The Last Painting

 

The brushes kept slipping from his fingers.
Wind-tortured fields of wheat under darkened skies-
every brushstroke a nail.
The season's rustling hurry and the dusk
emotionless crows flap up to multiply
dun the wheat's gold and usurp the storm.
The blackened, infinite blue,
his palette's only suggestion of the primary;
red and yellow are plant and soil,
each decaying at the other's root.
And why the two moons? A starless night will come?
Is one a waning sun? When all else is clear:
grasses sprout darkly along the muddy path
that goes into the field to stop.
Or turns to go where the eye can't see.

Note: There’s some disagreement about whether this 

or Tree Roots was Van Gogh’s last painting. In terms

of content, this, Wheat Field with Crows, is the more

convincing candidate.

Return 1 (Brice Marden), Sonnet #627

 

The structured residue of brilliance,

A layering of the lesser or least

Into a visual and mental feast,

Or, gestures, moveless, the dimliest dance —

Paint rules the kingdom it created,

The painter’s invisible intent, fingers

Drawing on experience that lingers,

Slowly diminished, subtly ablated,

Of null paintings seen or contemplated.

(Or call them conscious unconscious singers,

For all music without words is abstract,

The furthest thing from an idea or fact.)

The painter has brushes to think or say.

He motions — his eye makes or takes away.

Thanks to Jeffrey Strayer for posting the Marden painting

and for suggesting two lines of the sonnet.

On Buson’s Portrait of Basho

Old grinner,
what's under your sky blue cap?
Not haiku!

My Dear Udnie, Part One (of three)

 "My Dear Udnie" is one of what I call my "voices poems." Each stanza is a separate voice, though not necessarily a separate person. It was spurred by visits to great museums, including the Hirshorn Museum, the Museum of Modern Art, the Metropolitan Museum of Art, the Toledo Museum of Art, and the National Gallery. I bought postcards of great paintings I'd seen at each museum and these stacked up on my writing desk. Eventually, I composed this poem with each stanza prompted by a single painting. (The title, My Dear Udnie, is the name of a painting by Francis Picabia (the third image in section II.)

I

Your face is energy beauty expends

in the gilded bust green in blue lamplight.

Molded by thumbs, the lumpish moon ascends

to fright the sky and hush the dream of night.

Steeple, cornice, dome, gable, pyramid—

today I must speak to you in flat roofs,

simple boxes, as to a crown amid

capitals, monumental and aloof.

Who did these paintings in my studio?

I’ve kissed that flesh, rubbed it raw as roses.

Who did these paintings?  Do you know?

You’ve sat for me in similar poses?

II

It’s one thirty.  We should go to our homes.

Maybe next time we won’t just walk these streets,

adding to the shadows.  We’ll talk in poems,

let them distinguish the truth from deceit.

Lovers stare at themselves through a window—

faces motionless behind glass and frame.

Blinking unseen, they’re bored by what they know.

Either might break a smile and nothing change.

You are my private demon in this hell,

my love.  A lady who carries a fan,

soothingly forever saying farewell.

Give the fan to me and wave your hand.

III

All thought of you is memory in abstract—

congeries of blades and thudding saps.

A nice nose, long-licking tongue: discrete facts

hold harmless stupid phrases, futile haps.

You are like to god as stones multiplying arcs.

I don’t say this to anger you, but explain

the hard singularity of your remarks,

which leave me faithless on a pebbled plain.

We all dreamt deserts in rainbow clothes,

wanderers following mirages of love.

A lioness breathed on me, whispering oaths—

the moon’s kiss a slap of a limp glove.

IV

You see a candle in the mirror, cry

tears of a skull couched in a maiden’s lap.

Her breasts grow white and rigid, calcify—

orgasms crack in the cranial gap.

The life inside my soul is a black crow

kissed and stroked by flesh I can’t control.

No old boy, no new man is not my foe.

I give myself to each to char his soul.

New crystal, blown white hot from inside—

cool simplicity, single purposes.

It changes when faceted, like a bride—

innerness revealed in spectral surfaces.

The Bride Stripped Bare By Her Bachelors, Even (The Large Glass), by Marcel Duchamp

 

Red lines pressed upon the large glass—

a clear field where small acts take place.

Her gaze lost in three tissues of cloud,

her waist in stays closing off the air,

she’s mad and will not greet her suitors.

Beyond the street—dust collecting in homes’

new windows, grit loosening from shingles.

She watches children teach birds to kneel.

Her priest instructs:  In prayer you whistle

because god grows old and only birds

can make a sound to pierce his tired ear.

Oaken wainscoting, parquet floors, the house

beneath a coat of white paint; white curtains

adorn the flat shoulders of the window seat,

where she sat as a child, her back to the street,

and memorized the rattle’s conversation.

The pad of flesh between her lips dances:

Tell us, Old Town, the color of your buildings,

like sawdust of the ancient windbreak blighted,

shown no pity by the time, taken at the fullness

of its usefulness, and what will bring it back?

Show us trees descending staircases.

Explain the wind.  Don’t show us what it blows.

One man will know the whiteness of her body.

It will cost money to fill her with his fluid.

Shirking his vigil duty, a drunk male

slips from his tin coat and runs away—

his scream knocks a cloud out of the sky.

The other eight, glazed by window sweat,

spin in place, fool with spoons, sip

from hot cups the taste of her nipples.

Beneath the floor hard earth holds back

the odor that aspires to ghosthood and hopes

one day to mount the basement steps.

Note: The Bride Stripped Bare By Her Bachelors, Even (The Large Glass),

by Marcel Duchamp, is installed at the Philadelphia Museum of Art.

Miro’s “The Farm”

 

Revenged in sleep, yes, a good omen:

volcano, eggplant, hawk feather

conditioning a moment of pure certainty,

instead of remorse. Birdsong dissolves

the hard black shell of their dream.

She breathes deeply, counts the number

of all those living and gives thanks.

Her skin moves over bone like sad music,

a lamentation of slow recognition.

She thinks, The next is tree across a gorge,

a trick of the eye, a drunk’s progress,

the balanced walk soon elbows and knees,

the hopeful ephemerality of creeping

going lower, the rigid belly at rest

on the gnarled limb tapering to a twig—

pointing finger arrested in emphasis.

Fear zero, the unimaginable destiny.

She twists her body like a swimmer turning

backstroke into butterfly, affirming

things still work beneath the bedclothes.

She stretches to call the nurses: sun

a push button set in pale blue sky;

water can, milk pail, red tile, hedgerow;

plowed and seeded earth pocked by rain;

rafters, stepladder, goat bleat, cockcrow;

the fox’s daily raiding of the hen house;

the baby’s naked footprints in dried mud;

snail, calendar, chain link fence;

stones everywhere, endless hard work;

how her back bent beneath wet laundry,

milk, hay, dung, branches, children;

how it arched aching when her sun-fired

husband’s body pierced her in the shade.

The holy triangle: husband, children, self,

grown geometrically into a power of itself.

She remembers the fruit silk and sap smell

of the tree that grew in the center of the yard,

its branches arms with a hundred umbrellas.

In autumn, its shapeless, colorless body

stood like Death attempting resurrection.

The Angler (Paul Klee), Sonnet #625

Two worlds, water and air, wishing

And being, each unknown to each.

There’s no secret to fine fishing.

A boat is as good as a beach.

(The river is like a long book

Whose beginning sentence recedes.)

Please, allow no barb on the hook.

You’ll find trout hiding in the reeds,

Or flimmering in rapids, still

Above a bed of sand and stone.

Angling is no matter of skill.

It is for the fish alone

To consider and to chose.

Once hooked it’s yours to land or lose.

 

Kite

 

What is not about this day?

A blown tangle of string,

White paper, bowed

Cross of wood dangling

By its tail from a tree limb

Outside my office, twisting

Itself into knots, spinning

When the wind drops. It wasn’t

There weeks ago and when I

Pull it down this afternoon

With a broom handle

It won’t be any less there

Than it is here and now.

Rodin’s Baudelaire

At the gallery’s center,
the upturned face of a man
seen, from the right side,
earnestly seeking

what he hasn't made up
his mind about already,
upper lip a smooth
half-smile of vision,

from the left side, a sinner's
mask, dimpled where
two lips meet
tenderly in half-kiss,

then, face on, its
conflicts less resolved
than invisible, its mouth 
a poem of pursed silence.

Thus confronted, I
place cold hands
upon that cold, hard
seeker's ghost made 

black metal, my
thumbs on its pitted irises,
fingers in its ears, press
our foreheads together.

You, Rodin, read
the gallery thoughts of one
who is also the imprint
of thumbs in clay warm

with vigorous kneading; is
this the last exhaustion,
chapel of tortured beauty
prefiguring death?

I look, the guard
still gone, rap
the skull with my knuckles.
Rap again that ringing.