, I like rain, but thank you, and here, choose some
   buttons, son. The pearl is smart,

but please yourself. Thank you, ma'am, and in the yellow
   dawn he chose plastic sections of Jupiter

and brass wafers for the charity of the poor, and pearl for the
   whale and the egg,

and fake tortoiseshell for the giraffes, and fuchsia velvet
   domes for sex and love

and loaded them in his old shotgun, and grinned like a fox
   sucking shit through a sieve

because that's how it's done, and he followed the old woman,
   who followed no one,

cocking her leg at every pillar, eating out of garbage cans,
   sniffing bums in trousers,

her jubilant howl assuring him this wasn't desertion at all.



(2007)

Tuesday, September 3, 2013

POEM: " Folding Paper"

Folding Paper


I ask him if he likes to read
sure he says I read all the time
terrific what are you reading now?
The Practical Illustrated Encyclopedia of Origami
sounds like a pretty complete guide I say
oh yes he says it’s very useful, tell me
what do you do in your free time?


© 2013 Rob Schackne

Monday, September 2, 2013

A Seamus Heaney Poem












From The Frontier Of Writing


The tightness and the nilness round that space
when the car stops in the road, the troops inspect
its make and number and, as one bends his face

towards your window, you catch sight of more
on a hill beyond, eyeing with intent
down cradled guns that hold you under cover

and everything is pure interrogation
until a rifle motions and you move
with guarded unconcerned acceleration—

a little emptier, a little spent
as always by that quiver in the self,
subjugated, yes, and obedient.

So you drive on to the frontier of writing
where it happens again. The guns on tripods;
the sergeant with his on-off mike repeating

data about you, waiting for the squawk
of clearance; the marksman training down
out of the sun upon you like a hawk.

And suddenly you're through, arraigned yet freed,
as if you'd passed from behind a waterfall
on the black current of a tarmac road

past armor-plated vehicles, out between
the posted soldiers flowing and receding
like tree shadows into the polished windscreen.


(1987)

Sunday, September 1, 2013

MUSIC: Elis Regina & Tom Jobim, "Aguas de Março", 1974



Brazilians voted "Aguas de Março" the all-time best song the country ever wrote. It's a large claim, but I won't disagree. Enjoy the performance. It's hard to watch just once.

http://www.youtube.com/watch?v=Qle1OrunKnE

An Antonio Carlos Jobim Poem

Águas de Março (1972)





Saturday, August 31, 2013

A Geraldo Vandré Poem

Sorry If I Don't Mention The Flowers


Walking and singing and following the song
We're all equal, whether arm in arm or not

In schools, on the streets, fields, construction sites
Walking and singing and following the song

Vem, vamos embora que esperar não é saber
Quem sabe faz a hora não espera acontecer

Through the fields the hunger of the great plantations
Through the streets we march in nervous bunches
Still making the flower the strongest verse
We believe that flowers will win against the guns

Vem, vamos embora que esperar não é saber
Quem sabe faz a hora não espera acontecer

There are soldiers (whether they're armed or not)
Who have almost all lost an arm, or a hand
In the forts where they were taught old lessons
To live for their country, & to live without reason

Vem, vamos embora que esperar não é saber
Quem sabe faz a hora não espera acontecer

In schools, on the streets, fields, construction sites
We're all soldiers, whether we are armed or not
Walking and singing and following the song
We're all equal, whether arm in arm or not

Lovers of the mind, of the flowers in the ground
The certainty of your thought, the history of your hand
Walking and singing and following the song
Of learning, & then teaching this new lesson

Vem, vamos embora que esperar não é saber
Quem sabe faz a hora não espera acontecer


(1968) 

 from the Portuguese

Friday, August 30, 2013

MUSIC: Buika, 2 Songs, 26/8/13



Buika's duende. Hear it & see it here.

http://www.npr.org/event/music/214909117/buika-tiny-desk-concert

POEM: "Concha Buika"

Concha Buika


She sings la Nave del Olvido
she sings a thousand songs I loved
she sings un poquito más y más
the burning swell of her breast
the blue guitar and the blues inside it
everyone sings una noche 
más, it passes
what’s invisible sometimes happens
you close your eyes you hold yourself
you watch the boat leave the harbor again
the world whispers espérame. Hold me tight.


© 2013 Rob Schackne

Wednesday, August 28, 2013

POEM: "A Dog Show"

A Dog Show


I know it’s just a show trial 
It’s a good dog that understands
you will kill him if he misbehaves
A world of justice won’t ever console you
I say and right then a bitch in heat marches
past his Yorkie with a bow in his hair who
sets after her crack (a little kid is monstered)
our man jumps up knocks over his chair etc.
returns 15 minutes later carrying the thing
And what do we have today on Saturday
that we didn’t have on Friday, huh?

I tried to ask him. No response.


© 2013 Rob Schackne

Tuesday, August 13, 2013

POEM: "Third Coffee After The Atomic Opera"

Third Coffee After The Atomic Opera


I.

Perfect half-moon we sit outdoors
evensong with double expressos

desperates & not-so-desperates
plying dreams we help to futurize

ancient wishes excavate the East
no idea where the digging leads.


II.

The usual clause that’s in every contract
tear it back down to the Sanity Clause

redraft it as the Liberty Clause
the last precedent of mercy

but there ain’t no sanity
you don’t fool me.



III.

They say there is a pretty spirit
far above the general despair
yesterday was the time for that
sure we will feel what we must

now picture us beautiful beneath
the high dumb parapets of hope
waiting for whose god knows what
for it to humpty-dumpty I guess

is it real bad now please don’t cry
it’s bad enough we have to part
in the middle of this no please don’t
bother OK fetch me anything.


© 2013 Rob Schackne

Thursday, August 8, 2013

POEM: "On Thursday"

On Thursday


If reporting this the media must
use standard sources do not speculate
or exaggerate and do not independently

investigate report or comment if reporting
the sunrise human rights or screaming
because the media must use standard
sources and not speculate or exaggerate
human rights screaming or the sunrise
and do not independently investigate report
or comment if reporting this the
media uses the standard sources not
screaming the sunrise or human rights
not speculate or exaggerate and do
not independently investigate report or comment.


© 2013 Rob Schackne

Wednesday, August 7, 2013

An Amanda Z. Poem

As The Sky Begins To Clear

雨霁云开

淅淅小雨渐声无,
翳翳薄衣恰适时。
杯盏欢声逍遥客,
谁言斯人独寂寞?


The very moment the rain slows down,
A good time to forget about wet clothes.

All the patrons are laughing & singing,
Who knows if this man is lonely?



(2013) Tr. Li Jian Rong & Boris Knack

Saturday, August 3, 2013

A John Tranter Poem

John Tranter with his basenji dog Biscuit, circa 1990

Detour


A, hot pink, babies angry when kissed,
Gummy smile clenching to a scowl,
E, snow blessing the street, a lisped vowel
Hiding midnight’s infidelities, the wife pissed,
Smile (angelic) changing to grimace (foul),
Faint flutter of pulse at the wrist
As the Grim Reaper calls with his damned list.
I, sallow salmon, time to throw in the towel

And get outta here. O, tropical jungle green,
U, blue, lavender, dizzy aquamarine –
Padding from the pool, dripping wet, past
Croaking frogs, pythons, hamburger joints
Covered in vines, then a sign in Chinese that points
To the busy city – lights, people – home at last.



(2013)

Friday, July 26, 2013

POEM: "Guess What The Fucking Title Is"

Guess What The Fucking Title Is


Seismologists listen to a volcano
Screaming in Alaska, you jump in
And scream anthropomorphism
You scream the most pathetic fallacy
Meanwhile the cars and jack-hammers
Are all screaming, Listen! Listen!
I scream my secrets in your tender ear
You scream that you listen carefully
The passing clouds float overhead
A jet-fighter screams to its destination
I am listening as well as I can listen

Something in my kitchen is screaming
Some of this poem is screaming.


© 2013 Rob Schackne

Thursday, July 25, 2013

POEM: "While The Clouds Blow In From The South"

While The Clouds Blow In From The South


Inner Mongolia or Nei Menggu
shares an international border
with Mongolia (of course) and Siberian Russia
it stretches almost two and a half thousand kilometres
and Shaanxi province lies just beneath it where
three million farmers will face urban relocation
where it happens that a shining woman
I'm starting to love a little comes from
(yes, Virginia, it's on the fabled Silk Road 
and yes I have "guessed at the layers of her face")
although I know today’s easy trading
comes from another furious direction
only now I'm forced (again) to consider
to whose greater detriment it will be
if ever we crossed those long borders
how we would ever walk such a distance.


© 2013 Rob Schackne

Tuesday, July 23, 2013

POEM: "When I Paint My Monster Piece"

When I Paint My Monster Piece


She tells me
that her beauty
is fading fast
she needs men
to buy her stuff
well shit I say

suan tian ku la
show me more
tell the story
a 30% chance
that you’re wrong
a 60% chance
you’ll tell me
how you gathered
so much pain
(no answer there)
then she said
all our life
we look but
we can’t see
just like me
I’d like to say
20 years later
we are married
but we’re not.



("Suan tian ku la" is a popular Chinese saying that means "sour, sweet, bitter, spicy" — i.e. the 4 principal Chinese food classifiers.)


© 2013 Rob Schackne

Monday, July 22, 2013

An Emily Skillings Poem


Canary


I held my canary out for you when you said your canary felt a little droopy.
Your canary was a ruby drop in my frosty glass of canary.
The canary between us grew for many days.
I wanted to fight the canary, but you held me back.
The officer shot the unarmed canary on a canary I used to walk down every day.
When you touched the canary underneath my knee, a balloon filled with canary in
        an eastern corner.
The sound of unmarked canaries overhead frightened the rural hospital.
The president has never commented publicly on the controversial canary program.
Can you remember where that canary was that we tried so many years ago?
Oh, that canary feels so good—just like that.
The canaries carry electricity to our houses in even smaller canaries.
When the activists passed out yellow canaries I took one and read it.
A canary is born every 8 seconds.
I log onto the large canary to check how my canary is faring.
When I go to the supermarket, I check the codes on the canaries to make sure they are 
       not genetically modified canaries.
Many canaries suffer.
She pressed a thumb into my muscle and all the canary was released into me.
When I went outside I saw the sky. It was filled with canary.
You held the canary up to my face. You vibrated the canary at a new frequency.
You said the best time for canaries was 11:30 am.


(2013)

Sunday, July 21, 2013

A Bruce Snider Poem

Afterlife


I wake to leafless vines and muddy fields,
patches of standing water. His pocketknife

waits in my dresser drawer, still able to gut fish.
I pick up his green shirt, put it on for the fourth day

in a row. Outside, the rusty nail he hammered
catches me, leaves its stain on everything.

The temperature drops, the whole shore
filling with him: his dented chew can, waders,

the cattails kinked, bowing their distress.
At the pier, I use his old pliers to ready the line:

fatheads, darters, a blood worm jig. Today, the lake’s
one truth is hardness. When the trout bite,

I pull the serviceable things glistening into air.


(2012)

Wednesday, July 17, 2013

An Alfred, Lord Tennyson Poem

From "Maud" (Part I, XXII, 10)


There has fallen a splendid tear
   From the passion-flower at the gate.
She is coming, my dove, my dear;
   She is coming, my life, my fate.
The red rose cries, "She is near, she is near;"
   And the white rose weeps, "She is late;"
The larkspur listens, "I hear, I hear;"
   And the lily whispers, "I wait."



(1855) 

From Jerome K. Jerome's "Three Men In A Boat"


It was a glorious night. The moon had sunk, and left the quiet earth alone with the stars. It seemed as if, in the silence and the hush, while we her children slept, they were talking with her, their sister – conversing of mighty mysteries in voices too vast and deep for childish human ears to catch the sound.

They awe us, these strange stars, so cold, so clear. We are as children whose small feet have strayed into some dim-lit temple of the god they have been taught to worship but know not; and, standing where the echoing dome spans the long vista of the shadowy light, glance up, half hoping, half afraid to see some awful vision hovering there.

And yet it seems so full of comfort and of strength, the night. In its great presence, our small sorrows creep away, ashamed. The day has been so full of fret and care, and our hearts have been so full of evil and of bitter thoughts, and the world has seemed so hard and wrong to us. Then Night, like some great loving mother, gently lays her hand upon our fevered head, and turns our little tear-stained faces up to hers, and smiles; and, though she does not speak, we know what she would say, and lay our hot flushed cheek against her bosom, and the pain is gone.

Sometimes, our pain is very deep and real, and we stand before her very silent, because there is no language for our pain, only a moan. Night’s heart is full of pity for us: she cannot ease our aching; she takes our hand in hers, and the little world grows very small and very far away beneath us, and, borne on her dark wings, we pass for a moment into a mightier Presence than her own, and in the wondrous light of that great Presence, all human life lies like a book before us, and we know that Pain and Sorrow are but the angels of God.

Only those who have worn the crown of suffering can look upon that wondrous light; and they, when they return, may not speak of it, or tell the mystery they know.

Once upon a time, through a strange country, there rode some goodly knights, and their path lay by a deep wood, where tangled briars grew very thick and strong, and tore the flesh of them that lost their way therein. And the leaves of the trees that grew in the wood were very dark and thick, so that no ray of light came through the branches to lighten the gloom and sadness.

And, as they passed by that dark wood, one knight of those that rode, missing his comrades, wandered far away, and returned to them no more; and they, sorely grieving, rode on without him, mourning him as one dead.

Now, when they reached the fair castle towards which they had been journeying, they stayed there many days, and made merry; and one night, as they sat in cheerful ease around the logs that burned in the great hall, and drank a loving measure, there came the comrade they had lost, and greeted them. His clothes were ragged, like a beggar’s, and many sad wounds were on his sweet flesh, but upon his face there shone a great radiance of deep joy.

And they questioned him, asking him what had befallen him: and he told them how in the dark wood he had lost his way, and had wandered many days and nights, till, torn and bleeding, he had lain him down to die.

Then, when he was nigh unto death, lo! through the savage gloom there came to him a stately maiden, and took him by the hand and led him on through devious paths, unknown to any man, until upon the darkness of the wood there dawned a light such as the light of day was unto but as a little lamp unto the sun; and, in that wondrous light, our way-worn knight saw as in a dream a vision, and so glorious, so fair the vision seemed, that of his bleeding wounds he thought no more, but stood as one entranced, whose joy is deep as is the sea, whereof no man can tell the depth.

And the vision faded, and the knight, kneeling upon the ground, thanked the good saint who into that sad wood had strayed his steps, so he had seen the vision that lay there hid.

And the name of the dark forest was Sorrow; but of the vision that the good knight saw therein we may not speak nor tell.


(1889)

Monday, July 15, 2013

A Ravi Shankar Poem

Ravi Shankar. Photo by Adriane Colburn

An Unverifiable Theorem


The gun once introduced must be forgotten
because its snub-nose gives a pocket the weight
of syllogism: no posthumous event can affect us.

Or, say, after it occurs, death cannot affect us:
it’s impossible to imagine what we have forgotten
when who we were no longer has any real weight.

Stripped of consciousness a body has the weight
of water evaporating from a lake: breath leaving us.
Once introduced the gun cannot be forgotten.

The weight of the forgotten: not what leaves us.


(2009)

A Harry Mathews Story



Observations Of A Crab


Inside her, blood began to flow. Herbert's reflexes had thrust his fat buttocks hard into her belly at the same instant that the stump of duck thigh he had swallowed was ejected like a slung stone from his windpipe--its lodging there had been what prompted Amandine to leap behind him and vigorously administer the ever-reliable Heimlich maneuver.

Herbert had attracted her attention as soon as he and his wife, Marsha, began ordering their meal, he speaking with a stutter like a pneumatic drill, she with a lisp that suggested a woolen gag: a counterpoint of sounds that Amandine found positively fascinating, quite unlike the impression they had made upon entering--just another overweight American couple.

Dorothée had just been telling her to abandon the object of her obsessive worrying. Colette had previously recommended email, Béatrice the telephone. Amandine had not told them she was pregnant, she explained her unfeigned anxiety by the fact that more than two weeks had already passed since she had been promised a letter and none had arrived. The man had returned to America at the end of his tourist's stay, during which he had engaged with her in a passionate affair. Amandine had decided to tell Béatrice, Colette, and Dorothée about it, since they were all friends and, as such, had met at this bistrot on the Left Bank; one which, incidentally, I am happy to recommend: Aux Fins Gourmets, 213, boulevard Saint-Germain, tel. 01 42 22 06 57.



(2011)

Sunday, July 14, 2013

An Adam O. Davis Poem





What 

                                                                                                              
What Blues?


Horseflies hunt in the hockshop, heel
like hinges and rest like rust when dead.


They sting despite antidote, despite
aspirin, and give themselves so gladly

to every inevitable end. At this hour dust
is called for. Call it quick. The horseflies

have stung their last. In back, the blind
man’s saxophone is a sorry mess of brass

surrounded by a horoscope of household
appliances. Accordions resigned to the conspiracy

of cobwebs. Wedding rings and handguns,
comic books and collectible plates.

Dead horseflies, lucky horseshoes, defanged
hand grenades. How lost are the least of us?

In time, a bottle brings the blizzard. Ask after
an infirmary for the frostbitten. Ask another

three bars of brass, barely played in a place
where every mouth is a purse of smoke.

Someone asks for a kiss. The night
is a cash register that doesn’t know when to quit.


(2011)