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The light in the window seemed perpetual
When you stayed in the high room for me;
It glowed above the trees through leaves
Like my certainty.
The light is fallen and you are hidden
In sunbright peninsulas of the sword:
Torn like leaves through Europe is the peace
That through us flowed.
Now I climb up alone to the high room
Above the darkened square
Where among stones and roots, the other
Unshattered lovers are.
As through marble or the lining of
certain fish split open and scooped
clean, this is the blue vein
that rides, where the flesh is even
whiter than the rest of her, the splayed
thighs mother forgets, busy struggling
for command over bones: her own,
those of the chaise longue, all
equally uncooperative, and there’s
the wind, too. This is her hair, gone
from white to blue in the air.
This is the black, shot with blue, of my dark
daddy’s knuckles, that do not change, ever.
Which is to say they are no more pale
in anger than at rest, or when, as
I imagine them now, they follow
the same two fingers he has always used
to make the rim of every empty blue
glass in the house sing.
Always, the same
blue-to-black sorrow
no black surface can entirely hide.
Under the night, somewhere
between the white that is nothing so much as
blue, and the black that is, finally; nothing,
I am the man neither of you remembers.
Shielding, in the half-dark,
the blue eyes I sometimes forget
I don’t have. Pulling my own stoop-
shouldered kind of blues across paper.
Apparently misinformed about the rumored
stuff of dreams: everywhere I inquired,
I was told look for blue.
The earth said
remember me.
The earth said
don’t let go,
said it one day
when I was
accidentally
listening, I
heard it, I felt it
like temperature,
all said in a
whisper—build to-
morrow, make right be-
fall, you are not
free, other scenes
are not taking
place, time is not filled,
time is not late, there is
a thing the emptiness
needs as you need
emptiness, it
shrinks from light again &
again, although all things
are present, a
fact a day a
bird that warps the
arithmetic of per-
fection with its
arc, passing again &
again in the evening
air, in the pre-
vailing wind, making no
mistake—yr in-
difference is yr
principal beauty
the mind says all the
time—I hear it—I
hear it every-
where. The earth
said remember
me. I am the
earth it said. Re-
member me.
Less the shadow
than you a stag, sudden, through it.
Less the stag breaking cover than
the antlers, with which
crowned.
Less the antlers as trees leafless,
to either side of the stag’s head, than—
between them—the vision that must
mean, surely, rescue.
Less the rescue.
More, always, the ache
toward it.
When I think of death, the gleam of
the world darkening, dark, gathering me
now in, it is lately
as one more of many other nights
figured with the inevitably
black car, again the stranger’s
strange room entered not for prayer
but for striking
prayer’s attitude, the body
kneeling, bending, until it finds
the muscled patterns that
predictably, given strain and
release, flesh assumes.
When I think of desire,
it is in the same way that I do
God: as parable, any steep
and blue water, things that are always
there, they only wait
to be sounded.
And I a stone that, a little bit, perhaps
should ask pardon.
My fears—when I have fears—
are of how long I shall be, falling,
and in my at last resting how
indistinguishable, inasmuch as they
are countless, sire,
all the unglittering other dropped stones.
All my friends are finding new beliefs.
This one converts to Catholicism and this one to trees.
In a highly literary and hitherto religiously-indifferent Jew
God whomps on like a genetic generator.
Paleo, Keto, Zone, South Beach, Bourbon.
Exercise regimens so extreme she merges with machine.
One man marries a woman twenty years younger
and twice in one brunch uses the word verdant;
another’s brick-fisted belligerence gentles
into dementia, and one, after a decade of finical feints and teases
like a sandpiper at the edge of the sea,
decides to die.
Priesthoods and beasthoods, sombers and glees,
high-styled renunciations and avocations of dirt,
sobrieties, satieties, pilgrimages to the very bowels of being ...
All my friends are finding new beliefs
and I am finding it harder and harder to keep track
of the new gods and the new loves,
and the old gods and the old loves,
and the days have daggers, and the mirrors motives,
and the planet’s turning faster and faster in the blackness,
and my nights, and my doubts, and my friends,
my beautiful, credible friends.
I went down to the river,
I set down on the bank.
I tried to think but couldn't,
So I jumped in and sank.
I came up once and hollered!
I came up twice and cried!
If that water hadn't a-been so cold
I might've sunk and died.
But it was Cold in that water! It was cold!
I took the elevator
Sixteen floors above the ground.
I thought about my baby
And thought I would jump down.
I stood there and I hollered!
I stood there and I cried!
If it hadn't a-been so high
I might've jumped and died.
But it was High up there! It was high!
So since I'm still here livin',
I guess I will live on.
I could've died for love—
But for livin' I was born
Though you may hear me holler,
And you may see me cry—
I'll be dogged, sweet baby,
If you gonna see me die.
Life is fine! Fine as wine! Life is fine!
In the portrait of Jefferson that hangs
at Monticello, he is rendered two-toned:
his forehead white with illumination —
a lit bulb — the rest of his face in shadow,
darkened as if the artist meant to contrast
his bright knowledge, its dark subtext.
By 1805, when Jefferson sat for the portrait,
he was already linked to an affair
with his slave. Against a backdrop, blue
and ethereal, a wash of paint that seems
to hold him in relief, Jefferson gazes out
across the centuries, his lips fixed as if
he's just uttered some final word.
The first time I saw the painting, I listened
as my father explained the contradictions:
how Jefferson hated slavery, though — out
of necessity, my father said — had to own
slaves; that his moral philosophy meant
he could not have fathered those children:
would have been impossible, my father said.
For years we debated the distance between
word and deed. I'd follow my father from book
to book, gathering citations, listening
as he named — like a field guide to Virginia —
each flower and tree and bird as if to prove
a man's pursuit of knowledge is greater
than his shortcomings, the limits of his vision.
I did not know then the subtext
of our story, that my father could imagine
Jefferson's words made flesh in my flesh —
the improvement of the blacks in body
and mind, in the first instance of their mixture
with the whites — or that my father could believe
he'd made me better. When I think of this now,
I see how the past holds us captive,
its beautiful ruin etched on the mind's eye:
my young father, a rough outline of the old man
he's become, needing to show me
the better measure of his heart, an equation
writ large at Monticello. That was years ago.
Now, we take in how much has changed:
talk of Sally Hemings, someone asking,
How white was she? — parsing the fractions
as if to name what made her worthy
of Jefferson's attentions: a near-white,
quadroon mistress, not a plain black slave.
Imagine stepping back into the past,
our guide tells us then — and I can't resist
whispering to my father: This is where
we split up. I'll head around to the back.
When he laughs, I know he's grateful
I've made a joke of it, this history
that links us — white father, black daughter —
even as it renders us other to each other.
We were made to understand it would be
Terrible. Every small want, every niggling urge,
Every hate swollen to a kind of epic wind.
Livid, the land, and ravaged, like a rageful
Dream. The worst in us having taken over
And broken the rest utterly down.
A long age
Passed. When at last we knew how little
Would survive us—how little we had mended
Or built that was not now lost—something
Large and old awoke. And then our singing
Brought on a different manner of weather.
Then animals long believed gone crept down
From trees. We took new stock of one another.
We wept to be reminded of such color.
Some folks fool themselves into believing,
But I know what I know once, at the height
Of hopeless touching, my man and I hold
Our breaths, certain we can stop time or maybe
Eliminate it from our lives, which are shorter
Since we learned to make love for each other
Rather than doing it to each other. As for praise
And worship, I prefer the latter. Only memory
Makes us kneel, silent and still. Hear me?
Thunder scares. Lightning lets us see. Then,
Heads covered, we wait for rain. Dear Lord,
Let me watch for his arrival and hang my head
And shake it like a man who's lost and lived.
Something keeps trying, but I'm not killed yet.
What makes us so mean?
We are meaner than gorillas,
the ones we like to blame our genetic aggression on.
It is in our nature to hide behind what Darwin said about survival,
as if survival were the most important thing on earth.
It isn't.
You know—surely it has occurred to you—
that there is no way that humankind will survive
another million years. We'll be lucky to be around
another five hundred. Why?
Because we are so mean
that we would rather kill everyone and everything on earth
than let anybody get the better of us:
"Give me liberty or give me death!"
Why didn't he just say "Grrr, let's kill each other!"?
A nosegay of pansies leans toward us in a glass of water
on a white tablecloth bright in the sunlight
at the ocean where children are frolicking,
then looking around and wondering—
about what we cannot say, for we are imagining
how we would kill the disgusting man and woman
at the next table. Tonight we could throw an electrical storm
into their bed. No more would they spit on the veranda!
Actually they aren't that bad, it's just
that I am talking mean in order to be more
like my fellow humans—it's lonely feeling like a saint,
which I do one second every five weeks,
but that one second is so intense I can't stand up
and then I figure out that it's ersatz, I can't be a saint,
I am not even a religious person, I am hardly a person at all
except when I look at you and think
that this life with you must go on forever
because it is so perfect, with all its imperfections,
like your waistline that exists a little too much,
like my hairline that doesn't exist at all!
Which means that my bald head feels good
on your soft round belly that feels good too.
If only everyone were us!
But sometimes we are everyone, we get mad
at the world and mean as all get-out,
which means we want to tell the world to get out
of this, our world. Who are all these awful people?
Why, it's your own grandma, who was so nice to you—
you mistook her for someone else. She actually was
someone else, but you had no way of knowing that,
just as you had no way of knowing that the taxi driver
saves his pennies all year
to go to Paris for Racine at the Comédie Francaise.
Now he is reciting a long speech in French from Andromache
and you arrive at the corner of This and That
and though Andromache's noble husband Hector has been killed
and his corpse has been dragged around the walls of Troy by an
unusually mean Achilles,
although she is forced into slavery and a marriage
to save the life of her son, and then people around her
get killed, commit suicide, and go crazy, the driver is in paradise,
he has taken you back to his very mean teacher
in the unhappy school in Port-au-Prince and then
to Paris and back to the French language of the seventeenth century
and then to ancient Greece and then to the corner of This and That.
Only a mean world would have this man driving around in a city
where for no reason someone is going to fire a bullet into the back of
his head!
It was an act of kindness
on the part of the person who placed both numbers and letters
on the dial of the phone so we could call WAverly,
ATwater, CAnareggio, BLenheim, and MAdison,
DUnbar and OCean, little worlds in themselves
we drift into as we dial, and an act of cruelty
to change everything into numbers only, not just phone numbers
that get longer and longer, but statistical analysis,
cost averaging, collateral damage, death by peanut,
inflation rates, personal identification numbers, access codes,
and the whole raving Raft of the Medusa
that drives out any thought of pleasantness
until you dial I-8OO-MATTRES and in no time get a mattress
that is complete and comfy and almost under you,
even though you didn't need one! The men
come in and say Here's the mattress where's
the bedroom? And the bedroom realizes it can't run away.
You can't say that the people who invented the bedroom were mean,
only a bedroom could say that, if it could say anything.
It's a good thing that bedrooms can't talk!
They might keep you up all night telling you things
you don't want to know. "Many years ago,
in this very room. . . ." Eeek, shut up! I mean,
please don't tell me anything, I'm sorry I shouted at you.
And the walls subside into their somewhat foreverness.
The wrecking ball will mash its grimace into the plaster and oof,
down they will come, lathe and layers of personal history,
but the ball is not mean, nor is the man who pulls the handle
that directs the ball on its pendulous course, but another man
—and now a woman strides into his office and slaps his face hard
the man whose bottom line is changing its color
wants to change it back. So good-bye, building
where we made love, laughed, wept, ate, and watched TV
all at the same time! Where our dog waited by the door,
eyes fixed on the knob, where a runaway stream came whooshing
down the hallway, where I once expanded to fill the whole room
and then deflated, just to see what it would feel like,
where on Saturday mornings my infant son stood by the bedside
and sang, quietly, "Wa-a-a-ke up" to his snoozing parents.
I can never leave all the kindness I have felt in this apartment,
but if a big black iron wrecking ball comes flying toward me,
zoop, out I go! For there must be
kindness somewhere else in the world,
maybe even out of it, though I'm not crazy
about the emptiness of outer space. I have to live
here, with finite life and inner space and with
the horrible desire to love everything and be disappointed
the way my mother was until that moment
when she rolled her eyes toward me as best she could
and squeezed my hand when I asked, "Do you know who I am?"
then let go of life.
The other question was, Did I know who I was?
It is hard not to be appalled by existence.
The pointlessness of matter turns us into cornered animals
that otherwise are placid or indifferent,
we hiss and bare our fangs and attack.
But how many people have felt the terror of existence?
Was Genghis Khan horrified that he and everything else existed?
Was Hitler or Pol Pot?
Or any of the other charming figures of history?
Je m'en doute.
It was something else made them mean.
Something else made Napoleon think it glorious
to cover the frozen earth with a hundred thousand bloody corpses.
Something else made . . . oh, name your monster
and his penchant for destruction,
name your own period in history when a darkness swept over us
and made not existing seem like the better choice,
as if the solution to hunger were to hurl oneself
into a vat of boiling radioactive carrots!
Life is so awful!
I hope that lion tears me to pieces!
It is good that those men wearing black hoods
are going to strip off my skin and force me
to gape at my own intestines spilling down onto the floor!
Please drive spikes through not only my hands and feet
but through my eyes as well!
For this world is to be fled as soon as possible
via the purification of martyrdom.
This from the God of Christian Love.
Cupid hovers overhead, perplexed.
Long ago Zeus said he was tired
and went to bed: if you're not going to exist
it's best to be asleep.
The Christian God is like a cranky two-thousand-year-old baby
whose fatigue delivers him into an endless tantrum.
He will never grow up
because you can't grow up unless people listen to you,
and they can't listen because they are too busy being mean
or fearing the meanness of others.
How can I blame them?
I too am afraid. I can be jolted by an extremely violent movie,
but what is really scary is that someone wanted to make the film!
He is only a step away from the father
who took his eight-year-old daughter and her friend to the park
and beat and stabbed them to death. Uh-oh.
"He seemed like a normal guy," said his neighbor, Thelma,
who refused to divulge her last name to reporters.
She seemed like a normal gal, just as the reporters seemed like
normal vampires.
In some cultures it is normal to eat bugs or people
or to smear placenta on your face at night, to buy
a car whose price would feed a village for thirty years,
to waste your life and, while you're at it, waste everyone
else's too!
Hello, America. It is dawn,
wake up and smell yourselves.
You smell normal.
My father was not normal,
he was a criminal, a scuffler, a tough guy,
and though he did bad things
he was never mean.
He didn't like mean people, either.
Sometimes he would beat them up
or chop up their shoes!
I have never beaten anyone up,
but it might be fun to chop up some shoes.
Would you please hand me that cleaver, Thelma?
But Thelma is insulted by my request,
even though I said please, because she has the face of a cleaver
that flies through the air toward me and lodges
in my forehead. "Get it yourself,
lughead!" she spits, then twenty years later
she changes lughead to fuckhead.
I change my name to Jughead
and go into the poetry protection program
so my poems can go out and live under assumed names
in Utah and Muskogee.
Anna Chukhno looks up and sees me
through her violet Ukrainian eyes
and says Good morning most pleasantly inflected. Oh
to ride in a horse-drawn carriage with her at midnight
down the wide avenues of Kiev and erase
the ditch at Babi Yar from human history!
She looks up and asks How would you like that?
I say In twenties and she counts them out
as if the air around her were not shattered by her beauty
and my body thus divided into zones:
hands the place of metaphysics, shins the area of moo,
bones the cost of living, and so on.
Is it cruel that I cannot cover her with kisses?
No, it is beautiful that I cannot cover her with kisses,
it is better that I walk out into the sunlight
with the blessing of having spoken with an actual goddess
who gave me four hundred dollars!
And I am reassembled
as my car goes forward
into the oncoming rays of aggression
that bounce off my glasses and then
start penetrating, and soon my eyes
turn into abandoned coal mines
whose canaries explode into an evil song
that echoes exactly nowhere.
At least I am not in Rwanda in 1994 or the Sudan in '05
or Guantanamo or Rikers, or in a ditch outside Rio,
clubbed to death and mutilated. No Cossack
bears down on me with sword raised and gleaming
at my Jewish neck and no time for me
to cry out "It is only my neck that is Jewish!
The rest is Russian Orthodox!" No smiling man tips back
his hat and says to his buddies, "Let's teach
this nigguh a lesson." I don't need a lesson, sir,
I am Ethiopian, this is my first time in your country!
But you gentlemen are joking. . . .
Prepare my cave and then kindly forget where it was.
A crust of bread will suffice and a stream nearby,
the chill of evening filtering in with the blind god
who is the chill of evening and who touches us
though we can't raise our hands to stroke his misty beard
in which
two hundred million stars have wink and glimmer needles.
I had better go back to the bank, we have
only three hundred and eighty-five dollars left.
Those fifteen units of beauty went fast.
As does everything.
But meanness comes back right away
while kindness takes its own sweet time
and compassion is busy shimmering always a little above us and
behind,
swooping down and transfusing us only when we don't expect it
and then only for a moment.
How can I trap it?
Allow it in and then
turn my body into steel? No.
The exit holes will still be there and besides
compassion doesn't need an exit it is an exit—
from the prison that each moment is,
and just as each moment replaces the one before it
each jolt of meanness replaces the one before it
and pretty soon you get to like those jolts,
you and millions of other dolts who like to be electrocuted
by their own feelings. The hippopotamus
sits on you with no sense of pleasure, he doesn't
even know you are there, any more than he takes notice
of the little white bird atop his head, and when
he sees you flattened against the ground
he doesn't even think Uh-oh he just trots away
with the bird still up there looking around.
Saint Augustine stole the pears from his neighbor's tree
and didn't apologize for thirty years, by which time
his neighbor was probably dead and in no mood
for apologies. Augustine's mother became a saint
and then a city in California—Santa Monica,
where everything exists so it can be driven past,
except the hippopotamus that stands on the freeway
in the early dawn and yawns into your high beams.
"Hello," he seems to grunt, "I can't be your friend
and I can't be your enemy, I am like compassion,
I go on just beyond you, no matter how many times
you crash into me and die because you never learned
to crash and live." Then he ambles away.
Could Saint Augustine have put on that much weight?
I thought compassion makes you light
or at least have light, the way it has light around it
in paintings, like the one of the screwdriver
that appeared just when the screw was coming loose
from the wing of the airplane in which Santa Monica was riding into
heaven,
smiling as if she had just imagined how to smile
the first smile of any saint, a promise toward the perfection
of everything that is and isn't.