How to eat

This entry is part 2 of 39 in the series Manual


Download the MP3

Cultivate an appetite through rigorous exercise of the organs of speech.

Grow root vegetables and, if possible, talons.

Salivation is important, but in most cases it will not be necessary to consume the saliva of other creatures, e.g. in the form of Aerodramus swiftlet nests.

Go to the ocean—primal eater—and watch how it wags its tongue.

Make sure the bread and the soup are singing in the same key.

Beware of the sea cucumber, which turns itself inside-out to avoid becoming a meal.

The best food is the most obvious: a fan never runs out of air to chew.

If the meat is rotten, eat the maggots.

Forks to the left, spoons to the right and a steak knife’s macron over the dish’s O.

Oxidation is too unpredictable. Use gastric acid and fermentation.

Set an extra place at your table for the anthropologist with the most delectable buttocks.

How to wake up

This entry is part 1 of 39 in the series Manual


Download the MP3

This is the first page of the missing manual, designed to be understood only by those who have no need of it.

Waking up isn’t for everyone.

Dreaming is an anodyne to our nearly inescapable grief.

But if you must awaken, make your bed inside a kettle drum and pray for rain.

When it starts to thunder, climb onto the roof and cling to the lightning rod.

Waking up isn’t for those who are already dead.

You have to start from a position of strength: go fetal.

Every zipper yearns for closure, but it can’t be rushed.

The mountain isn’t going anywhere—stop trying so hard!

Early birds are known only from the fossil record, having met their end in the jaws of nocturnal beasts.

Leave a window open for cat burglars and cats, either of whom might teach you how to travel light.

Waking up isn’t for sleepers.

Eternity can be bribed, though, if you’re subtle about it.

Thread and Surface

This entry is part 43 of 73 in the series Morning Porch Poems: Winter 2011-12

The eye of a needle is tiny. The threader’s wire hooks a whip of floss and passes it through the door of a wool-gray sky. If I were a camel, would I have known where the fissure lay? The word heather means variegated, shaded off in parts, whimsy not cut out of the same sheen or sheet or cloth. Like how some dreams are stippled and some are plain. Like how some joys are miles and miles of gossamer, unfazed by the idea of seams. I drive past neighborhoods in the afternoons, as children are just starting to walk home from school. Brick houses like rust-colored skeins line the streets, flagstone walks edged by monkey grass. Let me not forget what I’ve always wanted, so hard its edges strain against the remnants of fabric scraps.

 

In response to an entry from the Morning Porch.

Interrogations

This entry is part 42 of 73 in the series Morning Porch Poems: Winter 2011-12

Is there dew on the grass, are they tears
of a lover that time forgot?

Is there milk in the cup, fresh
skin formed on the nourishing fat?

Is the seed worked free of rock,
and has it brought its tattered shirt?

Is the grout in the bathroom stall
now a legible trail?

Is the pear tree warm or cold? Beneath its arms,
does it wish for a reader of long Russian novels?

Is the sill wide enough for a window
to rest, for a wing to roost?

Is the woman headed toward the train
station, does she hear the warning bell?

 

In response to an entry from the Morning Porch.

Rock, Paper, Scissors

This entry is part 41 of 73 in the series Morning Porch Poems: Winter 2011-12

Rock

On the other side
of the world, a nun
ponders rain that is
beginningless
which makes me remember
the first of many games
that women in the family
would play with every new
baby: close, open, close,
open
— by turns
the fist is soft as new
paper, then layered flint
cropped from a lunar crater.

Paper

When I pried
the orange’s clear
segment from its rind
and mesh of membrane,
a spray of volatile oil
arced into the air.

Scissors

Loggers clear trees along
the powerline to make way
for a new parking structure
at the mall. You
could not see the shore
from here— fish in nets
a kind of dappled wealth,
even a little change dropped
back into the water.

 

In response to an entry from the Morning Porch.

Groundhog Day

It’s not his own shadow he looks for
but the shadows of hawks.
He has stirred from hibernation
not to forecast but to inspect
others’ burrows—to scout for mates.
His lust is still containable,
a faint mutter like an underground stream
or a sleepwalker’s obstreperous
small intestine. He serves it
more in faith than in urgency,
a reluctant prophet answering a call,
for he’s exposed to the sky
in a way he isn’t used to:
there’s no grass, no cover,
the meadow has a new, white surface
& the sun too is strange—it gives
no heat. He freezes, wary
as it emerges from its burrow
behind a snowcloud.

Mirador

This entry is part 40 of 73 in the series Morning Porch Poems: Winter 2011-12

Some children are pounding leaves
on the stones— slippery
leaves of the hibiscus, a stray

petal streaked with coral. A little
scatter of detergent and water, a bent
piece of wire— and late afternoon

light floods through a prism
of bubbles. The blur in the road
is the dust raised by feet rushing

then jumping into packing boxes.
World of makeshift joys: thunk
of a fruit stone meeting its sling-

shot target, and from an upstairs
window, the ice cream bell sound
of a typewriter carriage return.

 

In response to an entry from the Morning Porch.

Currency

Cur.ren.cy is a new online magazine featuring “poetry and prose for hard times,” and I’m pleased and honored that the editors/mortgage-backed securities managers — Messrs. Good, Wisely, and Sharp — have added one of my poems to the mix.

I hardly ever submit anything anymore, since I have this venue with its already established readership, and since most editors won’t consider previously blogged poems. But I’m a sucker for themed anthologies, and I liked the poems at cur.ren.cy so much — I couldn’t resist.

The name and theme of the magazine do make me reflect on how, for English-language poets, living in a society where poetry isn’t highly valued and doesn’t make anyone rich, prizes and publications function as a sort of scrip, redeemable for other opportunities from the PoBiz company store (readings, residencies, teaching positions, etc.). Self-publication on the web, e.g. on a blog like this, might be akin to issuing one’s own currency. But one can’t become too preoccuppied with status or social currency if one is to focus on posting new work that is not mere criticism or commentary, since “what is completely new or unique has no, or unknown, social currency.” One can, however, contribute to a gift economy in which original content, links, reviews and supportive comments are freely given with an eye to sharing poetic insights and increasing the net supply of aesthetic pleasure. I guess that’s what I aspire to here.

Arborophobia

canker tree

Yesterday’s post prompted some additional recollections from my mother. Sometime during their last fight to save the hollow from being clearcut back in the late 80s, my parents were meeting with the lumberman/owner of the neighboring property in a lawyer’s office in Tyrone (the town adjoining our mountain). Of all the loggers we’ve ever met, this guy was the hardest to come to an agreement with because he viewed his role as divinely ordained: God had put the trees there for Man to use. Forest trees are a crop that needs to be harvested — a not-uncommon view at industry-funded schools of forestry, by the way. He once told me and Dad on a walk through the woods: “These trees are overmature. They want to be cut!” (See my poem about the incident.)

So on this particular day, Dad had to go to work after the meeting, leaving Mom to walk up the hollow. She mentioned this by way of making small talk after the meeting — what a nice day it was for a walk. The lumberman was aghast. “You’re going to walk? Aren’t you afraid of trees falling on you?”

It was a very telling remark, and we couldn’t help wondering how many other loggers suffered from such extreme arborophobia.

Fear of trees isn’t restricted to those against whom the trees might legitimately harbor grudges, however. Not long after we moved in back in 1971, a farm woman in the valley — another neighbor — asked Mom if she wasn’t afraid to be surrounded by trees. “I’d be terrified to live up there. What would you do if there was a forest fire?” Some years later, a writer-friend of Mom’s from State College expressed the same fear, adding by way of explanation that she was claustrophobic.

Well, I can see that. Besides, anyone who watches television with any regularity would be familiar with the raging, canopy-height forest fires that occur annually in many parts of the west. Here in the east, in most forest types including ours, fire really isn’t much of an issue. What forest fires do occur tend to be low-key affairs that scorch a few acres and kill a few fire-intolerant trees (read: trees that are not oaks) before they burn themselves out. It’s only in recently logged-over areas where the dried-out ground is deep in discarded limbs and branches that true conflagrations can occur.

Fear of forests in general is of course pretty widespread — just think about how many horror movies are set in cabins in the woods. It’s not altogether irrational to be afraid of wild places if you don’t know what you’re doing, or if there are aggressive poisonous snakes or grizzly bears about. Our black bears and timber rattlers are pretty hard to piss off, but to the extent that such things keep fools and lumbermen at bay, we could stand to have a lot more of them.