Rain interchangeable with
the walls it falls against
alphabetless like a neon
ring above an extincted
window showcasing something
formerly fabulous now
kinda poignantly disappeared.
I guess that means we’re back
in Seaside (since we must
begin somewhere) and it’s
probably summer but
can’t be as long ago
as the date you suggest
since I wouldn’t have been
born, or quietly gagging
at the sentence re: photographs
being “fairly far removed” from
sculpture anyway belied by
a euthanized block
of period tract housing
the loading dock’s pair
of refrigerated trucks
the guileless curbs below
the blandishing panes
of all those plate windows
the corrugated doors
rolled shut against a
statement the curves
of the cars as they
throw back their throats
to the light the furtive
things people do in the night
(or don’t do) bluely
compiled screen by screen
in perfervid surveillance
I just want to say yes
to you, yes and
In Africa the wine is cheap, and it is
on St. Mark's Place too, beneath a white moon.
I'll go there tomorrow, dark bulk hooded
against what is hurled down at me in my no hat
which is weather: the tall pretty girl in the print dress
under the fur collar of her cloth coat will be standing
by the wire fence where the wild flowers grow not too tall
her eyes will be deep brown and her hair styled 1941 American
will be too; but
I'll be shattered by then
But now I'm not and can also picture white clouds
impossibly high in blue sky over small boy heartbroken
to be dressed in black knickers, black coat, white shirt,
buster-brown collar, flowing black bow-tie
her hand lightly fallen on his shoulder, faded sunlight falling
across the picture, mother & son, 33 & 7, First Communion Day, 1941—
I'll go out for a drink with one of my demons tonight
they are dry in Colorado 1980 spring snow.
for Jerry Estrin
The hills one by one
San Francisco 1874
Words later language
At home when
Light writes 1974
We move where
The Lives of My Books
Not legible as themselves
Historical time 1989
Startled leaves us
Died in 1993
Moved in 1994
In pink stone
Earlier in “The Park”
Wrote shells and cherubs
If not for flesh’s pretty paint, we’re just a bunch of skeletons, working hard to deny the fact of bones. Teeth remind me that we die. That’s why I never smile, except when looking at a picture of a ghost, captured by a camera lens, in a book about the paranormal. When someone takes a picture of a spirit, it gives me hope. I admire the ones who refuse to go away. Lovers scorned and criminals burned. I love the dead little girl who plays in her yard, a spectral game of hide and seek. It’s the fact they don’t know they’re dead that appeals to me most. Like a man once said to me, Do you ever feel like you’re a ghost? Sure, I answered, every day. He laughed at that and disappeared. All I could think was he beat me to it.
Then there was beauty in what clung,
vertical and multiple against a damp tombstone
where no one goes, or has gone forever,
the stone carved in another language
and the weed-life overgrown.
We knew they must know movement,
but they would not move
while being what they meant to us.
Where the headstone’s windowpane
meant to protect the crucifix and photograph
was cracked apart, we saw how
on its inward, wetter side,
the infant shells began self-generation in a line
like vowels strung inside a child’s understanding:
this belongs to this. O perfect succulence
with which interiors adhere to forms, O open mouths.
Should we have found the world more often
clinging to words describing it?
What would have been the afterlife of that?
You can get there from here, though
there’s no going home.
Everywhere you go will be somewhere
you’ve never been. Try this:
head south on Mississippi 49, one—
by—one mile markers ticking off
another minute of your life. Follow this
to its natural conclusion—dead end
at the coast, the pier at Gulfport where
riggings of shrimp boats are loose stitches
in a sky threatening rain. Cross over
the man-made beach, 26 miles of sand
dumped on a mangrove swamp—buried
terrain of the past. Bring only
what you must carry—tome of memory
its random blank pages. On the dock
where you board the boat for Ship Island,
someone will take your picture:
the photograph—who you were—
will be waiting when you return
His unset eyes — containing water — become expression, or color.
They cloud in changing — though the change is never marked, it
may eventually be seen.
The cloud is green
His hand is light
He watches this first finding — pulling a hand in and out of a living
His newness betokens him all color. He passes through color —
setting each resonance for light.
The sound includes experience which is remembered, though from
not remote occasions, which swell upon his passing. Looking up with
different thought filled hands.
Why then does experience comb the onlooker away from the child,
when the child includes changing eyes in every picture?