Tag Archives: poetry

Three Men And A Shadow

From here I can see
he’s obviously still
the kid I used to hate
with his false arrogance
and secret shame,
always lying about something
he’d done or not done,
always thinking of girls,
of pills stolen from the medicine drawer,
broken open, poured into
a glass full of water and choked down
as he sweated grades,
expectations,
failure.  To think of him now, groggy
and ashamed to find himself
waking up the in morning
is to feel no pity
and to have all the regret
heaving inside again…

and it only takes a small turn away from him
to see the young husband I used to scorn,
shuffling off ill-dressed to jobs
he thought beneath him, finding ways
to smile at people he thought neglected
his genius, avoiding the evidence
of his own lazy magical thought
about everything always working out
somehow, watching him insomniac pacing
long nights of neglect and loneliness
as if he was alone in this
as the house piled higher with things,
things, things…

Face on, now,
with the fat old man,
gray and bloated, reeking of smoke
and disappointment, imagining
that what has worked in the past
will work again (even though
it never worked at all),
suspecting that the finding of a late love
is perhaps not enough to save him,
pretending
all his choices were the right ones
because that’s what he still believes
in the still long nights of pacing
and worrying, of staring at small screens
hoping the magic of certainty
will return, light up his fingers,
and illuminate the slowly dimming
remainder he knows is lessening
as he stares frozen ahead,
still stuck in the backstory…

and there,
behind each of them,
the shadow I always called
the Real Me.  The slender
man, perfect, fanatic,
holding fast
to a parcel of words clamped together
into solid new worlds
that I imagine will last longer
than these reflections.
That may exist for a long time
after me, 
without needing
the others to do so. 

Was it worth it
to go this route, I wonder,
to sneer at those three,
turn away from seeing them
and focus on
the blinding light, the vision
of a body of work left behind
that made that shadow seem
so solid and preferable? 

I chased that light
all these years, saying it was
what made me, but perhaps all it was
depended upon each of them in turn
and it was wrong of me
to claim, “but really, I’m something else…”
every time I got too dismissive
of those ways of being.  Maybe
I should have taken better care of them.
Maybe the shadow I thought was the real me
would have been a better man
if I’d been better to the men I thought
I never was.

I can’t speak ill of
any of them now.
Stroke their heads,
let them go,

think about what I am now
instead of what I was:
poet, artist, failure
at the general business of living;
as always, a shadow
of my self.

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Afterthought

After a good time
and a lot of talk —
people on the porch,
food on the table,
friends leaning against
the spatter painted walls
of an artist’s room —

it’s easy to go home
and drift on
into the solo passage
of a song heard in my own living room
and fall into
half-sleep with my eyes open,
recalling other nights like this

that are far in the past,
far enough away to be out of reach
permanently,

and startle myself into realizing
that even the memory of tonight
seems part of that past,

and I realize that I was never part of it
while I was there,
just twenty minutes ago,

that it happened around me
and there wasn’t much to it
that involved me…

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Awareness

The hawk
invites the
attention

of three boys
smoking weed
near the old foundation

in the abandoned
pasture
behind the funeral home

but they don’t
look up
as he rounds over them

unnoticed.
Perhaps he considers
the coal-spark of the bowl

from up there,
perhaps not;
more likely

the hawk
is as uninterested
in the boys

and the ruin
they’re using
for camouflage

as they are in
the hawk’s easy grace
as he passes hungrily

over what is
beneath him.
Importance

is relative,
after all: dependent
on where one is,

what one seeks,
what surrounds you
as you search.

What passes
among the boys
is irrelevant

to the hawk,
what may be
scurrying nearby

is irrelevant
to the boys,
and no one can ever say

what the ruin, the hayfield,
and the dead
think of all this.

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Mantra For The Hard Times

It’s easy to lament.
Praise, instead.

Find a purpose to the day.
Praise, instead.

Lift your eyes. Raise the dead upon your shoulders.
Praise, instead.

If a cut is made, paint the gray trees with your blood.
Praise, instead.

The crow slips into your veins, cackles, and you die a little.
Praise, instead.

Flight into the desert, no water, no sign of shade.
Praise, instead.

You open a moth-haven billfold in the presence of a feast.
Praise, instead.

Love splits and draws away from your hard skin.
Praise, instead

the levers that move you,
the gears of your throbbing head,
the dinky children born from your fears,
the light of fires burning the spars of pirates,
the hats of soldiers riddled with flowers in the long battlefield grasses,
the red charlatan’s grin as he slops his hogs with your fortune,
the skulls of ancestors empty of expectations,
the diversion of hunger,
the urging and prodding of want;

all brought to you by the machine of living,
all slim and taut and combat tested,
all for you to contest and create from.

Praise, instead,
the pain of painful life.
Lamentation is not a wizardry
against the wave that comes for you;

praise, always praise instead
your remaining behind
as it recedes.

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From Afar

Oh, you are

beautiful,

though in no
conventional sense, and
yes the word is overused
but occasionally correct, as in
“full of beauty,” with it spilling
over your edges and into the street,

I can see dictatorships dissolving
in your wake as you pass through
gray and dingy capitals of pain,
the people rising up pastel
behind you, their leaders bowing
to pressure, opening gates
and secret files, domestic spies
throwing up their hands and flinging
headphones to the floor, questioning
the rationale for listening in on
drab conversations when you
are possible,

and you still walking,
oblivious to what’s happening,
serene, humble, not even noting
the turmoil you cause,
drama, even financial panic —

you don’t see the bankers
with their hands full of fraud
running after you to buy a glance,

you don’t see the drug dealers
kneeling and begging their marks
to try an addiction they can satisfy,

the warriors gnashing armor
and wailing missiles at each other
regardless of uniform just to gain ground
where you might pass,

and all the time you think you’re nothing,
you’re ordinary as shattered silk, wasted
as a second chance,  all the time
you’re spilling over and the world
slips on what you leave,

and most of all, in all that
roar and tumult, all that steady
chaos, in all the following general disbelief
that you are walking among us,

you don’t ever think of me.

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No Names

Definition
of a name:
what holds us
in place
while we’re polished
faceted
made shiny

acceptable facsimiles
pulled out of our
rough and ready true shapes
presented
as honest selves

Names
ought to be given up

I’ll be you
You be me
We’ll fuck them up
by not being
what’s expected of us

as we sit in settings
made by others
to show us off
as gems
of the art of
artificial beauty

That makes us lies

Lying world
makes us up as we go along
and we do the shining
from our cut up selves

End this
anonymously
Give up identity
Don’t let them make you
your own alias

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Finding Religion

we cobble
faith
together

from the odd street-Christian tract
comic books
snatches of poems
random lines from TV

slip it into our thin wallets
as if
it could feed us

and starve while we imagine ourselves
well-fed

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Love Songs Of The Ordinary

The love songs of the ordinary
can be heard in the cattails
that intrude in the ditches
of the roads between the town
and the city.  That thin whistle
and shattering rattle
are all you need to know
about how we find each other,
setting up housekeeping
where everyone can see
and no one will notice. 

When the exemplary
drive past us, we just stand,
moved a little perhaps in their wake,
but holding fast to the ground
in places they would never think
to build upon. We sing there
the way they think they sing,
but we know better
as we fray and burst and
spread our seed,

and we’ll be here when they’ve gone by us
rushing to the homes built on solid ground
that they’ll abandon in search of a better place,
a place they’ll find and lose again
while we and our ordinary
sit by the road and sing
and watch them pass.

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Et Cetera

Let us lie
and say we are unhappy
with our lives: the lack of money,
the unrelenting longing for
love/sex/contact, our voices unheard,
thoughts unacknowledged,
et cetera.

Let us lie and say we want
a colorless
world.  That we imagine our groups
catapulted over the walls
into erasure, imagine heritage
a myth. Imagine the lies
we could tell ourselves
about no boundaries, total freedom,
and other things: et cetera.

And so, forth
into the breach we make
by rejecting the fact
that most of us struggle
to stay alive,
wishing to preserve
the lives we have or make them
better, not to transform them
int other lives, or lose our current selves
to perfection:

let us lie and say
no part of us is happy
to be what we are now.  Let us lie
and say we desire to be
not ourselves, when the truth is

that all we want is to be
is exactly as warty and prejudiced
and venal, etc., as we are now,
that all we want

is an easier way
to be those things.  We’re happy enough
to know what we want because we have it already,
just not enough of it,
not all the time,
et cetera.

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Unfinished Poems

Two in particular,
two not yet in fact
even begun,
should be finished
before
I claim to be
finished,

but it won’t happen.

I imagine this is a form
of grief I’m feeling,
distantly akin to seeing
your children die,
or to imagining clouds
meant to bring rain
that will never even form.

When
I think of all of you
who will not know
how these two would have been
Great Round Pegs
in the Great Round Holes
of your understanding of me,
of my understanding of myself,
of things I’ve seen,
the explanation
of how I worked and what you meant
to how I worked, perhaps even
engendering
some kind of forgiveness:

yes, it is a form of grief I am feeling.

I”ll let them go.

Someone will do it.
Not for me,
but because it will need doing.
Because they’ll know the need to do them.
Because my name is unimportant to the doing.

Because I am not the sole purpose
of being, because they will be
regardless –

this is a form of relief
I am feeling.

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Tool

Chisel
calm, aware
of his own edge
but having nothing
to strike him and
make him cut,

he sat there
looking around
at conversations
he thought stupid

until the time came to go home
and return to his sharpening
in the dark.  His edge
was brittle in no time.

God, he cried,
you’re a lazy craftsman.
Take me up, Lord,
and let me make a groove
in your dumb wooden world.
I need a smiting to act
as I have been forged to act.

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Blues For A Relic

Born in New Jersey
around 1925 or so,
certainly no later than 1930
by the style of her yellow label.
Scarred and battered,
solid spruce and solid birch —
no plywood here —
repaired cracks,
stained face,
pitted and cranky tuning pegs,
a matchbook shred filling in
the nut on the first string
to keep it from buzzing;
one bridge pin
new white ivoroid,
the rest original black pearwood
with mother of pearl caps.

None of that is important.

What’s important is how easy she is to read
when you understand
the scrubbed bleaching
under the high frets that says
blues
,
the rubbed out tale
written on the back
of the steep V profile
of the still-straight
railroad track of the neck
that wails
blues
,
I sang the blues
my whole life.

I keep her close,
always within reach,
never in a case. 
She still sings
old and clear,
balanced and knowing,
though I can’t make her cry
the way she must have cried
in someone’s hands
for the better part
of her life —

for there must have been a better part
than this one, finding herself
with me and my amateur hands,
me with my own dents and marks,
my own damages, some repaired
and some still raw and shaking.
We work together and sometimes
it almost feels good when I set her aside
and figure we can try again tomorrow,
starting from where we left off.

She’s got forty years on me at least
and still as strong as ever.
I keep her close, with her promise
that maybe you can’t be satisfied,
but you can still keep trying.

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At The Reunion, Joe The Hammer Buys Me A Beer

When you’re
a hammer, he said to me,
everything looks like a nail,
and that’s how you approach
every problem:
sometimes you drive it in,
sometimes you pull it out.

I wish, a lot of the time, he said,
that I’d been born
a precision screwdriver.
I wish I’d been made for details,
been a writer like you.  But I wasn’t.
I was a hammer. I did
framing twenty years,
had my own business the last ten.
I slammed
and yanked and banged my thumb
a lot.  I never did the painting
and wallpapering, though I did drywall
when I had to,
never liked having to finish things
the way others wanted them, I figured
that was their job.

You, he said, you got
to do all the cool stuff,  you got
to write and travel,
make stuff up, fine tune
and change things
a little bit here and there.
 
No complaints,
he said, I just wonder sometimes
what it would have been like,
so what’s it like?

And the Hammer
slapped me on the back

as I peeled the label
off the bottle
and studied
my nervous,
unmarked hands.

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The Towns Between New Haven And New London

I humbly beg forgiveness
(not for the first time, not
for the last) of the towns between
New Haven and New London
that are strung along 95
like green pearls on a black string,
for again I have forgotten your names.

Last night it was very late
and very wet, the four of us had been talking
but by then the other three were sleeping and
it had become all about me driving,
Parliament blaring, cigarette after cigarette
flaring, New York in the rear view
and home still some hours ahead;

there was no room in the car
to hold you as well.  Put simply,
I was trying not to die
in transit through you, not that any of you
wouldn’t be a good place to die, I’m sure —

but that honor ought to be reserved
for those who know and love you,
you don’t need a car full of transients
littering your morning headlines.

So forgive me.  You deserve more
than a mention here, ought to be
destinations in your own right,
and someday I hope I’ll make that right.
But last night, you were just distance to be covered,
just white letters on green signs breaking my trance,
and none of you were either
the good thing I was leaving behind,
or the home I was longing to see.

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Scenes From Geppetto Town

A day starts,
almost always,
with sirens before dawn.

Citizens can tell what’s what:

the ambulance variation
means
someone’s sick, wounded, or dead;

the fire truck clang blare rumble
means
trouble bigger than personal trauma;

the police oscillation
means
any or all of the above,
means someone’s getting a little visit
from the Blue.

I know enough of crown tags and colored beads
to know the Latin Kings
hold some neighborhoods
close.   Elsewhere there are crews
who run their own blocks;
I don’t know who they claim to honor,

mostly it seems like
there are a lot of guns out there
going off
with no direction.

“Worcester” is the formal name.
“Wormtown” is what ex-punks of a certain age call it.
I’ve heard it called “Wartown” once or twice,
but it’s never caught on.

Whenever I light
another far-too-expensive cigarette
I want to call it
“Geppetto Town,”
full of cold wooden boys
wishing they were real men.

There’s a stone circle downtown
that commemorates World War I.
It’s got this highbacked granite bench
running around the circumference.
If you sit on one end and whisper,

a person sitting on the other end of it
can hear you as if you weren’t
fifty feet away. 
Like the rest of the city,
I don’t know
exactly how it works
but it does, and very few people
even know about it.

The city’s voice: dissonance
and fairy dust
hissing down, filling potholes.
Crinkled fenders
rattling with imaginary grandeur,
and the stretching sound a nose makes
when it’s growing out of all proportion
as it speaks with equal passion
of its faults
and its glories.

Oh, more about the Blue:

shaves and crew cuts
who ask “are they white or black?”
about the people they’ll be seeing
before coming out
to the frantic domestic violence call.

We have lovely
turn of the century lamps
on our street.
Half work and half don’t
on any given night. 
We don’t complain:
at least there’s some light
to run by.

Geppetto
shares the belly of the Great Fish
with Jonah and my cousin Tony,
all of them writing feverishly
in the dark.  Outside
there’s a monster storm.  No one
mentions it, they’re pining so hard
for home
that the thought that this might be
as good as it ever gets,
or that the journey to a better place might be
horrible,
doesn’t come up.

Over in the far corner
by the duodenum,
another false boy’s doing
unspeakable things to a turtle
who looks either thrilled or terrified
but because he’s not real,
we can’t ask him.  Everyone is upset
that he’s so brazen.  No one
looks away.

Wormtown,
Wartown,
Worcester.  Say them soft,
it’s almost like praying:

dearest Fairy Godmother,
we
really,
really,
really

want to be real.

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