Sestina: Light

See that dangling chain of light

Beneath the moon, swinging free

With the dancing of endless age; 

There is that, and there is space,

Together, waiting in a corner

Behind an early dawn’s shadow.

Just as a good rhyme will shadow

The meaning of both words, light

Can grow in the obscurest corner,

But not quite sourceless or free.

What is not the filling of space

With one’s own sense of the age,

One’s certainty of what this age

Will attempt to evict the shadow

That is the prior tenant of space?

We would be the effort of light,

Expending all of our selves to free

Us from the two walls of a corner.

A corner’s opposite is a corner.

We turn one ever day. We age.

We learn to dance, to feel free,

And ignore the spasms of our shadow

As we spin, spin toward the light.

We even lose our fear of space.

They say the oldest place in space

Is the farthest away, that corner

Opposite our own; but if its light

Is the oldest in the sky, then age

Is to time a meaningless shadow,

Or light of time is totally free.

Our young sun’s light is free

To slowly fill up most of space

Over time. A planet cuts a shadow

Into its rays, like a hall corner

Cuts lamp-glow. What distant age

Will see a diminution of its light?

The light of stars is somehow free

Of age, while we’re captive in a corner,

Chained by shadow, dangling in space.

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 unknown,

if still discrete, no longer.

The Spot

As a child, in times of transition,

moving in, away, or up a class,

I’d choose a spot of no distinction,

eaves elbow or dirty pane of glass,

seen daily, in passing, from bus or car,

and call that spot up to memory,

my own version of a wishing star,

proof not everything is temporary.

Solemnly naming the spot my own,

commanding it, above all worthier

bits of the universe, to stand alone,

I’d whisper,  If I do not remember

this spot the next time I go this way,

even if I remember some other time,

all that I have seen and done today,

and this spot, will no longer be mine.

So many years later, I still attempt

to make of humble, unnoticed things

what they do not seem, to exempt

the passing car or the cardinal’s wings

from the wrist watch’s oblivious tick.

But now the simile and the metaphor

so complicate things that when I pick

a spot that should mean no more

than what it is, like a broken sidewalk

or tree stump—you see what I mean—

the thing comes alive, begins to talk,

turns to words on a computer screen.

Pentwater

 

When I look at the water

at the height of the horizon,

the wave becomes the measure

of distraction—one from one.

Thought without language,

apparition of ecstasy,

the dappled expanse of gray

is a pure solution of age.

A glint in glinting tangles,

perturbation of the lens.

Light, facets, and the angles

form a lid, a cloud of sense.

The shadows of clouds roam,

dousing the frenetic foam,

like jealous ghosts of ideas

haunting insistent memories.

The wind dies.  The waves turn

into breakers, cresting, lurch

beyond themselves and churn

the trough line of their search

to the end of their sameness

on the slanted, abrupt shore,

or in further, final caresses

of the afterthoughtful shore.

Or I dive into their crests,

heaving breast upon breast,

then stand and see them dead

beneath receding waves ahead.

Only the sun is witness, red

as an old apple on a bed,

as an old eye as it slides

beneath its trembling eyelid.

The gulls scream, adding song

to the air, fish, water, refuse,

light—the things that they use—

sing the meaning in their songs.

Trine

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 Bewitched Groom: A Dramatic Monologue (Hans Baldung Grien)

 

Where am I? Stretched on the floor,
the strength in my limbs a memory
of a moment before. My eyes could be
open or closed, but I'm not seeing
what I think I see, unless I've gone
mad! The witch! The fire-brained hag!
The seething toads and bunched snakes
of her soul are giving birth to blood.
She's flooded my veins with her water
to quench the hot Homunculus in my heart.
My reputation with purblind gossips
has blinkered her view to her daughter's
virtue. My darling, my perfect flower!
She doesn't love me, but I'm rich.
My love! Hers the downy and exquisite
flesh of a rose that is stripped
of its crimson. But what consummation?
The ejaculation of hate from a deaf,
goat-teated rawbones. Sprinkling horn
of gelded unicorn, wielding a faggot
spluttering with the black dust pinched
from the notch between her wizzled 
thighs, she's tweaked my inner ear
and banged the bones in my head abuzz,
so I, like a drunken ass, bed
the floor, supine, my crutches under,
jabbing at my spine. She wants me dead
on the day I am to wed. Damn her eyes!
When the bitch has exhausted magic
I'll have her carcass burned to ashes.
There's evidence in this paralysis
to prove what the village has known since
the century was born a breech, wailing,
and the moon began to burn yellow.
The Redeemer fail me? No. I know God.
I once drove my horses till they dropped
and punched my peasants for pennies,
but no more. Oh, I learned a lesson
or two, and paid penance with infirmity.
I even kept the mare that pitched me
on that rock pile. The soil is thin
in which she plants her spell: time
and righteousness, proper living dig
the maggots from my heart and prayer
persists-the leaching of my soul.
I must get up, damn her! Enough is
Enough! I will love her dear one,
keep her safe and use her sweetly.
I promise to veil her eyes from
lascivious men not fit to touch
their lips to her dress's muddy hem,
until my ghost departs this game clay
to ride the fleeter media. Won't one
muscle move? My thumb twitches-
something wooden and smooth. The handle
of a currycomb! The stable floor!
I should be grinning in my closet mirror,
draping myself with golden medallions,
and tying my codpiece with bows.
For all my resolutions, I am a broken
promise. There, now I've given
up hoping! Forgive me, my love.
I cannot come to you today.
Forces more subtle than mortality
and mortal sin conspire against me.
I would hum the song of my honeybee
heart, but Queen Mab would shout out:
"He fooled the child, but not the crone!"
See! See! See my eyes fly open!
She's found the window in my head.
She knows that I would farm you
by the moon and by the sun and stars;
your golden hair would shade my eyes,
a fancy cap; your legs would be my
legs for work, your hands helping me
to beat you. Any child you yielded?
Oh, he'd have learned his Papa's ways.
What's that? Behind! The mare!
Flared nostrils, glaring eye! Humiliation!
Land on me, falling world!
The girl will only remind me when
the cock pecked crow and not the hen.
I'll bathe and go about my business.
To Hell with love and sucking sighs.
I am a man of satisfactory wealth.
Proud to swing his crutches to Heaven.

STOPPAGES

The Stoppages Tree (Julia Guerin)

This poem was inspired by Marcel Duchamp's concept of "Stoppages." A "stoppage" is like a measuring stick, only each stoppage is of a different length. Each section of the poem is a "stoppage," a different measurement of experience. My daughter, Julia, composed this painting based on language from the poem, and using images of "stoppages" from Duchamp's work.

                              1

I am seduced by the stoppage of time,

like Bruckner with his endless symphonies

pushing back the inevitable

silence of the unattended moment.

For the next ten seconds nobody dies.

Late afternoon—the maple goes darker,

cell by cell darker in the slant sunlight.

I can’t be sure the leaves were just as red

ten years ago, or that John Milton’s blood

wasn’t a fraction thicker than my own.

                               2

            I wield shears

                beneath honey locust—

            tenant-neglected,

                grown to ground—

            scissor and step back,

                watch the fluttering

            stem-bound leaves

                follow the branches down.

            I bundle new deadwood;

                three green needles,

            like fangs, guard each twig;

                black bark thorns,

            driven by the gathered droop

                of leaves being lifted,

            pierce through leather

                the flesh of my palms.

            My mind, cuspidate

                in my fingers, moves

            through the patterns of thorn

                proliferating pain.

           

                               3

            The sound of somebody

            dropping the doorknocker

            just once . . . I flee

            unremembered phantasms,

            hold eyes closed tightly—

            tongue like paper—reach

            for the glass of water, seem

            the glass in the dark

            and dilate waking.  Setting

            the glass off the table

            edge, grope, settle it on

            the corner.  More sleep.

            Go to sleep.  Eyelids pinch

            a thread of sunlight spinning

            through the curtain dust.

            The radiator knocks . . .

            just once.  Vagueness spreads

            an exit through counted time

            past another me I meet

            fading, questioned in sodden

            stillness and crepuscule.

            Quick manufacture of deep

            inconsequence—someone not

            I overhears singing I have

            not composed, conversation

            rendered without regret,

            the voice of the homunculus

            at the core of the blood cell

            and metaphor.  I’m billiard-

            brained!  Blood and ivory balls

            percuss on clipped green

            and blue crystal; in each

            sphere a ray is loosed

            to sublimate the ricochet.

            The angel’s share offered

            and unattained (air breathed

            in sleep), a rarification

            of spirit I can’t sniff, taste,

            pour into existence, but

            think is a wonder of wines.

                              4

What interior thing sleeps with memory,

knows the certain locus of nothing

and the time of any new thing only

in the night-light of its circumscription?

What does this slumbering watcher feel

waking beside a lover of years past

who’s discovered herself under wild skies,

in a land contoured by the height of sand?

His eyes pinched, his ears stopped,

his dream-worn senses insinuate

the wonder of that endlessness

and expatiate like a ticking clock

on what he thinks he knows of his own death.

Seeking out the reality three

dimensions deep within himself, his mind,

that strict lump that can explain a bird,

that cagey bastard, calmly discourses

on phantom and fading gods, while his warming

beauty evaporates and mingles with his breath

ecstatically generating weather.

                                    5

        It was perfectly smooth, the earth

        I woke to—featureless, without

        mountain, grass, sand, bird, lion—

        skin-tight, a bald head.

           

        Balloon on which plaster is packed,

        this world before a world; I stood

        in dark after moonless dusk, and

        said, nonetheless, this is my world.

        I recognized the horizon,

        the leavening of gravity,

        the proximity of sky.

        A fit of rain sprayed my face.

           

        The lazy Susan landscape threw me

        down.  My first sweetheart limped

        up on the brace of her polio.

        Naked, I rolled on my belly.

        I woke, the nixie gone, salt water

        on my lips.  The moon rose, pulling

        water back into a great wave,

        holding it back above my head.

                               6

            Johann Sebastian Bach is

                        walking

                                    into this room.

            Buddha croaks

                        and Bach

                                    still

                        walks into this room.

            Walk the road,

                        stop, cough,

                                    crack the bone

                        of sound—

            Bach is walking

                        into this room

                                    whirling

                        a grager.

            Through stained glass,

                        scan

                                    berry trees

                        and sun swizzle—

            Bach is waltzing

                        into

                                    this

                        room.

            Clap your eyes!

            Johann Sebastian

                        Bach is

walking

                        into

            this room.

                                                                                

                              7

        A creaking ecstatically extended

        wakes me early in the night.

        Winter air binds board in stone (a

        hairline runs down the façade,

        splitting bricks, parting mortar from its

        hold) one more fraction of an inch.

        Prone, I imagine the house shift

        off its load-bearing edge

        and topple into the basement.

        When will it stop, the house grind

        out its antagonism of stress and nail

        to silent, unlevel motionlessness?

        Or will I stop waking to this house?

                            8

            Water on the beach

            and the pebbled surf—

            the air is full

           

            of milk.  A hand

            touches me; there

            I hate, but not

            the hand.  Nature

            is the second

            displeasure, when

            the first tips

            the world and drinks.

            Round, hard, the pebble,

            and black.  Not

            much else.  Wet,

            it shines.  Dry,

            dull.  I keep it

            in a dish of green

            water.  The blunted

                                               

            shard of glass,

            the charred stick,

            the aluminum bent

            to a coin, the

            dimensionless dream

            of sand, calm

            if I look at them.

            As I age it is not

            that I like people

            less, but have less

            to do with them.

            I can say the one

            thing—about the pebble—

but the other comes

in white noise,

            water on the beach.