Monthly Archives: March 2020

Raven Reconsidered

To go to work
in this time
is to take a raven
off her perch,
set her on your shoulder,
and set to your tasks

with her croaking
impossible instructions and 
vague prophecies
into your ear at exactly
the worst possible moments:

during meetings,
at the beginning of your commutes,
alone at your desk in deep focus
on critical concerns.

You try to brush it off,
to silence the bird,

but since you’re the one
who put her there,
who took her from the top
of the door frame and put her
on your shoulder,

you feel a little guilty.
“Shut up,” you whisper.
“I’ve got so much to do.”

She sits, and shits,
and croaks out far more words
than you thought she knew.
Everything’s so complex.
Meanings are so obscure.
You’d assumed
you already knew 
her whole vocabulary,

but no.

To go home from work
in this time
is to set the raven
on the seat next to you
and say,

“Traffic’s bad.
I just want to get home
fast and safe.
Raven, find a way.
Raven, take me home,”

but she chooses this moment
to fly out the window
and go home on her own
(or so you assume.)

You start the car,
ooze out onto
the clogged roads
and wonder how long
it will take
and what you will find
when you get there.


A Taste, A Sniff

The only thing I want now is
a taste, a sniff

of life. A sample of it.

Living itself
has become 
such a cold concern. 

To have access
to any flavor 
that reminds me

of how warm it used to feel
to be immersed
in living, to think of 

living as a surge
into which
one could dive

to come up soaking
and joyful with life:
that’s all I want.

A memory of that
would be enough.
Living as we do now

is beyond me.
I can’t do what living
in these times

demands: the virtual killing,
the deadly spiritual sneer,
the all or nothing thrust

of getting through
and getting by
on this world’s current terms.


Venice

Originally posted 2012. Revised.

There are facts
which are known to be facts
through deep apprehension of their truth

long before they come true. For instance,
there’s no evidence yet
for the truth of my conviction

that I shall never return to Venice;
that how it vanished, slowly,
as I stared back at it

from the stern of the motoscafi 
that took me to the airport for the trip home
will be my permanent last memory of the city.

It’s not yet a fact
that I will never see Venice again,
but I know it to be true as solidly

as I know anything.
It’s as true as the scar in my foot
from the time I stepped

on broken Murano glass.  As true
as the view of Ezra Pound’s grave
and the smell of the nearby crematorium

on San Michele.  As true
as the Albanian refugees
begging wordlessly on bridges. 

Someday you will be able to say
that I visited Venice
just once in my life,

that it left a scar upon me
I can feel
whenever I walk.  

Every step I’ve taken since I left
has carried me farther
away from Venice. 

This won’t be a fact for years yet,
only blooming fully as such
on the day I die.

But I know a fact
when I conceal one,
and daily I do my best

to conceal from myself
this thing I know to be
unalterably true:

that I will not return 
to Venice, not in this life,
not in this body, not in this form.


Next Time

Whoops!
Something has fallen and broken
in a nearby room.

It sounded like 
diamonds scattering
over flagstone tiles.

There are no diamonds
or flagstones here, though.
Something poorer

must have tumbled, then.
We should go and see
what it was, what might need

to be gathered,
what should be discarded,
what might need repair.

But we’re not moving.
Sitting here speculating,
imagining diamonds

and stone or else
terrifying ourselves
with fabricated demons 

and myths about 
the end of the world
coming in the form of 

a shattered vessel
for what we held dear.
But look outside — 

there’s the world
as always, either ignorant of
or unbothered by what we

most fear. Time
to get up, high time,
someone says.

Ah well — the seats 
are so comfortable.
Next time, maybe. Next time.


This Wonderland

Mistakes are made,
half-measures are taken
in half-hearted response,

but no one can ever name
maker, taker,
responder — 

it is as if
things just happen and
no one needs to be present

in this wonderland, this
busted clockwork world 
where no one acts;

things slumping
to a conclusion; a slowing
ticking as it shuts down,

anthem for all of us
watching, shrugging; 
our eyes moist, confused;

looking at each other,
suspecting each other,
more than halfway certain

of each other’s guilt
in the matter of the mistakes
that were made.


Cracked My Skull

First:
cracked my skull.
Exposed the walnut
within. 

Next:
slipped on blood. Fell and 
watched the meat roll
out and under a stone.
Scrabbled over to retrieve it
and under there was
a world.

After that?
Learned the language of 
the world under stone.
Didn’t need my head for that.

All at once: 
bisected brain
lost its seam. Stopped asking
the questions I’d been taught
solved everything.

Then, this.
Absorption
then exposition of 
ghost tongue. This
translation, not perfect,
of what I’d heard:
that historic intellect
is a type of fog.
Talking in a circle,
moving away from 
all-potent straight line, 
surrendering
forced orientation of 
Point A to Point B.

Last: waiting
to hear back.

If understood, joy.
If not, patience.

Inside, bewilderment;
becoming wild, as in

loving trees more than
Aristotle. Waves
more than Plato.
Autumn scent
more than Descartes,

understanding that
there’s no word
in this tongue

for Jesus.


Dirge

Let us lay the bones of this nation in a damp hole 
and cover them with the ripest flowers we can find.

Let us sing a common song in all our languages,
a dirge for its history of black and blue skin, for its red, red blood.

Let us look at its birth certificate and last will and testament,
shaking our heads at how it might have been and what it left us.

Let us wash our hands of its illnesses and plagues.
Let us pretend that none of its wounds were self-inflicted.

Let us sit for hours by the graveside
and suffocate in the smell of bloom and rot.

Let us walk away when we think we have
somewhere better to go. 

Let us try to forget
that we knew the dead.

Let us try to forget that we knew it was dead
long before the hole had to be dug.


The Man Who Could Not Remove His Hat

A stage set
for a performance
of an obscure play
based on the life cycle
of a psychoactive fungus.

It is called 
“The Man
Who Could Not
Remove His Hat.”

We are still trying to decide
how to read the script
as it’s in a strange cipher,
and no one has a clue.

It looks a little like
an Egyptian code,
says someone from wardrobe —
which makes sense,
as they were obsessed with hats
in the days of the Ptolemies.
Cleopatra was known
for her lamb’s wool toques
decorated with the skins
of asps, hence the myth
of her demise by one;
in truth she died of hat poisoning,
died young but toasty warm.

No, you’re wrong,
said an understudy
with some mystery in their
face as if they had been
somewhere far away for a long
time and refused to think about it —

that code looks like something
I learned in high school
where we studied things like this
to prepare us for — well, for
life where we were. My uncle
in particular was skilled in such things
and he’d buy me beer when I was young
and help me with my homework,
letting me sip from his flask as well,
saying, I should keep all this
under my hat if I wanted to, well,
live where we lived back then. 
But it’s not one I’ve seen. Not one
I know. It just looks like one.

Several of us are beginning to rethink
our roles in the play. Most of us
have taken off our own hats now,

except for the lead who pulls his down farther,
tighter, over his forehead, down to the bridge
of his nose; a broken fedora in mottled yellow,
a damaged face under felted wool,
and when we step away to form a circle
around him, the lights come up 

and we are in a full house
with no idea how to act

but there are flags flying and 
secret knowledge wafting,
anthems and trumpet flourishes
as the Man Who Cannot Remove His Hat
rises above us, above us all;

hail, hail, cries the audience in the dark,
and for those trapped on stage

nothing stays real
for more than a second
at a time.