I missed the birthday of one of my favorite writers: Michael Ondaatje (September 12, 1943). One of my best friends from the museum, Becky Anthony, introduced me to Ondaatje and his masterful novel, The English Patient, which was adapted into an equally beautiful movie starring Ralph Fiennes and Kristin Scott Thomas. The Poetry Foundation has a nice bio of the author.
For today’s Two for Tuesday, I thought that I’d share some of my favorite quotes from the novel, a few more than two, I suppose. I’m also including a video with some of the movie’s soundtrack. I love movie soundtracks, and this is one that I listen to when I’m feeling very out of sorts. It is as hauntingly beautiful as the movie and novel. Enjoy.
“She had always wanted words, she loved them; grew up on them. Words gave her clarity, brought reason, shape.”
In the desert the most loved waters, like a lover’s name, are carried blue in your hands, enter your throat. One swallows absence.
A man in a desert can hold absence in his cupped hands knowing it is something that feeds him more than water. There is a plant he knows of near El Taj, whose heart, if one cuts it out, is replaced with a fluid containing herbal goodness. Every morning one can drink the liquid the amount of a missing heart.
He walks with her through the indigo markets that lie between South Cairo and her home. The beautiful songs of faith enter the air like arrows, one minaret answering another, as if passing on a rumor of the two of them as they walk through the cold morning air, the smell of charcoal and hemp already making the air profound. Sinners in a holy city.
And all the names of the tribes, the nomads of faith who walked in the monotone of the desert and saw brightness and faith and colour. The way a stone or found metal box or bone can become loved and turn eternal in a prayer. Such glory of this country she enters now and becomes a part of. We die containing a richness of lovers and tribes, tastes we have swallowed, bodies we have plunged into and swum up as if rivers of wisdom, characters we have climbed into as if trees, fears we have hidden in as if caves. I wish for all of this to be marked on my body when I am dead. I believe in such cartography—to be marked by nature, not just to label ourselves on a map like the names of rich men and women on buildings. We are communal histories, communal books. We are not owned or monogamous in our taste or experience. All I desired was to walk upon such an earth that had no maps.
I would ride your bed
And leave the yellow bark dust
On your pillow.
Your breasts and shoulders would reek
You could never walk through markets
without the profession of my fingers
floating over you. The blind would
stumble certain of whom they approached
though you might bathe
under rain gutters, monsoon.
Here on the upper thigh
at this smooth pasture
neighbour to you hair
or the crease
that cuts your back. This ankle.
You will be known among strangers
as the cinnamon peeler’s wife.
I could hardly glance at you
never touch you
–your keen nosed mother, your rough brothers.
I buried my hands
in saffron, disguised them
over smoking tar,
helped the honey gatherers…
When we swam once
I touched you in the water
and our bodies remained free,
you could hold me and be blind of smell.
you climbed the bank and said
this is how you touch other women
the grass cutter’s wife, the lime burner’s daughter.
And you searched your arms
for the missing perfume
what good is it
to be the lime burner’s daughter
left with no trace
as if not spoken to in the act of love
as if wounded without the pleasure of a scar.
your belly to my hands
in the dry air and said
I am the cinnamon
Peeler’s wife. Smell me.
Today’s Two for Tuesday features poems from the book A Haiku Garden: The Four Seasons In Poems And Prints, by Stephen Addiss with Fumiko and Akira Yamamoto (a PDF of which can be found here). I’ve been intent on the coming of autumn, but I decided yesterday that I need to appreciate the last days of summer, regardless of the flies. I find that whenever am keenly focused on nature and in search of poems, I turn to Haiku, and admittedly, I am very fond of the frequent appearance of dragonflies in this type of verse.
Haiku is a traditional 13th century form of Japanese verse that depicts a moment in time, or as Cor van den Heuvel wrote in 1987, Haiku is the concise “essence of a moment keenly perceived in which Nature is linked to human nature.” When translated to English, the formal Haiku is supposed to be composed of three lines of verse, usually unrhymed, with five, seven and five syllables. These 17 syllables are akin to the original form of 17 mora, which is a unit of Japanese syllable weight; however, it has been pointed out that roughly 12, not 17 syllables in English are equivalent to the 17 On (phonetic units) of the Japanese Haiku, which only goes to show that strict adherence to form does not necessarily a Haiku make.
Over time, poets have moved away from the strict 17 syllable and line count while focusing more on the economy of form. Importantly, to understand Haiku it should be viewed as more than a short poem, more than a pithy description. For a poem to be Haiku, it must encompass a sense of awareness, an eloquence of brevity. One other aspect of Haiku that should be noted is the use of kigo, which are words or phrases traditionally associated with seasons. I actually found a world database on kigo which contains fairly comprehensive discussions of the Japanese term and its use in Haiku.
The Poetry Foundation has a good description of Haiku that can be found here. A more detailed history of the form can be found on the site With Words, and the British Haiku Society site offers a breakdown of the western views and approaches to the form. Historically, there were four Japanese poets considered masters of the form, sometimes referred to as the Great Four: Matsuo Bashō (1644-1694), Yosa Buson (1716-1784), Kobayashi Issa (1763-1828), and Masaoka Shiki (1867-1902). Seventeenth-century Samurai poet Bashō is often classified as the greatest writer of Haiku; to read more about him you can go here or here for a collection of his verse.
Because of the compact nature of Haiku, I am breaking my self-imposed Tuesday rule and featuring more than two; most of these come from the “Summer” section of the book, and I am including the page numbers on which each can be found. Enjoy.
More later. Peace.
After the thunderstorm
one tree catches the setting sun—
~ Shiki (p48)
Seen in the daylight
it has a red neck—
~ Bashō (p48)
amid the bamboo shoots
sings of old age
~ Bashō (p51)
The garden darkening
the night quieting—
~ Shirao (p52)
The coming of autumn
by a red dragonfly
~ Shirao (p60)
has died his body
~ Bakusui (p63)
completely unaware that
autumn has come
~ Issa (p63)
Music by Rodrigo Rodriguez, “Hitomi (Eyes), composed by Horii Kojiro
It’s starting to feel like fall, which is a bit unnerving. It seems that the seasons change rather quickly here on the ridge. I mentioned this a few months ago when Corey and I were wondering why we weren’t seeing all of the green of spring, and then less than a week later, we were surrounded by green: the trees were covered in leaves, and buds were blooming everywhere you looked. Now, we’re already seeing the leaves turn on certain trees, the birches, I think.
Once again, I wish that I had some extra cash so that I could work on refinishing cabinets and furniture, but of course, there is none of that, at least not yet. I wish that my other mother were still around as I desperately need to cover the couch in a fabric that is dog and goat proof, if such a thing exists. She was so good at that.
I had one of those dreams last night in which I was back at the middle school. I don’t know why I continue to dream about that place and the people in it. The kids I taught would all be grown with their own kids, or in jail, or dead. I know that sounds like a horrible thing to opine, but truly, I have no doubts that some of those kids are in jail, one in particular who scared the crap out of me, and he was only 12.
Anyway, I was back there looking for a book that I had donated by mistake. Weird, huh?
Today’s Two for Tuesday features works by Pulitzer-Prize-winning poet James Wright (December 13, 1927–March 25, 1980), who was phenomenal; he could say so much about loneliness and isolation in very few words, and he was masterful in closing a poem. Wright, who was born in Martin’s Ferry, Ohio, suffered from alcoholism and manic depression; he died as a result of tongue cancer.
Mari introduced me to Wright years ago, and “Lying in a Hammock” (below) remains one of my favorites and is surpassed in my mind only by “A Blessing.” I can relate deeply to the last line of “Hammock.” His posthumous book of collected works, Above the River (1992) is a prized possession that, thankfully, never made it into storage but always had a reserved spot on my desk. I remember exactly where I bought it: in a bookstore in Charlottesville, VA after having lunch; Corey, the boys, and I were in the mountains for a fall hike. When I finally find the box in which it was packed, it will be like Christmas all over again.
To see a good biography, go here or here. In the summer 1975 issue, he was featured in The Paris Review‘s “Art of Poetry (No. 19), in which Wright declared that “poetry can keep life itself alive.”
Lying in a Hammock at William Duffy’s Farm in Pine Island, Minnesota
Over my head, I see the bronze butterfly,
Asleep on the black trunk,
blowing like a leaf in green shadow.
Down the ravine behind the empty house,
The cowbells follow one another
Into the distances of the afternoon.
To my right,
In a field of sunlight between two pines,
The droppings of last year’s horses
Blaze up into golden stones.
I lean back, as the evening darkens and comes on.
A chicken hawk floats over, looking for home.
I have wasted my life.
All right. Try this,
Then. Every body
I know and care for,
And every body
Else is going
To die in a loneliness
I can’t imagine and a pain
I don’t know. We had
To go on living. We
Untangled the net, we slit
The body of this fish
Open from the hinge of the tail
To a place beneath the chin
I wish I could sing of.
I would just as soon we let
The living go on living.
An old poet whom we believe in
Said the same thing, and so
We paused among the dark cattails and prayed
For the muskrats,
For the ripples below their tails,
For the little movements that we knew the crawdads were making
For the right-hand wrist of my cousin who is a policeman.
We prayed for the game warden’s blindness.
We prayed for the road home.
We ate the fish.
There must be something very beautiful in my body,
I am so happy.
Tuesday afternoon, cloudy and less humid after the earlier showers, 84 degrees.
Yesterday was the birthday of American poet Donald Justice (August 12, 1925-August 6, 2004), who wrote one of my all-time favorite poems, “Men at Forty.” I would always try to include this one on the syllabus of any American Literature classes that I taught, and it was always the older students who liked it best. I suppose that it’s the kind of poem that is like fine wine, best savored with some years added. I realize that I’ve featured this poem before, several years ago (April 2011), but that’s the great things about controlling my content: I can repeat things that I love.
Justice’s poems have been called elegaic and controlled. What I like best about his poems are the powerful single lines, such as the one that I chose for the heading, or this closing line from his poem “About My Poems”:
—Now the long silence. Now the beginning again.
Or these beautiful closing lines from “Invitation to a Ghost,” an elegy that Justice wrote for his friend Henri Coulette:
Come back now and help me with these verses.
Whisper to me some beautiful secret that you remember from life.
You may not be as familiar with the Pulitzer Prize winning Justice as his writing was not flashy, like, say Bukowski, but he was incredibly influential to the genre, helping to shape the work of a generation of poets such as Rita Dove, Mark Strand, and Charles Wright via his association with the Iowa Writers’ Workshop. You can find a more in-depth biography on Justice here at the Poetry Foundation or here at the Academy of American Poets.
Men at Forty
Men at forty
Learn to close softly
The doors to rooms they will not be
Coming back to.
At rest on a stair landing,
They feel it
Moving beneath them now like the deck of a ship,
Though the swell is gentle.
And deep in mirrors
The face of the boy as he practices trying
His father’s tie there in secret
And the face of that father,
Still warm with the mystery of lather.
They are more fathers than sons themselves now.
Something is filling them, something
That is like the twilight sound
Of the crickets, immense,
Filling the woods at the foot of the slope
Behind their mortgaged houses.
[This poem is not addressed to you]
This poem is not addressed to you.
You may come into it briefly,
But no one will find you here, no one.
You will have changed before the poem will.
Even while you sit there, unmovable,
You have begun to vanish. And it does not matter.
The poem will go on without you.
It has the spurious glamor of certain voids.
It is not sad, really, only empty.
Once perhaps it was sad, no one knows why.
It prefers to remember nothing.
Nostalgias were peeled from it long ago.
Your type of beauty has no place here.
Night is the sky over this poem.
It is too black for stars.
And do not look for any illumination.
You neither can nor should understand what it means.
Listen, it comes without guitar,
Neither in rags nor any purple fashion.
And there is nothing in it to comfort you.
Close your eyes, yawn. It will be over soon.
You will forget the poem, but not before
It has forgotten you. And it does not matter.
It has been most beautiful in its erasures.
O bleached mirrors! Oceans of the drowned!
Nor is one silence equal to another.
And it does not matter what you think.
This poem is not addressed to you.
“He described feeling an aversion to other people. Not a murderous rage, but a cold, dismissive hate. He hated others, he explained, the way some people hate broccoli.” ~ a reference to Aurora, Colorado gunman james holmes in a Washington Post ARTICLE (March 15, 2018)
Tuesday afternoon, cloudy, 79 degrees
Today’s Two for Tuesday does not feature poetry. Unfortunately, it features two mass shootings in two days: El Paso, Texas (22 dead, 26 injured) and Dayton, Ohio (9 dead, 27 injured in 32 seconds). Less than a week ago, 4 people were killed and 12 injured in Gilroy, California. Nowhere else in the world do events such as these happen with this frequency. Yes, there are other mass shootings in other countries, but nothing like what happens here in the USA.
Yesterday, the Dumpster Fire in Chief actually used a medium besides Twitter to address the nation in a stilted speech in which he condemned the very racism and white nationalism that he continually stokes, in which he got the massacre locales wrong (Toledo for Dayton, and Houston for El Paso), and in which he tried to pin the blame on video games and mental illness. Consider, video games flourish all over the world. People suffer from mental health issues all over the world. But these things do not happen with this frequency anywhere except here.
Researchers do suggest that certain factors can be predictors as to whether or not someone can become a mass shooter: “a strong sense of resentment, desire for infamy, copycat study of other shooters, past domestic violence, narcissism and access to firearms.” However, according to criminologist Adam Lankford, a country’s rate of gun ownership is a far better predictor of public mass shootings than indicators of mental illness; Lankford, a University of Alabama associate professor, published a 2016 analysis of data from 171 countries in the journal Violence and Victims.
Additionally, the attempt to link violent video games to mass shooters only perpetuates a falsehood. Jonathan Metzl, director of the Center for Medicine, Health and Society at Vanderbilt University, states that there is no statistical link between playing violent video games and shooting people. A 2004 report by the Secret Service and the Education Department determined that only 12 percent of perpetrators in more than three dozen school shootings showed an interest in violent video games.
Time magazine created a chart showing the number of mass shootings in the U.S. since 1982; below is the section for 2019 alone (totals do not include the shooters), indicating that 62 people have been killed by mass shooting so far this year. We still have four months left in 2019, people. The statistics are grim:
“We should soundly reject language coming out of the mouths of any of our leaders that feeds a climate of fear and hatred or normalizes racist sentiments; leaders who demonize those who don’t look like us, or suggest that other people, including immigrants, threaten our way of life, or refer to other people as sub-human, or imply that America belongs to just one certain type of people.” ~ President Barack Obama (August 5, 2019)
In 2007, after the shootings at Virginia Tech, I thought that there might actually be some leveling of the gun laws in this country. Then, in 2012, I believed that surely after the Newtown shooting of school children that we would come together as a nation and actually do something. Then in 2017, when one man killed 59 people and injured 527 in Las Vegas, I thought to myself, “surely now something will happen.”
I can be incredibly naive at times.
But something feels different this time. At least, I like to hope/think so. Consider—news organizations and pundits are actually calling these heinous events what they are: DOMESTIC TERRORISM. So many of us like to sit on our sofas within the safety of our homes and decry the terrorism that may be visited upon us by Al Qaida or some other group of Muslims or Mexicans or whoever we happen to most fear and loathe in our ignorance. But we need not look to the other to find the real threat, the true enemy. We need not worry about those who worship differently, or those whose skin isn’t Caucasian, or those whose accents aren’t ‘merican.
The enemy is within. It is us. The enemy frequents 4Chan or 8Chan or whatever other forum happens to be exploding with venom shared by the disaffected or outlying or just plain evil individuals who post their screeds in the ether. And as one commentator pointed out, these are not manifestos; labeling them as such gives these rants too much credit.
These terrorists are incubated and bred right here at home. They haven’t invaded, to use the dumpster’s term for anyone who has immigrated or who seeks sanctuary. The killers come from a few states over, or a nearby city or town, or even next door. The people responsible for slaughtering scores of Americans in recent years are more often than not white males who feel that the world just isn’t fair, who may or may not have been bullied, who contend that a brown man or black woman has stolen the job meant for them, who believe the Kool-Ade that this administration spews from the sacred pulpit of Twitter or proclaims vociferously at red-hatted events. And some simply want to be famous, or infamous, as the case may be.
“America’s is not a uniquely cruel culture, but it is a culture awash in guns. While bullies exist everywhere, the United States has one of the highest gun-ownership rates in the world. That’s what makes social rejection in this country so uniquely deadly.” ~ Olga Khazan, from “Why Many Mass Shooters Are ‘Loners’” (The Atlantic, August 5, 2019)
To label these hate-filled people as being crazy or mentally ill does a great disservice to those who actually suffer from mental illness and do not go on killing rampages. I would also contend that blaming mental illness alone for their actions gives them yet another excuse that they don’t deserve. True, some may have suffered from untreated conditions such as depression or schizophrenia, but the Dumpster’s “focus on ‘mentally ill monsters’ oversimplifies the role of mental illness in public mass shootings and downplays the ease with which Americans can get firearms” (ABC News).
No one forced any of these individuals to acquire a gun or several guns; no one filled their arms with multiple rounds of ammunition. That being said, they were not created in vacuums. They were indoctrinated into a world of hate via online chats and inculcated via televised screeds, and for some, their mental illness may have led them to be more easily swayed. Some, but not all. We must not downplay the role of hatred in all of this.
The enemy is us, and we are him. This enemy wants us to be afraid of the other. I would prefer to be angry, not at the other, but at the system that nurtures the environment responsible for gestating such people. I would contend that righteous indignation is the best response to such ignorance. I would aver that abiding intolerance should be directed at those elected to represent and protect us, the ones who refuse to do what is needed and right, the ones who so fear a gun lobby that they remain silent, offering only the standard thoughts and prayers, as if those thoughts and prayers could actually shield us.
I’m tired of hoping that things will change. I’m past the point of being shocked at the numbers. The numbers don’t lie; they leave the lies to the selectively impotent politicians, the ones who decry loudly that the concept of healthcare for all will destroy our national way of life, but remain mute in the face of the actual death knell to a free society: unabated killing after killing after killing.
We should all be mortified that our school children are now routinely taught what to do in the case of an active shooter. We should be weary that yet another candlelight vigil for families and survivors brings no actionable change. We should be embarrassed that the rest of the world views us as little more than savage heathens who strap on our guns before going to church or out to dinner and who love our guns more than we love our citizenry. How much longer must we be strong and resilient in the aftermath of gun violence? When will we finally get off our knees and do something more concrete after offering feeble thoughts and prayers that do nothing to assuage the violence. We should do all of this and more, but I fear that we will not, at least not in my lifetime, and I fear that we shall all continue to slow dance in this quicksand.
“They say I’m a bitch. Or witch. I’ve claimed the same and never winced.” ~ Sandra Cisneros, from “Loose Woman”
Tuesday afternoon, cloudy, 81 degrees.
I awoke this morning to Sarah Bear (named for Corey’s primary school girlfriend) jumping on me; as usual, she was muddy and wet. In the mornings when they first go out, several of the dogs run through the pasture, which is heavy with morning dew. Sarah always seems to be the one who winds up getting the dirtiest, and her favorite thing to do once she comes back inside is to jump on me. So I greet most days smelling of wet dog. It’s very sexy.
There’s so much that I want to do around the house today. Who knows how much of it I will actually be able to accomplish. Just cleaning up after the goats can be a twenty-four-hour chore (I so look forward to the day when the goat boys go outside once Zeke is weaned). One day I won’t have to worry about the constant influx of dirt and mud on the hardwood floors. One day we’ll have crushed shells or gravel on the driveway, and the horses and goats won’t have the front yard as their personal spaces. One day.
Corey comes home tomorrow. I hope that he gets a fairly early start so that he doesn’t get home as late as he did last time. The later it gets, the more that it stresses me out. I can’t wait for him to see how full the apple trees have become. We’re unsure as to what kind each tree is; I just know that the horses and goats are enjoying the apples that I’m giving them as treats, but truly there are way more than we thought we’d get this year as the trees really need to be pruned and fertilized properly.
Also, I made some homemade syrup for the hummingbird feeder, and they are flocking to it. We have about six regulars, including two male ruby-throated hummers. Anyway, that’s today’s news.
Today’s Two for Tuesday features two works, a passage and a poem, by multi-hyphenate Sandra Cisneros. She has won numerous awards, including NEA fellowships in poetry and fiction, and a National Medal of the Arts from President Obama. I have several of her books on my wishlist. If you would like to learn more about this incredibly talented writer, go here.
More later. Peace.
from “A House of My Own”
As a Latina, I don’t want to inherit certain legacies. I don’t want to inherit mothers laying down their lives like a Sir Raleigh cloak and asking everyone to step all over them. I don’t want to inherit my mother’s fear of doing anything alone or her self-destructive anger. I don’t want to inherit my paternal grandmother’s petty jealousies and possessiveness I don’t want to inherit my maternal grandmother’s silence and passivity I don’t want to quedar bien, be nice, with the men around me at the expense of my own dreams and happiness I don’t want to be the mother of twelve children, seven, five, even one, but I do want to write stories for one child, five, seven, twelve, a million children.
I do want to inherit the witch in my women ancestors—the willfullness, the passion, ay, the passion where all good art comes from as women, the perseverance, the survivor skills, the courage, the strength of las mujeres bravas, peleoneras, necias, berrinchudas. I want to be bad if bad means I must go against society—el Papá, el Pápa, the boyfriend, lover, husband, girlfriends, comadres—and listen to my own heart, that incredible witch’s broom that will take me where I need to go.
I’m convinced if we’re to be artists of any worth we must lock ourselves in a room and work. There are no two ways around this one, no shortcut, no magic word to save the day. Take it as a given, you’ll cry, despair, think you’ll die, that you can’t possibly do it, that it’s a lonely task, you’ll lose faith in yourself, especially at night. But when you finish crying and despairing, you can wipe your eyes and . . . the work is still there waiting. So you better roll up your sleeves and get moving, girl! Nobody’s going to do the work for you. If you’re serving others other than your art, then it just takes longer. In the words of Tillie Olsen, “Evil is whatever distracts.”
Night Madness Poem
There’s a poem in my head
like too many cups of coffee.
A pea under twenty eiderdowns.
A sadness in my heart like stone.
A telephone. And always my
night madness that outs like bats
across this Texas sky.
I’m the crazy lady they warned you about.
The she of rumor talked about –
and worse, who talks.
It’s no secret.
I’m here. Under a circle of light.
The light always on, resisting a glass,
an easy cigar. The kind
who reels the twilight sky.
I’m witch woman high
on tobacco and holy water.
I’m a woman delighted with her disasters.
They give me something to do.
A profession of sorts.
Keeps me industrious
and of some serviceable use.
In dreams the origami of the brain
opens like a fist, a pomegranate,
an expensive geometry.
I haven’t a clue
why I’m rumpled tonight.
Choose your weapon.
Mine – the telephone, my tongue.
Both black as a gun.
I have the magic of words,
the power to charm and kill at will.
To kill myself or to aim haphazardly.
And kill you.
Tuesday night, clear and unseasonably cool, 60 degrees.
It feels like fall here. God I love fall weather. I wish that I had some cash on hand because it’s the perfect weather for working outside on the cabinets. It’s supposed to be like this for a few more days.
Today’s poems deal with a subject that people do not usually associate with poetry: violence. Ask most lay people about poetry, and they immediately think of love, flowers, beautiful things, but poetry is as old as story telling, the precursor to written history. Early poetry rhymed in order for the story-teller to better remember the words. Consider: Beowulf, one of the oldest, best-known epic poems, which dealt with battles, monsters, swords, blood.
So the concept of violence in poetry is as old a poetry itself. What I want to show today is how subjects of violence have been treated in more recent poems. To continue with yesterday’s thoughts, I’ve chosen a Bukowski poem to go with another poem by Frank Stanford, which I chanced upon and have been saving for a post. The two poems are both visceral, but very different in how they handle the concept. Truthfully, I prefer the Stanford poem even though it’s heartbreaking.
More later. Peace.
Music by Yazoo, “Winter Kills”
Freedom, Revolt, and Love
They caught them.
They were sitting at a table in the kitchen.
It was early.
They had on bathrobes.
They were drinking coffee and smiling.
She had one of his cigarillos in her fingers.
She had her legs tucked up under her in the chair.
They saw them through the window.
She thought of them stepping out of a bath
And him wrapping cloth around her.
He thought of her waking up in a small white building,
He thought of stones settling into the ground.
Then they were gone.
Then they came in through the back.
Her cat ran out.
The house was near the road.
She didn’t like the cat going out.
They stayed at the table.
The others were out of breath.
The man and the woman reached across the table.
They were afraid, they smiled.
The others poured themselves the last of the coffee
Burning their tongues.
The man and the woman looked at them.
They didn’t say anything.
The man and the woman moved closer to each other,
The round table between them.
The stove was still on and burned the empty pot.
She started to get up.
One of them shot her.
She leaned over the table like a schoolgirl doing her lessons.
She thought about being beside him, being asleep.
They took her long grey socks
Put them over the barrel of a rifle
And shot him.
He went back in his chair, holding himself.
She told him hers didn’t hurt much,
Like in the fall when everything you touch
Makes a spark.
He thought about her getting up in the dark
Wrapping a quilt around herself
And standing in the doorway.
She asked the men if they shot them again
Not to hurt their faces.
One of them lit him one of his cigarettes.
He thought what it would be like
Being children together.
He was dead before he finished it.
She asked them could she take it out of his mouth.
So it wouldn’t burn his lips.
She reached over and touched his hair.
She thought about him walking through the dark singing.
She died on the table like that,
Smoke coming out of his mouth.
~ Frank Stanford
sitting in a dark bedroom with 3 junkies,
brown paper bags filled with trash are
it is one-thirty in the afternoon.
they talk about madhouses,
they are waiting for a fix.
none of them work.
it’s relief and food-stamps and
men are usable objects
toward the fix.
it is one-thirty in the afternoon
and outside small plants grow.
their children are still in school.
the females smoke cigarettes
and suck listlessly on beer and
which I have purchased.
I sit with them.
I wait on my fix:
I am a poetry junkie.
they pulled Ezra through the streets
in a wooden cage.
Blake was sure of God.
Villon was a mugger.
Lorca sucked cock.
TS Eliot worked a teller’s cage.
most poets are swans,
I sit with 3 junkies
at one-thirty in the afternoon.
the smoke pisses upward.
death is a nothing jumbo.
one of the females says that she likes
my yellow shirt.
I believe in a simple violence.
some of it.