Triptych

1.
The diva wanted everything white. Threw fits if a single dark lipstick case interrupted the absence of color – or was it the presence of all colors? That abstract white that vanished the second she stained a finger with the anywhere surface of the world. Perhaps a votive white, paraffin candlestick burning with almost no scent? I envision her guarding with a cupped hand her fifteen minutes of flame. Beset by a swarm of moths. Or the white sand beach of the silver screen, that mirror of the vanities, that tablecloth for a powdery pick-me-up? I can be whomever I want, she thought every time she went backstage.

2.
Winter has locked us down under armored plate. Yes, all the messy stuff is gone. Logs and stumps and scrubby bushes are covered up; the ground is smooth and gently contoured as any glamorous nude. But it’s slick, you can’t get a purchase on it. The deer lose their footing, slide hundreds of feet downslope. The trees in their tight white collars bleed silently in the sun.

3.
The diva’s handlers are forecasting a winter storm. But the language is arcane, as usual. No one understands the difference between a warning and a watch, a watch and an advisory. She tunes her headset to an open frequency to listen to the surf: white noise. When it’s on the screen: snow. And some call it pleasure when it’s in the mind, but its real name is power. Or powder, she thinks, applying each nostril in turn to the line on her mirror.

Bird-brained

Everyone strives to learn what they don’t know;
few strive to learn what they already know.
– Zhuangzi

I stare at the keyboard as if willing the poems to come forth
& damn me if they don’t! Letter by letter
like the heads of grouse chicks popping up
through the dense grid of feathers
on their mother’s back.
*
Car & horse switch places back & forth –
a not uncommon thing to happen in a dream –
but what I remember in the shower is how,
when the bottom dropped away & the wheels
became swimming, circling hooves,
a raft of sea ducks lifted from the far shore.
*
*
Sure it’s corny to write about birds as angels
but May Swenson can, & gets away with it.
I think now of the sharpie that missed his prey
yesterday by the bird feeder & slammed
full force into the bow window. I ran out
onto the porch in time to see him drop
from a momentary perch in the cedar
& land head-down in the snow, tail twitching.
A half-hour later, dinner in the oven,
I look again: gone. The first juncos
are returning by twos & threes to
the strewn millet.
*
*
*
On snowshoes crossing the wind-
groomed field, sun at
my back, the hissing granules
in motion around my feet

now & again rise like
genies released from their lamps
to spin, veering off
across the field

or growing to sudden whiteout
that tempts me to turn, gaze full
into the sun’s
nimbus of wind! Then calm again,

the sharp silhouettes of spruce
take shape on the hill. I turn back,
under the trackless sky
resume my plodding, trailing behind

this long blue figure whose outlandish legs
lift high with every step,
deliberate as a heron stalking
shimmery fish.
*
*
*
*
Bill Stafford – rest in peace – was dead
wrong. Daily practice may make poems,
but to stop at one’s an impossibility – at least
for those of us, less given to gravity,
in whom enthusiasm rises almost
to the level of possession. Get thee hence,
old workshopper – I’m not buying.
I would trade a hundred inspired lines
for a half-dozen real evening grosbeaks
crowding into the feeder on any
January morning.
__________

NOTES: The May Swenson poem referenced is “Angels at ‘Unsubdued.'”
William Stafford – in many ways the godfather of contemporary North American poetry – is famous for encouraging poets to write a poem every day. For one recent appreciation, see here.

Doubled

Wisdom Teeth

That time I was marooned
by a toothache – weeping eyes
screwed shut, mouth agape –
I might’ve been taken for someone
in the throes of ecstasy, lying
on the couch with all
the windows open. The weather
was June, and wonderful.
All afternoon I clung to the thread
of the brown thrasher’s song.

Even in extremis it’s simple
to tell a thrasher from his cousin
the catbird: he repeats
almost every improvised line.
Paired phrases sometimes reach
into the low thousands
without repeating.

Pain can sound exactly like
the world, I thought.
Neither can be replicated.
Art lets us exceed
ourselves, and so escape.

Eventually,
both wisdom teeth had to come out.
For a week or two I had to chew
deliberately. Each bite
of food was accompanied
by a mouthful of thought.

On the wing

Found Object
for G. Z.

The knot of roots that used to be
a bird perched in the lilac bush
now sits long-legged atop
my file cabinet, fast
friends with an alarm clock
and an aloe vera that has dangled
its tattered crown down on
a ridiculous length of rope. What I
can only call a knot may not ever
have been bird – but certainly
something difficult to name
that spoke of hope, Dickinson’s
thing with feathers. The lifted wings,
the fanned tail tell of just-
arrested flight, as if by window
(the wingbone broken in mid-wish,
the tiny clot in the brain that clogs
the unfathomable works) or
from a cell phone tower’s fatal wink.
Frayed muscles can snap, they said,
appalled – the survey team
that found an entire midnight
flock of warblers dead or dying,
littering the ground all around
some guy-wired, steel-girdered
ridgetop Lorelei. It seems
the low clouds & fog forced them down
& the tower’s lights were just right to take
the place of polestars. Imagine it:
to have one’s deep instinctual quest
(like a sex drive, except it’s toward a place)
derailed in favor of this frantic circling –
a comet captured by an unexpected sun.
They will not tell you this on the 6:00
o’clock news. There’s always
some lurid tale of a car crash or drug
bust right down the street, my God,
they were all such good kids, too – straight As,
athletic scholarships . . .
But this – knobs & bumps
of wood, clumped
ends of rhizomes, the grain
that could be feathers, the missing
claws and beak that I neglected
earlier to mention – this isn’t
bird in the hand, but in the bush.
I was myself to blame or credit for it.
(It was I, said the sparrow, with
my little arrow.) I cut it
from the bank with a shovel
when I moved the wall back.
The lilac seemed unaffected.
It remains a sturdy refuge from
the sharp-shinned hawk, a place
where bluebird or cardinal straight
from the bath can ruffle dry their feathers, &
where a hundred other contingencies
might flourish – wholly unguessed at –
down among the baroque
& deliberate roots.

Poem for the New Year

The squirrel says: the trees
in which I have slept
are the color of the sun.
Leafless now and clear
all likely pathways. The tree peers
bleary-eyed through every scar
that used to be a leaf,
she is stiff and cold
and full of old voices.
I rub my face and neck against
her bark: wake up!
My tail trembles.
I am rainwater running
up and down the trunk,
from tree to tree I am wind
leaping, making the treetops sway.
Every possible gulf
of space is spanned
by a possible branch, look!
I can taste the kernels
at the tips of possible twigs.
And within me, now, too,
sunlight on branches.
Aching blue sky of January.
Cries of thirst.

Indirection

Several years ago, when I was reading Edward Snow’s translations of Rilke’s Book of Images* for the first time, I set about trying to write the mirror image of a Rilkean portrait. The end product was nowhere near his league, of course, but I still include it among those few I am willing to share because I like the way it describes without describing. Our theme being the via negativa, it seems appropriate to reproduce it here.

NUDE

A pile of shed
garments on
the hardwood floor
rising in layers
of ever thinner
firmament,
from denim
to lightest cotton
to breath-
less silk &
a trickle
of sunlight
spilling through a crack
in the curtains.
While
the prim unwrinkled
bed, the generic night-
stand pinned under
a thick phone book
& the blank TV atop
a chest
of drawers
all resist
engagement: nothing
to capture
the enchanted gaze
or even the bemused
appraisal.
No stage
hand could stand
such inattention
to properties,
such utter abandon as
this room’s lone
occupant displays.

–From the manuscript entitled Capturing the Hive, p. 57.

*Rainer Maria Rilke, The Book of Images. Translated by Edward Snow (bilingual edition), North Point Press, 1991. (The original, Das Buch der Bilder, was published in 1902 and greatly expanded in 1906. Rilke was one of the 20th century’s three or four greatest poets, and Snow is without a doubt his greatest translator.)