LOFT (Michael Antman), Sonnet #306

The loft will fall if the foundations rot.
The window frames are already bending.
The masonry, pitted by ageless soot,
Awaits the inevitable rending
Of every pillar and joist underneath --
The spitting of mortar like broken teeth.
Two pairs of women's shorts are on display,
But the lonely workman ignores the show.
Naked legs would only be in his way.
He turns the electric vacuum to blow.
Now he must wait for everything to dry.
He looks up for the first time, starts to cry.
He's sundered by a sweet paralysis.
It's beautiful, he thinks, not sure what is.

This is the third photo by my friend and editor
Michael Antman that I've written about. You can find his
considerable collection of photos at Instagram,
at https://www.instagram.com/michaelantman/
Or, if you're already on Instagram, his username
is michaelantman.

Le Pointe de la Heve at Low Tide (Monet), Sonnet #305

The moon pushing oceans around like that?
Like the wind stripping your head of your hat.
Something a quarter million miles away
Drains our inlets and beaches twice a day,
And pushes oceans out fifty feet higher
To leave rocky steps not dry, but drier.
We walk the muddy flats. Bulbous seaweed
Drapes rock like wigs, hiding crabs, and tide pools
Trap octopi and little fish who feed
Ravenously while the evening cools.
The seagulls plucked the stranded hours ago.
Exhaustion precedes the tide's inward flow.
All is waste and bare, a weak memory,
Soon to be drowned by weaker gravity.

Tiger Lilies, Sonnet #304

For Ruth

They lined the country roads in Illinois.
Great banks of red-orange blossoms, green stems,
And pale pink tubes waiting to splay open --
Our courting flower, this remembered joy.
I drove those roads to see you most weekends
In the battered Mustang I had back then.
Fifty miles of lily-lined road before
I reached the highway, with fifty miles more,
Until I kissed your lips and took your hands,
And walked with you on Lake Michigan sands.
Now the lilies open every July
In our back yard, and up and down the street.
They are one answer to our loving's "why."
Their scent is faint, but unearthily sweet.

Note: The spelling of "unearthily" is not
strictly speaking correct; I'm combining
"earthy" with "unearthly."

Morning News (Francis Luis Mora), Sonnet #303

The Times is meant to be crumpled in tight places,
Smudged, barely dry print, the yesterdays of faces.
What's done is done when read and forgotten,
And not until. A caveman looms, leers, teeth rotten,
One eye white, as if turned around in its socket,
The other reading about the latest rocket
Planned to reach the nearest star in a century.
He doesn't stir the slightest curiosity
In young women who can't smell him through their perfume.
The scent of ink is stronger. The stink of the tomb
Draws the caveman back into the metro pages,
Which he'll contemplate as his winey blood ages.
The bus slowly empties of papers and people.
A fallen Times lays gutters up like a steeple.

Note: Among other things, "gutter" is the word for the white
space in a newspaper between the print on the left side
and the print on the right side of the crease.

The Fall of Icarus (Picasso), Sonnet #302

The sun is father to the father and the son.
Maze-minded Daedalus almost invented Earth;
If it was (and it had to be) born, his reason
Rolled it into a ball of life and roaring mirth.
He knew what was needed, met the exigencies
Of power over nature and control of fate,
The harnessing of the mind and how it foresees,
The imprisoning of evil, the murder of hate.
He must have been a loving father, or a fool,
To fashion wings for his son as well as himself.
We know, he warned the boy, that they were just a tool
To scratch the sky, not calipers to span the gulf
Between dirt and light. The heedless boy died too soon,
To his earth-glad father a stripped and distant moon.

Memory of a Bird (Klee), Sonnet #301

A bird's memory is the memory
Of the bird. We share the same history.
The still bittern stays the marsh grasses
I saw as grass until he flew away.
The starling murmuration amasses
Like ink perturbed in oil in a glass,
Until a red tail hawk blots out a stray.
The pileated woodpecker, the day
I stood in the river and watched him rip
Through a limb, saw nothing below my hip.
I wasn't man to him, and no concern,
Just one more thing he saw not to unlearn.
I feed the birds so they'll remember me,
Returning them my fading memory.

Ars Poetica, Sonnet #300

For Michael Antman

Here is one way others might have put it --
Others, each most certainly a poet:
"A poem is not voice, not It, not words.
A visage stuck on a tree trunk with eyes
That see a face in every disguise,
A barking, one more ring of the absurd."
This face of wood had a blank beginning,
But I see him in the middle of things,
Resigned, but not unconscious of his state.
The light in his dark eyes says, "I am here,
I and no other, and I've seen my fate,
So I have something to say, come nearer."
MacLeish: "A poem should not mean, but be."
No, a poem should be a beam of me.

Note: The Ars Poetica, or poem about The Art of Poetry has a long
tradition going back to Horace. The most famous 20th century
Ars Poetica is by Archibald MacLeish. It's a lovely poem in many ways,
but I've always hated the concluding couplet. I wonder how many 
bad poems have been written and published because of those two lines. 
A well-known critic recently said, by way of advice to poets, "What you
have to say is rubbish. It's how you say it that matters." Rubbish. How 
you say it is important, but if you have nothing to say, or nothing worth 
saying, or what you say is rubbish, then what's the point?