Monthly Archives: December 2010

Making Progress

The simplest approach
to the remaking of the world is to
let go of the tug of war

between past and future
and let Now happen: unavoidably,
there will be pain.

Someone holding on too tightly will fall,
become bruised and filthy and angry.
Someone’s going to make a lot of noise.

It happens each time we do this,
and it doesn’t matter that it happens.
It has to be “we,” and it has to be “now.”

and there will always be tears.
Even if nothing’s being done.  Even if
it’s still the same old world as always,

there will be tears.  Trying to pretend
that no one ever cries is dishonest,
avoiding change to prevent crying

is being dishonest with ourselves.
We just have to let go the rope
and fall if we’re ever going to stand up again.

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Christmas Eve At The Airport Lounge

The rumpled
training manager from Grand Rapids
is clearly one sheet away from
three sheets to the wind when he blurts it out:

“I don’t care what you think
about the divinity angle — it’s
a heck of a story.  Think about it:
child bride, older man, infant
in a bed of straw, animals (there HAD
to have been animals, man, it was a
freaking stable), and then those kings
and the fancy gifts and the comet
in the sky above:  even if the angels
were a fabrication, the whole damn cosmic order
shows up in that little tale — and there’s death
and taxes, courtesy of Herod —
that’s a heck of a story, as if every element
from human royalty to the plant kingdom
(if you count the straw)
was in communion with the homeless
and the galaxy and the myrrh and all.”

He lifted the glass again,
poured the last of the bourbon
into himself.  “I get tickled
thinking about it.  I mean,
here you and I sit in an airport bar
like we’ve known each other forever,
brought together with all these other nomads
and there’s that bird stuck in the terminal rafters
and the lights on the runway like stars —
I think of the story
and I see it happening
all the time;
and all I have to do
to make it real
is look around wherever I find myself
and find out what’s being born.
I’m not saying
I believe it all happened that way,
of course; and I’m fine with you
believing whatever you want,
I’m just saying
it still keeps on being
a heck of a story,
no matter what you think
of the Virgin Birth part:
something to think about
while we sit here stranded
a long way from home.”

I don’t want to be here,
listening to this,
staring out the big windows
at huge, immobile planes.
I just want to be home.

I don’t want to know this guy
or think about the story
while billowing sheets of snow
scoot across the tarmac
reminding me
that even if there is a hotel room
out there, it’ll be sheer misery
getting to it;
I just want to be home.

But we’re here, the training manager
and the nice young couple with the baby in the corner booth
and all these other random folks,
and I’m here too, and while I’m not going
to take a census of us all,
I bet no one wants to be here right now
hearing this
so far from home.

He’s so loud,
so drunk and getting drunker,
and he smells of something sweet
and pungent, and he keeps talking
while home gets more and more distant
even as we’re sitting still.

I’m not going to tell you
there is any redemption here —

there’s just the story
and the telling
and the wish for the messenger
to keep it to himself
while I wonder about that sparrow
who can’t fly out of here
into the cold of the dark winter storm,
but who will evidently try
till he can try no more.

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Derailed, 3 AM

I am trying to get sleepy
but time is refusing to budge
from the track it’s on
and there are after all many hours of the day
we waste numbers on
considering how often most of us see them
I am trying to get sleepy
but the night’s flexing its muscles
showing me how strong it is
by holding me by the lapels
and not letting go
I am trying to get sleepy
without aid of alcohol or weed or heroin or death
and it’s a no go tonight for the straight man
who seems to be stubbornly awake and alive
when sleep is the most important task before him
I am trying to get sleepy
but the damn sheep are singing
at the top of their woolly lungs
I am trying to get sleepy
but the sirens outside
sing as well of other people who aren’t asleep either
it’s criminal how they torture me for their sleeplessness
arrest all the waking rascals
me too
I need to be imprisoned somewhere boring
with gray walls
and nothing to stimulate me
it’ll be like sleep
even if I’m awake
losing track
to time

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Meteor

The meteor never knew
how hope grew from the light
it gave to the watchers below,
or how they hung their wishes
upon it. 

It did not know
how alive it made those people feel,
how for a few seconds
they put aside their envy
of those around them
who seemed to have had all the luck
and told themselves they now had
a little of it themselves
because of what they’d seen.

Someone will no doubt say
this is an argument
against suicide, how you never know
who will be lit by your passage;

someone will be wrong,
someone will have missed the point
that awareness or lack thereof
would have changed nothing
for the meteor, which fell
into vapor according to the rules
which also gave the people below it
the light from the burning
and the hope is always
a secondary and unintended
effect.

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In Such Small Words

It is said that
once,
we had
myths
we lived by.

One myth told of a rock
that shone in the dark
as if it held a star.

All wished to see this
but it was thought
that to view that stone
was to die.

But one night,
back when we lived in camps,
a young girl found it
and took it home
for all the tribe to see.

Its glow,
a wine on which
they grew drunk,
raised them all to joy.
They danced, they fell down,
they were spent.

While they slept,
a thief came and took the stone.

At dawn the tribe rose,
still drunk a bit
on stone wine and shine of myth,
and in rage and grief
surged out from camp to find
and kill that thief,
take back the glow
and the source of the glow;

but he was not found.
We seek him still.

In such small words as these
we tell all our truth:
if the girl
had not found the stone
we would not have known
joy, if the thief
had not seized the stone
we would not have known grief.

We still blame the girl
and kill her each time the dark falls.

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Obscured

In an eclipse
of an eclipse (too many
clouds to see)

the sky may redden
above the cover and it may
seep through

I’ve never seen the sky
not change even when
the event was obscured

As above
so below
The event seeps through

Colors oddly burnt
onto the ground
as if all had been concussed

Shaken
into strange
shades — as above

so below
and inside
and overall

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Cut Me Off

Cut me off
because I’m stupidly
long winded at times,
oversensitive, fat with a sense
of my own importance
and centered on the inner eye
of my personal storm.

Cut me off
because I’ve stopped caring
about how much I sound
like parents, like teachers,
like the people I hate to admit
live within.

Cut me off
even if I bleed because
that flow would be
the cleanest thing
to come out of me
in years.

Cut me off
and see what buds
from the scar if I heal.
It may be smaller but stronger.
It may be all the incentive
the healthy core of me needs
to get out there
into the sun
and live.

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Praising The Past

Let us all have one moment
of clarity for our pasts —
not the catastrophic moments,
not the Big Events, not the tragic
or comic or blissful climaxes
we usually hold close and call
“the past,”

but for the startling moments
when we see a person
in a new light, someone
we’d forgotten who comes back
and opens up school lockers
full of surprising good.

Let us praise unfamous people,
words that should have been recalled, statements
that should have been murmured
and branded and engraved
somewhere inside.

Let us open up.
Let us seize scraps
and set them in lockets.
Let us speak to the small
and the ordinary.

Let us learn that
pain and joy are not our province
alone.  Let us learn
that those we forgot
might have been allies
in the old battle of awkward
had we let them in back then,

and let us not keep them out
a moment longer
once they reenter the room.

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Phone Calls

Phone calls
from dear friends
buzz through
the line I’ve drawn
around time meant
to be alone, very alone
with the critical work.
Like bees
stinging through denim,
they itch me all over
though I know they’re only
reaching out to me
and reacting badly
when I swat them off.

I may never taste honey again,
but at least I’m completing
important things. So many,
many important things
I can’t remember them,

and there’s no one besides me
who knows of them all.

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Superheroes

SCORPIONS IN CAPES
are what I crave, superheroes
full of poison, saving the city
while unable to save themselves,
stinging their supporters, slaying
their sidekicks and shrugging it off
as signs of their natural selves,
acting for all the world
as if ability is unalloyed
miracle, their tails proclaiming
otherwise, how the mighty
carry flaws forever in their strengths,

and which identity is the most secret?

SCORPIONS IN CAPES
riding cobras are what I need,
lion-voiced, their stinking acrid presence
in the bedroom, demanding that I seize
the baseball bat before creeping to the living room
to see what that noise is, arguing, pressing
for murder as response to provocation
when there’s a perfectly good backdoor
not ten feet away and I could escape
if I thought before acting on their urging,

and which identity is the most secret,
which the strongest?

SCORPIONS IN CAPES
are the balance I desire most,
the good as venomous as the evil
is sweet, yellow death on the rooftop
silhouetted against the sick sodium light
of the streets, in service to established
and ironclad rules that say vengeance
is righteous and destruction is excused
by rage against the destroyer, even if
the avenger and the predator
are one and the same,

and which identity do I most eagerly seize
when both are present,
when they look the same?

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Pathological Curves

I can’t follow
pathological curves

too natural
too actual
too much
infinity

such curves
terrify me
to the point of
angelic fervor
possession indistinguishable
from the demonic
to these eyes unaccustomed
to perpetual repetition

pray then as taught
through exponential smoothing

thy form
is immeasurable
through my poor arithmetic
it requires new dimensions
that thou will not allow
my cup runneth over
thy will be done
though it will take me
into the valley
of lost in the curves
forever

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My Mind

My mind: a collection
of useful disasters.

A bundle of arrows
clutched in a dead hand,
made of different woods and heads,
all fletched differently,
all facing
the same target.

A muddy stream
running swiftly
and tainted with blood.

An industrial park
full of small, unknown firms
making small parts
for war machines.

A parked bus
growing cold in the lot,
still holding one passenger
who fell asleep
long before the last stop.

A yearbook
missing one picture.

A worn lucky coin,
a worn worry stone,
a frayed string of prayer beads
lying in dirty snow
fifty paces behind the hole
in the pocket they came from.

I have owned so much
and have so little useful left,
regrettable remnants
of regretted choices.

I live in here
where loop upon loop
of the push broom’s path
cleans up nothing for good,
only makes dirt-curbed tracks
and piles that look the same
no matter where they are left,

no matter how often they’re rearranged.

Useful disasters
only in the sense that they keep me
thinking, always,
of how I might recover, reuse,
remake them to new purposes.

Fire the arrows at last,
hurdle the streams,
bankrupt the factories,
get off the bus,
show up for the photo shoot;

learn, at last, to pray.

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Safe As Milk

Safe as milk
on a Friday afternoon;
at last
poured out,
at last fluid again.

No use crying.
No accidents for you —
not a spill.

Your guitarist once said
that working with you was
like tossing a deck of cards in the air,
then taking a snapshot
that everyone learned to reproduce.

I hope
it’s true that the cards
were tossed and thus dealt
for you in no haphazard way.

And the cage
you’ve lived in —

it is finally bigger tonight.

Safe as milk
poured out into
a favorite glass,

and we can drink that.
That’s good.

 

— for Don Van Vliet (Captain Beefheart), 12/17/2010

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The Legend Of Stagger Lee

1.

The neighbor painter sang
“Stagger Lee” to us
when we were kids.

One night
he got drunk
and shot all his canvases,
not with a .44
but a 12-gauge;
shot up the garage
too. 

Cops came and took him away
still singing,

“My Daddy was Stagger Lee.
This is my Daddy’s hat.
Sheriff you son of a bitch,
lay off my Daddy’s hat.
I’m my father’s son.
He shot Billy the Lion.
All these paintings look like Billy.
Daddy talked about him all the time.
Daddy could see him in his sleep.
Sumbitch haunted him till he stopped breathing.
I grew up second string to that dead sumbitch,
I had to kill him.
Did it for my Daddy —
my Daddy was Stagger Lee.”

They shoved him hard
into the cruiser.
The moon was yellow,
the leaves
came tumbling down. 

2.

There is a voice in old songs
that will not shut up,

that seeps into new songs
like black water.

3.

Bulldogs today bark
the same way
they did back then.

A stiff Stetson brim
still holds its shape
through a lot of abuse.

Stagger’s got a lot of kids
and it’s no accident that “Stagger”
rhymes with “swagger.”

4.

My daddy’s Stagger Lee.
He taught me how to flow.
He taught me how to party
and taught me how to blow.

My daddy was a lion.
He taught me to die.
He taught me how to party
like it’s 1999.

We sing it like it’s gospel
that a gun will show the truth.
We’ve been losing the melody.
We’ve been losing our youth.

My daddy is a hero.
My daddy’s Stagger Lee.
If you thought he was a pistol
then get a load of me.

5.

My neighbor painted nothing
but dark landscapes
and rattletrap barrooms.
In every landscape there was a stream,
in every barroom was a hat,
and in every painting there was a figure
with its back turned,
facing into a corner
or staring at a hanging tree.

My neighbor was a good painter,
and he made a lot of good art
on that long ago night,
using the muzzle of a shotgun
to lift the veil over the long trail
back to 1889 and the St. Louis bar
where two men arguing over politics
put themselves on the hit parade
forever and their names
became odd little signifiers for
something: a black spring tapped
and rising, bubbling up,  a story of
no law but the law of opposites
clashing and melting into one another
to create a myth that’s still soaking
into the pocket
of every man who keeps an automatic
at the ready in case the song
needs to be sung again.

Stagger Lee didn’t swing
for killing Billy in either
real life or the song. He didn’t swing
in the paintings either;

the trees remained nothing but trees,

and the leaves are the only thing
that ever came tumbling down.

Is it any wonder
people still sing that song?

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Painted (Red Man)

Red man
sits on fire
in a yellow room.
He burns
from ground up.
Burns up.  Sits
in a fierce flower, a hothouse
flower.  Turns brown then blackens
after red, room browning
all over.  Yellow walls
and windows
pierced with sunlight
turn brown.
Red man cracks in half
and falls over.

Was I there when it happened?

He was watching the news,
I remember that.  Something
about evil plans
and lucky disruptions.

He sat there on fire.

Red man — is this
past or present?
Has this happened and we are
the ashes?

Am I red or is that some trick
of firelight off yellow walls?
Why do I feel
split in two?

But my room had blue walls,
so why do I feel they
were red, yellow, brown,
blackened, rimed
ash-gray?

I was Red Man
until the fire that painted me
swept through.  Was watching the news —

people were burning elsewhere
and he, she I, someone
felt it. Painted by it then;

still painted by fire.

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