Beach Glass

This entry is part 11 of 29 in the series Conversari

 

Among the cobbles of a shingle beach,
one thumb-sized stone draws
your beachcomber’s eye, too pure a blue
to be granite, opaque but somehow
promising translucence.

A wave clatters up & wets
your ankles. You grab for the stone,
now glistening—clearly glass
& once a shard, despite the loss
of all sharp edges &
its transformation from fragment
to a whole small world.
It has turned & turned in the bay’s
watery gullet, that precipitous gizzard
full of ersatz teeth.
What smaller, softer things
has it ground down as it spun?

It dries in your hand now & the light
goes out of it. Eager to show the children,
you pop it in your mouth
& it is a gem again while the saliva lasts.

It rides home in your pocket,
a hard candy that never melts
& takes days to lose
its taste of salted sun.

Prompted by this conversation.

See the response by Rachel Rawlins, “Shoulder.”

Tree Without Birds

This entry is part 12 of 29 in the series Conversari

 

The tree without birds
is like a book without vowels
a mind without focus
a heart without tides.
Its limbs remain desolate
in the thick of summer.
It puts out leaves
but forgets to bloom
& its transactions with fungi
are strictly economic,
never lead to any
tempting truffle.
The wind plays it
like a mechanical instrument.
In bluest January
it doesn’t even remember
how to ache.


See Rachel’s response: “Offering.”

The Captain’s Reverses

This entry is part 14 of 29 in the series Conversari

 

after Pablo Neruda


Listen on SoundCloud

In you the earth, murmurs
the make-believe sailor,
dipping his old-fashioned
straight razor into a bowl
of steamy water. Little rose,
he croons, beginning to feel
that familiar stirring in what
he has always supposed to be
his heart. Tiny and naked
he clutches the razor like a pen,
like his poet’s scalpel—
you have grown, watching
that celebrated moon emerge
from the shaving foam,
its sensuous lips, its ravenous snout.
You are loosed, my love.
You are full and fleshy.
I am all at sea.

*

Only by becoming an object of love does the woman come into being. Without her male lover, she is “vacía, sin substancia” (“El amor,” LVDC). This portrayal of woman in the texts is sharply juxtaposed with that of the male speaker, who does not depend on the physical presence or the love of the female for his existence. At times, the woman’s absence is even considered preferable, since it allows the male to recreate her in the text, and thus provides him with a heightened level of inspiration.
—Cynthia Duncan, “Reading Against the Grain of Neruda’s Love Poetry: A Feminist Perspective

*

Thanks to Rachel Rawlins for prompting this with her unexpectedly negative reaction to The Captain’s Verses, which is making me rethink my admiration for Neruda’s love poetry. Thanks also to musician and SoundCloud user Hani Maltos for uploading the music I used and licensing it under the Creative Commons (since I’m too rushed this morning to be able to get permission). I have a video in mind for this, but don’t know if I’ll get a chance to do it before my departure for Chicago tomorrow afternoon. (Incidentally, if you’re going to be at the AWP conference too, please get in touch.)

See Rachel’s photographic response, “A pair of blue eyes.”

Pets

This entry is part 15 of 29 in the series Conversari

 

We were talking about pets. You told me about a family you knew in South Africa who had two rats, which they called mice because the fellow they got them from couldn’t tell the difference. As babies, tiny and hairless, all rodents look pretty much alike. But they grew into black-and-white fancy rats, and their favorite thing was to watch a human taking a bath.

It was a ritual. They would rush into the bathroom, station themselves on either side of the faucet and wait for toes to emerge from the water, whereupon they would lean over and lick them, their tails stuck out behind for balance. Perhaps it was the hot, soapy water they liked. But I wonder whether it didn’t trigger their parental instincts to see such fine litters of five, small and pink and wrinkled.

Were the rats ever disappointed at the lack of response to their licks—the eyes that didn’t open, the squeaks that didn’t come, the single, malformed tooth that wouldn’t chew? I’d love to have rats someday, you said—they’re very clever! But their lifespan is so ridiculously short.

Exchange

This entry is part 16 of 29 in the series Conversari

 

It’s because of money that we know time, too, comes in measurable units. In the same coin you can have suns & seeds of millet, atoms in their molecules not exactly dancing, footprints of giant millipedes—a small universe designed to frustrate anyone with arithmomania. You and I might find ourselves on opposite sides, a Janus. Every time you shake your head, mine nods, & when I rock with laughter it makes you seasick. Less like reflection, then, than echoing, this give-&-take, because with each pass there’s a little less. Modularity had something to do with it once, but now the coin is its own metal. The decorative columns might as well go back to being trunks; soon our clearing will be nothing but a stifled yawn.

See the response by Rachel Rawlins, “Fruit.”

Heart

This entry is part 17 of 29 in the series Conversari

 

Watch on Vimeo.

This almost belongs in the Manual series, but for the fact that I didn’t write it. The text, and the object to which it refers, came from the pen and knitting needles of Rachel Rawlins, and you can see both at twisted rib. While there, you can click on the conversari tag and browse her half of our on-going, inter-blog conversation in words and images, originating in more quotidian exchanges via email, IM, etc.: one of those sprawling conversations that just keeps sprouting new, sometimes grotesque branches and digressions, grows ever more firmly rooted, and seems as if it might go on forever.

I shot the footage of the garter snake ball yesterday morning, while rushing back and forth between the houses to bake bread. (A mention made it into the Morning Porch, whence, curiously, Luisa also derived the image of a heart.) I felt I had to make the film fairly abstract, since I already made a videopoem with more straight-forward footage of a garter snake mating ball two years ago. On that occasion, I also uploaded an 8-minute video of the orgy. This time, I grabbed my regular camera and managed to get one half-decent still photo:

garter snake mating ball

It was a thing of beauty, albeit hair-raising as always. Incidentally, I’ve probably said this before, but our robust garter snake population in Plummer’s Hollow is, I think, a direct consequence of our decision to stop mowing the lawns. If you like reptiles and amphibians and want to encourage them around your own home, the best thing you can do is transition to a less-managed landscape. Call it Daoist gardening if you like.

Garter snakes usually form mating balls immediately after emergence from hibernation in spring, but sometimes they mate in the fall, too. The great American poet Stanley Kunitz wrote about encountering one such coupling — “that wild braid” — in his iconic poem “The Snakes of September.”

Digital

This entry is part 18 of 29 in the series Conversari

 

Each finger burrows
into its own sleep.
One or two twitch but
the thumb lies still
as an anchor.
Come morning, those
that dreamed will blossom;
the others will leaf out.
And I who kept them warm
will rise like rain in
a tall tale & take root
in a cloud of your breath,
so soft, so sea-worthy.

In response to “Hands.”

The Fullness of Time

This entry is part 19 of 29 in the series Conversari

 

I crouch down to get a book from a low shelf
& the room swims
I steady myself with both hands

at that very moment on the other side of the ocean
you are waking from a five-hour nap

it’s 1:00 a.m.
a cat or a fox has just screamed in your garden

your dog wakes with you
follows you downstairs

we talk
the five hours between us momentarily erased

you ask what the bible means by the phrase
in the fullness of time

your hair’s still in a bun
pierced by a pair of chopsticks

*

See the photographic response by Rachel Rawlins: “Door.”

Pandora

This entry is part 20 of 29 in the series Conversari

 

for RR

Pandora was a doll with a plastic head
& a boneless fabric body full of give.
Her eyes were a smiling blue
you scraped with a thumbnail one day
to see what lay beneath: blank plastic.
Pandora was a doll with plastic arms
that could be bent into the semblance
of a hug. From a high perch
she watched the bears multiply
on the bed, expert listeners,
burly avatars of comfort. When
the circus master’s mad wife
came to give them all away
to charity, Pandora alone
with her hopeless eye was spared.
You wept until you couldn’t see
& wailed until your voice turned
to a whisper; the bears stayed gone.
Your sad box of a room
held only Pandora.


See Rachel’s response: “Eye (seeing, being)