Those Graves in Rome, by Larry Levis

There are places where the eye can starve,
But not here. Here, for example, is
The Piazza Navona, & here is his narrow room
Overlooking the Steps & the crowds of sunbathing
Tourists. And here is the Protestant Cemetery
Where Keats & Joseph Severn join hands
Forever under a little shawl of grass
And where Keats’ name isn’t even on
His gravestone, because it is on Severn’s,
And Joseph Severn’s infant son is buried
Two modest, grassy steps behind them both.
But you’d have to know the story–how bedridden
Keats wanted the inscription to be
Simple, & unbearable: “Here lies one
Whose name is writ in water.” On a warm day,
I stood here with my two oldest friends.
I thought, then, that the three of us would be
Indissoluble at the end, & also that
We would all die, of course. And not die.
And maybe we should have joined hands at that
Moment. We didn’t. All we did was follow
A lame man in a rumpled suit who climbed
A slight incline of graves blurring into
The passing marble of other graves to visit
The vacant home of whatever is not left
Of Shelley & Trelawney. That walk uphill must
Be hard if you can’t walk. At the top, the man
Wheezed for breath; sweat beaded his face,
And his wife wore a look of concern so
Habitual it seemed more like the way
Our bodies, someday, will have to wear stone.
Later that night, the three of us strolled,
Our arms around each other, through the Via
Del Corso & toward the Piazza di Espagna
As each street grew quieter until
Finally we heard nothing at the end
Except the occasional scrape of our own steps,
And so we said good-bye. Among such friends,
Who never allowed anything, still alive,
To die, I’d almost forgotten that what
Most people leave behind them disappears.
Three days later, staying alone in a cheap
Hotel in Naples, I noticed a child’s smeared
Fingerprints on a bannister. It
Had been indifferently preserved beneath
A patina of varnish applied, I guessed, after
The last war. It seemed I could almost hear
His shout, years later, on that street. But this
Is speculation, & no doubt the simplest fact
Could shame me. Perhaps the child was from
Calabria, & went back to it with
A mother who failed to find work, & perhaps
The child died there, twenty years ago,
Of malaria. It was so common then—
The children crying to the doctors for quinine.
It was so common you did not expect an aria,
And not much on a gravestone, either—although
His name is on it, & weathered stone still wears
His name—not the way a girl might wear
The too large, faded blue workshirt of
A lover as she walks thoughtfully through
The Via Fratelli to buy bread, shrimp,
And wine for the evening meal with candles &
The laughter of her friends, & later the sweet
Enkindling of desire; but something else, something
Cut simply in stone by hand & meant to last
Because of the way a name, any name,
Is empty. And not empty. And almost enough.

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French Movie, by David Lehman

I was in a French movie
and had only nine hours to live
and I knew it
not because I planned to take my life
or swallowed a lethal but slow-working
potion meant for a juror
in a mob-related murder trial,
nor did I expect to be assassinated
like a chemical engineer mistaken
for someone important in Milan
or a Jew journalist kidnapped in Pakistan;
no, none of that; no grounds for
suspicion, no murderous plots
centering on me with cryptic phone
messages and clues like a scarf or
lipstick left in the front seat of a car;
and yet I knew I would die
by the end of that day
and I knew it with a dreadful certainty,
and when I walked in the street
and looked in the eyes of the woman
walking toward me I knew that
she knew it, too,
and though I had never seen her before,
I knew she would spend the rest of that day
with me, those nine hours walking,
searching, going into a bookstore in Rome,
smoking a Gitane, and walking,
walking in London, taking the train
to Oxford from Paddington or Cambridge
from Liverpool Street and walking
along the river and across the bridges,
walking, talking, until my nine hours
were up and the black-and-white movie
ended with the single word FIN
in big white letters on a bare black screen.

Garden of Bees, by Matthew Rohrer

The narcissus grows past

the towers. Eight gypsy

sisters spread their wings

in the garden. Their gold teeth

are unnerving. Every single

baby is asleep. They want

a little money and I give

them less. I’m charming and

handsome. They take my pen.

I buy the poem from the garden

of bees for one euro. A touch

on the arm. A mystery word.

The sky has two faces.

For reasons unaccountable

my hand trembles.

In Roman times if they were

horrified of bees they kept it secret