The Bride Stripped Bare by Her Bachelors (The Large Glass), 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.

Trinity

Lightning is the God of Again.

He strikes no place twice from above

As long as the clouds don’t bear rain

And heat remains frictionless love.

Air, God of Now, fills each tulip

Like a sun not subject to shade,

With love makes the balloon pop

And sees the dead carcass decayed.

The God of And is in the dust

Blown from soil, blown from flower,

Clinging in the storm clouds where lust

Of Now for Again breeds the hour.

The Argument from Design

The religious impulse, it seems to me, is more about seeking than finding. There’s no greater composer devoted to this search than Gustav Mahler. The most memorable concert I ever attended was roughly 15 years ago. At that time, my mother was dying of cancer and Alzheimer’s. The Berlin Phiharmonic and Claudio Abbado were performing Mahler’s 9^th Symphony, a work full of searching, sadness, desperation, resolution, and redemption. At the end of the performance, Abbado did something I’ve never seen a conductor do before, nor since. After the last note, he kept his arms up, pausing everything, the room entirely quiet, for the longest time. He waited and waited, and waited. No one made a sound. Then it hit me. It was as though he was saying, “Consider what you have just heard, the sorrow, the wonder, and the searching in this music, and do not despair.” It was a terrifying and joyful moment, and when he finally put his arms down, followed by the loudest applause I’ve ever heard.

Not long after that, I wrote this poem about searching.

The Argument from Design

There is only one tree in the park.

Not this day only, but every day,

I find that tree when the day grows dark,

Never before dark, when the gray

Leaves are like a whispered amen

To a prayer I wasn’t there to say.

Therefore, I’m cautious and slow when

I start to climb (I believe the tree

Is not unknown to other men);

I test each limb before I leave the

One beneath, without assurance

Any but the lowest will receive me.

Then my doubt subsides where I chance

Upon a tangled branch, ripped free

The time I almost lost my balance.

Now I can move quickly up the tree,

Into its clotted heart, where the dark

Yields, to my callused fingers only,

The life of the one tree in the park.

An Observation

It is hard to look at things,

harder to say what you see.

Rattle each grain of sand

in its grave of desert?

Why begin unless you intend

to see things to the end?

And do not rely on the words

you overheard in a dream,

not knowing what they mean,

how they sound, those half-shadowed

chess pieces maneuvering

in and out of thought, unthought.

Language goes hard as time

at the first understanding.

Everything goes inside it,

which is an unopened box . . .

vague outline of a blue box

against a black background.

Then your voice’s children

as they escape to the street,

as they wade into the crowd . . .

the wind sucks them through a bone.

A plume of exhalation

withers on the zero air.

We know only one thing,

as a novel knows one story,

like a closed book reading

its own discrete emotions

pressed to paper word by

word, comma by comma.

It is not only duration

allows our mouths approaching

by halves to sometimes kiss.

A word is startled by the eye,

and something is discrete,

if still unknown, no longer.

Sunday Drive

Cloudless afternoon –

the Mennonite girls

drive carriages down

gravel byways,

laughing under

black bonnets.

All but one

lean and wave

as we blow past.

On an iron pole

in a man-made pond,

a belted kingfisher

cocks his big-

headed profile

against the sun.

The lime headstones

in Cosper’s graveyard

illegible, our fingers

pick up granules

like salt from

their smooth faces.

Back on the course,

before a third put,

pausing for a jet’s

deafening passage

to fade, I hear

the wind vectors’

whipcrack, see

the ball breaking

toward the hole.

Quanta

Perpetuum mobile, we

could know nothing of movement

except that it was movement.

Could we know nothing of men?

The rose was more fully a rose

as we were so unroselike,

stripped of leaf and petal.

Hiroshima, the Battle of Tokyo,

the nightmare and the night,

lesser infinities burgeoning

under one two many suns;

the splay and meld of violence

dealt by stiff-fingered science.

The bomb boomed ego, ordering

order poorly understood and

the universe trembled in a drop

of black water imprisoning god.

Perhaps I shall know god

if I am not a god myself.

Perhaps all gods are god

moving toward or away;

I won’t know him to be god

if I move only as he moves,

so we see him everywhere.

Our eyes in the mirror never

see themselves move, close, blink,

see nothing but a stare, or wink.

That was then.

Now we can know

nothing that we have not changed

by attempting to know it and

put ourselves again at center

of the goddamned universe.

The eye touches the world silver.

Where we can’t see we exult

to find we can’t know place and

velocity simultaneously; we

watch light act now like hate

and now like love, and calmly

declare our kingdom is a horse.

We pluck up the rose but think

the thought the only rose real,

confusing indeterminacy of god

with thinking thinking thinking.

What we know is index

for what we can only imagine:

number is dimension;

numbers variably interact;

dimensions variably interact

depending on the whore’s orgasm,

the equatorially marooned Nootkan

reading my mind like thinking.

So without all this, the mind’s

construction of this poem, this

poem has nothing to say and nor,

we extrapolate, would rose or mirror;

so number, because it accounts

for nothing but itself and

therefore can’t be questioned,

is nature second to second nature.

In the subatomic realm pontiffs

witness paradox and say

it cannot be unless I think it

and so I think it so.

I think the chair; thank god

for me, thinks the chair.

I think god; he has better

things to do. He thinks me:

the ear of a lion of gold,

the light at heart of an icicle,

seed of what I’m not and might be,

a rose in the mirror.

Lady With Birdcages*

Who would keep an eagle in a birdcage,

Or a heron or an owl,

Or the head of a woman of dubious age,

Or varieties of waterfowl?

The man in white with slitted eyes

Watches from the weeds

As the wraithlike woman saunters by

Oblivious of his needs.

The look in his eyes is coarse derision,

But the birds know why

The bird-brained lady has made her decision.

We each have cages in which we imprison

Things that would fly

If we didn't thus impose our lack of vision.

*Note: This is a verbal illustration of a painting by my

daughter, Julia Rose Guerin.