Monthly Archives: September 2011

Jack’s, Rosie’s, McKendrick’s

Half-jawed
man at Rosie’s.
Or, what used to be
Rosie’s, now it’s
McKendrick’s, still
same old dive
with a shamrock or two.

Half-jawed man —
not familiar at all to me
from Rosie’s — must be
a McKendrick’s regular
from the assprint
in the bar stool —

coming toward me.
God, no,
don’t wanna talk to him —
turn to my beer —

too late. “Hey, kid,
I knew your dad from this place.”
At least, it
sounded like that.  
Someone seems to have cut
some of the coherence
out of his face.
“From
when it was Jack’s.” Jack’s,
a lifetime back.

“He was the Indian, right?
You’re half Indian?  From Jack’s.
I used to come over Saturday afternoons.
Worked on cars.  I’m the Impala
with the blue interior.”  And yeah,
now I know —

diggin out of swamp and cattails.  
Down by the tracks,
trying to salvage an old fender
from an abandoned car
that he said matched his. He
was wrong but tried to make it work
and afterward, the car
was odd. Looked like
a chipmunk, sticking out
on one side.

“Jack’s.  Remember me,
kid?  How’s your dad, how’s
the Chief these days?”  

Dead,
fender man.  Dead
from drinking and all that other
collateral.  “Ah, too bad.”

All this through
half-mouth.  Sunken
half a face,
bulge on the other side
like that fender.  

To be social
I ask, hey, still got that car?
Can’t recall, you’re who again? 
You got me right, half-right
anyway — I never hung out
at Jack’s, was a Rosie-rat,
still not sure about McKendrick’s.
But I’m my dad’s boy. Yeah.
All of me, not just half.

Never got an answer, just:

“Hey, listen.  Spot me
a beer?”  

Sure,
old man.  Spot you a few —
one for my dad,
one for Rosie’s, one for Jack’s
now McKendrick’s with
shamrocks on the backbar mirror,
half covering the dirt that’s been here
all along. Us too — old dirty,
covered up.  Half-showing.
Half the truth
coming out of our mouths.

Yeah, I remember you, old man.
Your smell.  Your fuller face
from back then.  You
remind me of 
you.  Of my dad.
Of me before
this place got that new name
but stayed pretty much the same,
just a few oldtimers gone missing now.
One, anyway. 
Half of a couple of others. 

Yeah, I’m the Indian’s
son.  Lemme get that beer.
Don’t talk. Please. Let the Indian
get this one.  Lemme
do it for the Chief
and get this round.  
Just don’t
talk. Just don’t remind me
how much
I’m half. 


Relationship Observation

a bucket of heavy
considerations
filled greasy drop
upon greasy drop
over a lifetime
is not easily carried
and rarely emptied

once one is in love
however
the burden may be eased
considerably

either by
cooperation

or

through the dumping
of that swill
upon the other person

before you gasp
and call me cynical

tell me
it’s not true
look me in the eye
and tell me
it’s not true
wipe my face clean
and tell me
it’s not true
pick up the bucket
from where it fell
and tell me
it’s not true

 


Facebook: Second Sutra

o my people
hear this

nothing is different
though all is changed

we only read
to reinforce our biases

we befriend in silos 
fuck in farms
war from barn to barn

the skin game
is the only game

famous
means never having to learn again

everyone shares
unknown things

a discussion has a half life
of no duration at all

ignorance is 
endlessly repeatable

the only senses worth gratifying
are hearing and seeing

shallow is
as divinity does

o my friends
I encapsulate you

in
quotes

 


Just a note…the Meaningless Goal explained…

As of today, I’ve posted 900 individual new poems here since Jan.1, 2010.  My intention is to post 100 more by the end of the year, to make a two-year total of 1000 poems posted.

Why do I do this?  It’s explained on the “About” page here in detail, but here’s a capsule version.

Simply put, a few years ago I embarked on a project to make public my entire process as I created a body of work, posting ALL the poems I worked on over time in a single, publicly accessible blog.  I thought there might be some value in documenting this — all the poems, good, bad, and mediocre that I worked on over time.

I still think this is an interesting idea.  And I’m going to continue doing it.

I’ve been gratified by the feedback I’ve gotten from you over time.  I hope the work stands as a testament to how one poet explored themes multiple times, edited and revisited some works, and left others behind as failed experiments (there are a lot of those here, if you ask me).

As I move closer to the “Meaningless Goal” of 1000 poems in two years, I hope you continue to enjoy and find meaning in the overall work, as well as in individual pieces.  

Thanks for reading.  Onward, and I hope you continue reading. As always, I invite your feedback.

 


Homily For USPS

Behind the blinds, waiting.
Listening for the clank, waiting.

Checks, junk, bills, or letter?
Birthday card from long-lost love? Waiting.

Glimpse of the truck up at the corner. 
Who’s driving — the regular, the substitute? Waiting…

from everywhere, that paper comes to me.
Paper that matters, that kills or kisses…waiting

for bulk mail or perhaps a package
I do not expect?  Or something else…waiting

to see what comes.  For the daily Visitor
who’s never welcomed inside the house.  Waiting

for She who walks among us and never enters
while leaving impact in Her wake, like wind…waiting

for my mind to return to the trivial from the ridiculous
here…it’s just mail.  Just stuff.  Waiting 

too intently makes you a fool.  Just go get it from the box
after it’s come…now.  And…nothing.  Waiting

to see how I feel — relief at no airborne disaster, 
disappointment at no airborne surprise?  Waiting’s

gone on long enough — step away from the analog
and the mystery wind, back to the screen where there’s no waiting

for a communication from random life.  It’s instant.
No muss, no fuss…no ritual.  No holiness in waiting.

 


Musical Theory

My guitars make me happy.
They sing.  They make me feel
new tongues.  They teach me
clear intent and accidental
spelunking. I hope I do
the same for them, hope
they feel me, change for themselves,
open up and become more
in my hands as they age.

My mandolin made me happy.
It barked and hollered and
played puppy to my joy.  But
when time moved and we did not,
I released it to another who knew
how to raise it better than I,
and I pray it’s happy and singing
and bluegrass choir praiseworthy
wherever it is now.

There were drums and ukeleles
that I did not love but merely liked
and I don’t know where they all went;
a recorder or two, keyboards,
violin and sarangi all felt
lost in my hands, long before
they went away; were they ever
really here?  Maybe all I held
of them was the wood and the strings
and the skin.  Maybe they were always
searching for home, even as I kept them
from the quest.

Every instrument needs a lover
to hold it.  If it is unloved, if it merely
sits trophy in a corner or closet,
it wanders.  It slips away
even if you lock it away.  You’ll
be lost too if you do that, your ears
always bent for the horizon, pricked
for the come-on, the pickup line;
your hands forming the right chords
but no song coming forth, no burst
of perfection, no praise for the act
of two as one.


Morning Coffee

In this coffee,
clarity…? hard
to tell; maybe
the usual confusion
is just spread more thinly
over my foggy old
nerves. Perhaps
the notion of “clarity”
itself and the various aids
that are recommended
for its enhancement
are all myths, and

I’m stuck with having
to muddle through
regardless.  I know,

though, that the ritual
helps a lot in getting me 
into the mood for the struggle;
we’ve lost so much 
in our cavalier dismissal
of such things and how
they carry us through
the crooked enjambement of 
frenzy and boredom
that is our modern

world; we pour, spoon, pour
milk, sip, adjust; we
make it work, check the color
and the taste closely —
details are missed too often
in our lives and this at least
restores the practice
of care and control
for a moment.

 


Civilized

Slew a mouse tonight —
he appeared when I moved
a pile of papers — stood there,
tiny, gray-brown, unblinking —
slew him, brought a bottle
of cleaning fluid down hard —
he bled, twitched, was still dying
when I tossed him off the back porch —
so small, seemed so surprised
to see me — slew him fast, disposed
of him at once.  Had
no second thought about it.
How could I when I never
had a first thought about it?

 


Labor Day

The rude elements
have dressed your dirt-blessed hand;
do not apologize for that.
Make the rich ones, the clean ones,
shake it.  Make them look at your face
and see you: balding, fat,
forearms threaded and popping
with the result of work. Force them
to see your clothes, how thin the fabric
on your jeans, the patches,
the tears.  Give them a moment
to take it all in before you smack them
with how you’ve built them
and their multifaceted estates
and holdings.  Seize their throats
and gently push upon them
the everlasting schedule
of your simplified days —
how each day you rise, sup,
work, sup, work, sup, and sleep;
a routine broken only by the time you steal
to make children, make a home, or
bounce the baby on your greasy knee.
Dammit, none of the dirt you carry
makes you their sort of unclean!
You deserve a moment of anger
as you count pennies, consider famine,
make do.  You’re as much a glue
for this shiny cracked country
as any glitter-fed celebrity
or squinting dollar-breeding usurer;
make it known. Grab them one and all
by their hands
and make them shake, show them
the honest tan under your grime.
If fear is the likely result,
it may be the wedge 
to open the door
they’ve kept barred for so long —
and who better than you
to open it?  It’s only your shoulder,
so long pressed to the wheel,
that can possibly burst that lock.


Tipping

I used to love her
My significant other
Though I could never balance
the terms of our equation
Which mattered more —
significant or other?
Sublime or ridiculous?
Those fancy words
for incredible descriptions
of cliffhanger moments
Wondering what
would happen next

As the pain heaped up
I waited for the tipping
to settle
It didn’t happen swiftly
I stood there like a stone
identifying with the weight
that kept piling on
with no clue as to who
was doing the piling

But piling continued
by invisible hands
Boxes and cartons and heavy baskets
of things upon things
The view of the scale was obscured
by the weights upon it
and I kept asking what words
were the critical terms —
depressed or angry?
sublime or sublimated?
Bauble or baggage or garbage
or grave-fill?
Performance art
for an audience of two
where both are the artists
or chaos in a crumbling house
while neither is willing to watch?

I used to love her
My significant other
I think that was her only name
My own was as veiled as any she had
so I stopped thinking I had one
anyone else would ever call
Who could see me anyway?
Who would want to see me?
All that heaping and hoarding
and I called it my fault
everytime I called it
I called it
Called it
You’re it, I’d say
You’re it and I need to run
and not come back

I used to love her
My signficant other
The evidence is here somewhere
Under the trash mountains
ranges of gems and flies
and I don’t know what to call this now —
Abandonment or survival tactic?
Cowboy out or snake in the crevice?
Man or beastly little sneak?

I’m a man of four words
My fault 
My luck
What could I have said?
Would anything have mattered?
What should I have taken away?
Was there ever a doubt
as to how the scale would shift
and if there was no doubt
shouldn’t I just be happy now
that it’s finally
finally
over?

 


Ten Years

You  are going to make it
whatever you need it
to be:

fireballs for patriotism,
two fingers raised on high
before folding,
heroes and victims and flags
and lies, dust,
gold salvaged for tacky coins,
bones, parts, mysteries, 
excuses for more and more
of the same, souvenirs,
graveyard tourism, shining
city in a hole, just another day,
a beautiful early fall day, 
no clouds, warm enough,
a promise of a good fall,
feeling special, all the world
a stage for the next delicious act, then
sandbags cut loose, damn, 
it’s a damn horror flick, must be,
let’s rewrite the script, let’s 
animate it, 3-D it, make it
part of your movie —

oh, for a bit of rest.
For a pillow, a clean pillow,
and a night not bugged 
by listeners. A night that turns into
a good morning, a start to a lifetime
where nothing ever happens again
and days follow nights
that contain nothing but sheep
and sleep and waking up
in familiar arms.

 


Fathers And Sons

We fear
the haunted baggage
under their eyes,
their hands
nervous on probable weapons
in their pockets.

How crisply they turn
at the slightest sound behind them
to survey the room
with an apparently random glance.

Is there any hope
for these dented sons
of warriors?

This is my father’s house,
they say,
and my father’s fortress,
and all of you are enemies
until my father’s wisdom
proves otherwise.

We knew their fathers well,
too well perhaps
to trust the sons.  Our fathers
taught us how to read
between the lines
on their faces,
after all.

 


Like The Wood

I colluded
with the wood in my walls
to remain invisible
but sturdy today

despite the gnawing
in my skull
and the ache
in my gut

I got things done
quietly
without fanfare
holding the place together

I’m as proud
as a support beam
that I have managed
to be productive

even though
to the outside world
it may appear
that I did nothing 

the wood and I both know
that what is done in secret
often makes all the difference
for tomorrow 


Valleys Of Black Stones

I grew up in Massachusetts, south of Worcester on the Rhode Island line, in a town called Uxbridge, named for a town in England; we called our region the Blackstone River Valley.

Never thought of this before: why that name?  The stones in this valley are mostly whitish gray and pink flecked granite; at least the dry ones are.

Once they’re wet, of course, it’s a different story.

Everything’s blacker under water; the stones, the bodies of Nipmucs, the remnants of mills, the memories of millworkers.

I romanticize, of course: I’ve learned today the river was named after a white man named Blaxton, AKA Blackstone, who magically moved from the coast to build his house along these banks in 1635.

The dead Nipmucs called it the Kittacuck, meaning  “the great Tidal River.”  It once was full of salmon and lamprey.

No one remembers any of that now; most of the Nipmucs and all of the fish are gone.

After white guys had been here a while, some of them built mills that filled with Scottish and Irish and French Canadians and Polish and Italians.

That’s half the story of how I got here.

I don’t often mention it. I romanticize, of course: I tend to focus instead on my descent from New Mexico, where in 1635 white people were already killing and being killed, as were the natives I call my own.

In that high desert lava and obsidian are plentiful; black stones are everywhere.

Think of it now: how parallel the stories, how unlike the geologies — think of  all that killing, thousands of miles apart: dead Indians, dead fish; some dreams slaughtered in spirit if not in the flesh.

Others had their dreams came true in these valleys of black stones.  Big houses in both places testify to success, even a I stare at the land and try to hear the cries of those who lived and died there.

I romanticize, of course: mostly, I hear nothing now in either place.

I drive through highway cuts that gleam black under the intermittent streams that flow after intermittent storms. I go to work or play tourist and don’t think much about changing names,

or about unchanging black rock filled with old light that was sucked into the ground and held fast in basalt or volcanic stone, light that leaks like radon and keeps on killing as it always has.

I’m dying here, people — eh.

Perhaps I romanticize.