Thursday, August 11, 2011

Not Years Enough



NOT YEARS ENOUGH

How many autumns more? I cannot guess.
How slowly thirteen moons go rolling by,
how achingly the thirty dozen days
count off the torn inked sheets of calendar.
Life wrinkles silently, by phases imperceptible
the skull and bones show through the flesh.
More than the other signs of passing
the shelf of unread books accuses me —
not years enough to read them all!
And all those books unwritten, languages
to learn the lilt of, music to shape
beneath the independent fingers —
millions of words and thousands of melodies.
No matter what, the end must come
before the final page is writ, the coda sung.
Composers dreaded to start their Ninth
of symphonies, but trembled all the more
when the Ninth was done, behind them.
How many symphonies would they eke out
before the unrelenting knock of Fate?

If only Sleep, that dark-eyed panda,
were less the brazen thief — if only dreams
could quicken the long drear nights
with more than a passing vision.
I do not need to dream-quest Mt. Yaanek —
a quiet study would do, a reading lamp,
a chair and a sturdy book. My ka,
my lazy double, my astral body
can lounge on a hammock with a Dickens novel,
lean over calligraphy in a Ming gazebo,
or browse through the night-locked Athenaeum.

Never too late to learn the names of trees,
of sleeping birds and withered flowers,
the Three Kingdoms’ heroes, the ladies
and lovers of The Story of the Stone.
Or maybe I’d walk with book in hand
barefoot in graveyard, a midnight reader
of horror tales, an epic reciter.

I’d make the dead listen to the Faerie Queene,
count on their fingers the knights and Moors
of the endless Orlando Furioso,
wear them out with the embracing lists,
the straw that stuffs the Song of Myself.
Maybe my eyes would retrace Shakespeare.

But this is Autumn: lamp-dousing time
for my waking self, long nights sliding
to the gravity of solstice, dead leaves
like pages escaping me unreadable.
Ah! War and Peace requires another reading;
Gormenghast requires slow delectation;
I want to read all Cooper’s novels again
in parallel with all Scott’s Waverly tales;
read Greek and Runic verse aloud,
along with forty years (count them!)
of Mighty Thor comics. How many operas
have I heard without the libretto before me;
how many Schubert songs just grazed
my consciousness without the poems there?
Projects unending to attend to,
not years enough to read them all,
not years enough to count them!


 — October 31, 1987, Providence-New York, revised 1990, 2011

Wednesday, August 10, 2011

The Collectors



THE COLLECTORS

     after Magritte

I know it was our father’s house,
but prudence says he wouldn’t mind
your packing up his legacies, a trunk
or two of city clothes, a photograph,
perhaps, of what had been a neighborhood
where now the sea laps barren beach
behind your yard. Do you enjoy the thought
that apple trees you climbed as a boy
are now the hanging place of cuttlefish?
Do you expect that whatever it is
that gobbles houses by night
and hauls the sidewalk off in chunks
will spare your little edifice?
I don’t worry so much                    
about the lobsters, big as cows,
that made off with the Belgian clock,
the marble mantelpiece, or the horn
that I left in the attic; their taste
is too baroque to warrant another visit.
But I will prove, if I must
with photographs and measurements
that the oblong rock once half a mile
at sea will soon adorn the lawn,
then, with a nudge, the stairs;
next day it will bulge into the parlor;
and probably within a fortnight
sweep you a mile up the beach
to that stack of abandoned houses
where it has already assembled
what’s left of the town.

It’s one thing to be “lived through”
by Cosmic Consciousness,
serving some higher purpose as though
the Universe had plans, and we
were its chessmen. But this won’t do,
this passive acceptance of
granite elbow-nudge,
this nibbling away at things,
reducing us to dust mite status
at the bottom of the vacuum bag!

Note: This is a revision of a poem that appeared in Whippoorwill Road: The Supernatural Poems. I suppose the "victim" feeling of the narrator is a good metaphor for today's politics, where we are all being nibbled to death by mice. The poem refers to three Magritte paintings, two of which I found, and was written back in the days when Barbara A. Holland and I hurled Magritte-inspired poems at one another weekly at poetry readings. These poems don't make a whole lot of sense alone, but when read against the paintings, I think they're pretty amusing: the weakness of "ekphrastic" poetry is that poet and reader really need to share the image. Magritte's strange work continues to haunt me, odd since I am not in the least a modernist.

Sunday, August 7, 2011

Regaining the Muse

I wrote the original of this poem after spending almost two years writing novels (a terrible mistake, in retrospect, even though they were published). The original, called "Avoiding the Muse," was rather irregular in its metrics. In preparing the new edition of "Poems from Providence," I took a deep breath, and the Muse said, "Look, the least you could do here, if you can't give me a sonnet, is to re-do this in blank verse." I submitted, the poem got a little longer, and I think it more worthy of its subject now. A little rhymed couplet popped up in the middle, unplanned, as if in a nod to that mode. The poem as it stands, rude as it is, expresses my gratitude that the Muse did not abandon me.


REGAINING THE MUSE

Silent this voice for more than a year now —
homeward I come again with head bowed down,
weighted with other laurels and their debts,
back to poetry and its finer lyre.
Time and this book alone shall tell if I
am any wiser than I was before,
or if the Muse whose hardened gaze I dodged
shall reconcile herself once more to me,
come to the window I deck as of old
with that dim flame that She and no other
can see. Heartbeat pentameters return,
furrows I plow anew; bones, rock & root
I move away, to plant a newer crop:
trees that will rise to the bellies of clouds,
roots tapped in the strata of dinosaurs,
leaf sprouts that will themselves contain whole books.
From one thought, many lines; from but one dream,
a vision framed at the heart of epic;
from sap of imagination, the sword
of heroes and the gods who inspire them
to plant a Troy, a Rome, an Asgard bright,
as hope against the all-devouring night.
Shield-maiden of Bard, Skald and Poet,
Muse, take me back! Have I not given up
everything to make these lines? Look at me,
Muse: the fading wraith I am, you made me.

Creation Revisited

I just revised this old poem from "Poems from Providence," and wanted to share its slightly more coherent new incarnation. This is based on the Bishop Ussher's declaration that he could name the exact day of Creation: October 23, 4004 BC. Counting forward, I made an intuitive leap about what God might have been up to eight days later. I also seem to have anticipated The Giant Flying Spaghetti Monster, a wonderful religious hoax now all over the Internet.


CREATION REVISITED

1
According to Ussher,
the Bishop chronologer,
the act of Creation commenced
no later than Four Thousand
and Four
Before Christ  — 
thus spake the annals
of the knews and begats
traced back to Genesis.
Those Hebrew midwives
remembered everything!

According to Lightfoot,
an even more accurate Anglican,
God started the commotion
on Sunday the 23rd
October, 4004 B.C.,
fossils and Darwin
notwithstanding,
to the very morning,
to the very hour
of God’s day shift
a workmanlike 9 AM.

2
Now just imagine
the confusion of Adam,
wandering through jungle,
surveying the plains,
leaping to hilltops,
alone on the Eighth Day,

his God mysteriously absent
after the sudden, tiring burst
of creation: Man, the afterthought.
He finds himself alone,
lord and progenitor,
mouthing the names
of leafed and feathered things,
saplings and hatchlings,
chrysalis and cub and lamb  — 
big-headed and knock-kneed
lnone knowing their names,
their natures,
ignorant of who should eat whom,
oblivious to sex.

Adam revels in the chaos,
in his sole possession of
the magic power of naming.

But now the horizon rages
with whirlwind, flashes
with fire-tongues, shakes
with terrible thundering.
A heaven-arching demon
splits the zenith, its eye

reptilian, its formless
cloud-bag hung with tentacles,
an airborne jellyfish.
Its vacuum maw extinguishes
unwary birds, uprooting
trees, reaching for Adam.
Its suckers engulf him,
lift him to cloud-top.

And Adam screams, eyes shut
at thought of too many eyes
and countless tentacles. No way
to make a name for this one!
He weeps at the idea
of his own annihilation.

God laughs, resuming his form,
the gentle greybeard Father;
puts Adam on mountain peak,
roaring with merriment
at the first man’s terror,
leaves him mystified
to clamber back to the garden,
asking Why?
against the unanswerable.

First day of his life,
he is seized by a monster,
mocked by his Creator.
Last day of October.
Halloween, 4004 B.C.
Trick or Treat.

Monday, July 11, 2011

Ganymede

The following poem is the first of three poems that comprise a "prequel" to Homer's Iliad. Don't be daunted: this is a love poem about a young man abducted by an eagle, who turns out to the the Olympian god Zeus. Ovid devotes only a few stanzas to this story, one of the most-painted and most-sculpted episodes in all Greek Myth. It is related to Troy, since the boy's father is the precursor of the Kings of Troy. I weave it all together in a Shelleyan manner. This was published in 1991, and when it appeared in a British magazine, the journal was seized by the authorities. For the upcoming 20th Anniversary edition of my book, Poems from Providence, I have revised the Ganymede poems. Here is Part One, which stands alone as a rhapsodic poem about the Alternate Lifestyles of the Gods. By the way, the Greeks approved of this kind of behavior and emulated it: although Zeus's girlfriends were usually hunted down by jealous Hera and either killed or turned into animals or inanimate objects, Ganymede is still up there, the favored cup-bearer, known to us as "Aquarius."


1
Night after night the pack of wolves came down
to stalk and ravage the peaceful flocks. Rams
fled and bellowed, ewes wailed while white lambs fell
and blood, black in the moonlight, stained the rocks.
Teeth gnashed at tender necks, bellies gave way
to serpent-sprawling innards, torn apart.
Dark silhouettes dragged limbs, ribs and gore
off to their own awaiting young ones. “Likos!”
the wolf-cry, made the blood run cold,
Likos” made mothers reach for children,
elders to run for gorse-piles to increase
the fire that kept the hungry ones at bay.

At dawn, in cover of iron-gray clouds,
the men set out to find the lupine lairs,
hoping to slay the mothers and cubs,
then track and destroy the rest of the pack.
Never had so many wolves run wild;
never had so many flocks ’round Ilion
suffered such losses repeatedly,
as though a new kind of night-beast,
wily as man himself, strode on long legs,
feeding with jaws that never seemed
to fill a belly, as though they killed for sport,
Likos, then, or likanthropos
the wolves that once were human?

The chief's son, young Ganymede,
too young to hunt, too gentle and kind
for the ways of killing,
remained at the shelter-cave with the women.
Tros took his nephews,
leaving his own son to guard the clan mothers,
the virgin sisters, the incoherent babes.
One torch at cave-mouth would be enough,
for no beast dared a burning brand.

All day, no enemies appeared.
Had not his mother thirsted for spring-fresh
water, had she not sent him with empty pouch
to the hillside source
(oh, as she later rued it!)
nothing might have happened.

But one low-hanging cloud which spread
from Ilion’s walls to these high shepherd crags
was no mere storm — it was a god,
the dozing presence of Zeus himself,
who sometimes sleepwalks, unmoored from Olympus,
drifting from Hellas to the ends of Ocean,
or grazing the firetips of spouting Oeta,
or waking at the bruise of Caucasus,
scattering beneficent rain and the random strokes
of hubris-guided fire to some impious target.
Had not the thunder god awakened then
and seen the slender boy, filling the pouch
from the patient trickle of rock-pure water
(oh, how they wept and rued it!)
nothing might have happened.

2
The boy felt the tense of lightning poise.
His reddish hair stood on the nape of his neck,
his ivory skin, his eye-whites luminous.
He froze when the cloud unveiled itself —

A terrible eye regarded him
     from the black moil of suspended rain —
a place of cerulean blue, windless and calm,
the all-perceiving eye of the son of Cronus.

In one rock-rending thunderclap
     the heavens shattered.
The bowl of sky-clouds spiraled in,
the self-annihilating storm
consumed itself —

3
                    For that immaterial
blink-out the heir of Titans nearly ceased:
the strength to make a storm
was but the night sweat of his stupor,
the strength to stop one
a nearly impossible act of will
for even the hoary father of Olympus.
He caught his breath, feared
that the quake might tremble the arms
suspending the Earth from Chaos —

And then he hovered there, vast hawk
over hapless sparrow, assuming eagle spread
and talon grasp to assure the taking.
He pitied the tiny boy, frozen in his shadow.

No one had ever done this to Zeus —
no love at first sight for Io and Semele
(the prayers of suitors to Eros had scented
them out and lured a curious deity,
misunderstood by goddesses, to sample
the charms of mortal womanhood.)

But this was only a shepherd boy,
sprung from the loins of the chieftain Tros,
unsung in any lover’s plea, a boy
whose beauty would bloom
for an instant as dew on hyacinth
or frost upon a frozen bowl —
a face, an eye, a cheek, a brow
so great as to transfix the storm
and make the mid-day Phaeton
     stumble in his headlong course.

Beauty too soft for marble, subtle for wood,
too unrepeatable to risk to memory,
too human to transform to star or shrubbery:
Ganymede, a happy accident of nature,
spared by the Fates until this imperious peak
of his brief, unnoticed existence.

4
It was worth the wrath of Hera
and the mockery of the wine-drunk gods.
“Zeus with a boy? A stripling boy!
Poor child, he’ll waste away on arid Olympus,
turn to a withered ancient while Zeus
forgets him in one of his longer slumbers.”

To their astonishment, the Titan forfeits sleep,
sends to the boy each dawn a cup
of nectar and a slice of Pomona’s apples.

5
He summons the troupe of ageless gods,
puts on his grey-beard visage and says:
“None but Ganymede shall bear this cup,
none but Ganymede shall serve me wine,
     and his the hands that pour clear water.
None but Ganymede shall turn the clouds
on which I rest and forge my thunder.
One tithe of my lot of immortal life I give
so that this boy will never age. His voice
will stay at the threshold of manhood,
his locks unshorn, his beard withheld.
He shall not shed even the salt of a tear,
immutable in my affections, semidivine,
safe from the envy of goddesses.
Let him attend me always.”

As seal of his oath, great Zeus displays
the form of Ganymede among the elder worlds,
joining the sun-path zodiac, the faithful boy,
star-striding Aquarius.


6
Ganymede feared the eagle.
He was relieved when great Zeus came to him
as the gray-beard god, almost a grandfather.
He came again in shepherd’s robes,
younger by decades than before, hugged him
with great arms like a loving father.
Zeus laughed, then leaped into a waiting cloud,
his ever-ready tapestries and anterooms.
That night, he returned to the boy
     as a handsome youth,
fringed with first beard, tightened
     with muscle on arm and calf.
The boy did not resist, but let his hand
touch the hard lines of the lover’s chest,
slipped to his knees in terror and awe,
not breathing when the athlete’s body
     covered him,
thrilled with the priapic thrust against
     his loins,
not caring that a seedburst could cinder him,
not fearing the rending of flesh by godhood.

And there was no pain — the ardent god
gave him, and took, a thousand pleasure strokes,
and every one was joy to both of them.
No one has ever been raped by a god.

7
Zeus steals again to look at the sleeping boy.
At last there is a question he cannot answer,
a riddle whose solving no manner of trickery
or Titan bluster can achieve. He asks himself:
Suppose I withhold a month of apples
from Ganymede? Suppose I let him age
just that much more? It maddens me
to hold a perfect Ganymede if Ganymede
plus Time were yet more perfect still.

The god turns sleepless on his mountain peak,
frozen between beauty and a mystery.

8
Ganymede thinks only of Zeus.
No one could imagine a greater joy.
And yet his delicate fingers shake
as he takes the green-peeled apple.
He puts it down on the golden tray,
looks at his blushing cheeks
     reflected there,
his hair still tousled by passion,
his lesser size, his frailer limbs.
He wonders: if I refuse the gift,
and let but one day’s aging pass.
If I were older, fuller, stronger —
would Zeus love me better?

The boy turns sleepless in his sheltered bed,
frozen between love and uncertainty.

9
Hera paces outside the banquet hall.
Each night the men gods revel there:
Hephaestus, Apollo, blood-stained Ares,
Hades with his burning gaze, tide-worn
     Poseidon.
Each night they sing more merrily,
trade dangerous boasts about the Titan wars
as if Tartarus held no sleepers,
wax even stronger in their tales of love
for maids, and goddesses — and mortal boys.
Each night they leave, brawling with shields
and swords and tridents and staffs,
down to the waiting chariot hall,
until the room holds none but Zeus and Ganymede,
Ganymede and Zeus. For months, the goddesses
have been ignored and shunned.
Now Hera, the lawful mistress of marriages,
of love and hearth-fire parentage,
is banished to the kitchen of the gods,
the weaving room, the tending
of her temples. How long, she asks,
how long will this Olympian dalliance
preoccupy the lord of the gods?

10
I like to think of the gods still banqueting,
how they all came to love young Ganymede,
how Zeus neglected his Olympian rites
and ceased to trouble with the squabbling of gods.

I like to think of this summer storm
as the rolling of cloud from their lovers’ bed,
as the never-tiring spark of their passion
rejuvenates this earth of forgotten temples.

I like to think of a joy that never dies,
of a beauty that never fades,
of a god’s love transforming a boy,
of all manner of love enthroned
     and noble at last,
of love oaths written with stars.

11
I stand in the sorrowing wastes of Ilion.
By an eternal spring, I raise my cup,
in the shade of a lonely apple tree.
An eagle takes wing from a distant crag.
My heart cries: Ganymede!


Saturday, July 9, 2011

The House by the Coke Ovens


I saw my childhood home only one time between the ages of 13 and last fall: I was 35 and was driven through Scottdale PA hastily and out into the country to find the house by the coke ovens. Here is a revision of the poem I wrote that summer, from a cycle that uses the Native American "God's Eye" and wild berries as recurring motifs.



I wanted to see my childhood home again,
the country house, the demon-haunted
rooms that gave my inner self their imprint.
We drove through Scottdale with its too
many churches, stores boarded up, cold
as an exhausted and empty mine.
         Looking for Carpentertown,
we drove back and forth in the hollow,
passing again and again the barren, black
lot by the edge of the fen. “Stop here,”
I said. “This is the place. The house
stood here. Back there, coke ovens blazed
all night, and there, the trucks
ground by with their tons of coal.”

Of the house that stood here — nothing.
Of the solemn poplars of Lombardy
     that wrote on my window panes — nothing.
Of the stately porch and its swing,
     the apple tree’s promise — nothing.
Of the locked, steep attic and its
     imagined relics  — nothing.
Of the deep, deep cellar with its
     warden rats – nothing.
Of the cool spring house and its poisoned well —
     nothing.
Of the very stone and shape of foundation,
     the lineament of property — nothing.

Am I seeing the future? Is carboned ground
a resonant prophecy of bomb-fall —
is this desolation my past – or a future
of our own time sewn with apocalypse?
(The God’s Eye blinks but cannot answer.)

A neighbor comes to tell us the house 
burned to the ground some fifteen years ago.
The timbers and bricks were trucked away.
Slag dumps drifted, quicksand consumed,
until the foundation itself was buried.
Trees tumbled to ruffian winds.
 
And as for the “quicksand”
I thought I remembered, the local said:
“Oh yes, out there in the middle,
there are bad places. Last spring it got
our grandma: she was in past her knees
when we heard her screaming and pulled her out.”

We walk where the house was,
where it seems dry and safe enough.
Breaking through black-crust earth
the stalks of lichens, brittle, rigid,
stand at attention with lurid caps
of crimson. (The field guide shows them,
and says they are called British Soldiers.)

They rise like the whiskers of a Chthonic god,
eyeless guardians of a plain of night,
a carpet for Gorgons and barefoot Maenads,
dry to the touch, coarse as sandstone.
Only their form suggests the organic.

Concealing the lichens, as forest hides shrubs,
I see a tangled maze of blackberries,
thorns guarding the fruit with jealous teeth.
Although they hang at arm’s length, ripe
for the taking, although the sickly birds
glare down from a chancred tree, no one
will pick this fruit. It too is black —
coal dust, charcoal, coke and obsidian,
a berry hued for the Stygian shores,
for the lips of the dead and the damned.
I played here as a child, amid the thorns
and poison ivy. The earth did not open
to swallow me. Perhaps I am immune,
the one, who remembering, belongs.

There is not much left of the great coke industry,
when the coal was eked from nearby Hecla
and the smouldering coke went to Pittsburgh.
A quarter mile back, the red rust scavenges
the twisted wheel of a coal crusher,
its chute and trestle and engine works gone;
it lays like the useless jaw of a dinosaur.
Open hearth ovens sprout vengeful trees,
vine roots split mortar, firebrick moults clay.

“I lived here many years ago,” I said —
not saying how many. It was thirty —
I was five when this house protected me,
when its terrors wrote themselves upon me.

And so the hungry past steals up behind me,
a lumbering truck full of fossils,
heating my poems to the red fury of ovens,
erasing my life as quickly as I write it.