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Barbie Chang’s tears are the lights of the city that go off on off on the men walking around the city move but Barbie Chang doesn’t she cannot promote herself if she had legs she would stop begging if she had a head she would stop her own wedding but the city has no extra bedding it is not ready yet the maids are still making beds Barbie Chang is still making things up there are always storms long arms drinks with pink umbrellas because they know she is confused like a seahorse light avoids her town on the map B2 C4 she wants to be used she doesn’t want to be with you it is morning again and Barbie Chang is already mourning the men the night men who are always right who never write back she prefers to sleep on her back so she can see the eyes of her attackers in the morning a bed with questions with her depression on each side two small holes from knees

We burrowed night and day with tools of lead, Heaped the bank up and cast it in a ring And hurled the earth above. And Caesar said, "Why, it is excellent. I like the thing." We, who are dead, Made it, and wrought, and Caesar liked the thing. And here we strove, and here we felt each vein Ice-bound, each limb fast-frozen, all night long. And here we held communion with the rain That lashed us into manhood with its thong, Cleansing through pain. And the wind visited us and made us strong. Up from around us, numbers without name, Strong men and naked, vast, on either hand Pressing us in, they came. And the wind came And bitter rain, turning grey all the land. That was our game, To fight with men and storms, and it was grand. For many days we fought them, and our sweat Watered the grass, making it spring up green, Blooming for us. And, if the wind was wet, Our blood wetted the wind, making it keen With the hatred And wrath and courage that our blood had been. So, fighting men and winds and tempests, hot With joy and hate and battle-lust, we fell Where we fought. And God said, "Killed at last then? What! Ye that are too strong for heaven, too clean for hell, (God said) stir not. This be your heaven, or, if ye will, your hell." So again we fight and wrestle, and again Hurl the earth up and cast it in a ring. But when the wind comes up, driving the rain (Each rain-drop a fiery steed), and the mists rolling Up from the plain, This wild procession, this impetuous thing. Hold us amazed. We mount the wind-cars, then Whip up the steeds and drive through all the world, Searching to find somewhere some brethren, Sons of the winds and waters of the world. We, who were men, Have sought, and found no men in all this world. Wind, that has blown here always ceaselessly, Bringing, if any man can understand, Might to the mighty, freedom to the free; Wind, that has caught us, cleansed us, made us grand, Wind that is we (We that were men) — make men in all this land, That so may live and wrestle and hate that when They fall at last exultant, as we fell, And come to God, God may say, "Do you come then Mildly enquiring, is it heaven or hell? Why! Ye were men! Back to your winds and rains. Be these your heaven and hell!"

The Constellations are a harmoniously composed series of 23 gouaches that Miró painted to escape the trauma of the war years. — The Joan Miró Foundation We’ve all gouached. Haven’t we? Pollock lashed stretched canvas that was Nude. Was said to call his Ruth prude and he spat chew in a coffee can and shat bloodily in the can. When I was twenty I spent three hours in a room with the Free- Spirited Types moving from one inviting orifice to the welcome of another. I was lost in my wood, savage and stern. But also I understood that when it was later and I was wiser I could never forgive Herr Pfizer. My father said we’ve all got an East River. He had a tenuous web of veins for a liver. His loss. Literally. Mom’s impatient art was proved to be the most effective part of her mothering: you should see her rich greens well up in the power of the middle and grow lean as they colonize the crusted edges. My love for her is impregnable. Pity Miró, moonblind, weary on the rocky coast of Portugal, walking cliff paths and getting lost. His quest for childish wonder has bent him and riddled his skin before its time. Put this together with that! Paint it yellow! Murk the sky with banks of Periwinkle and Snow. Gouache a widened eye low on the right, so it can behold the left and the night.

I.1. "Ruin seize thee, ruthless King! Confusion on thy banners wait, Tho' fann'd by Conquest's crimson wing They mock the air with idle state. Helm, nor hauberk's twisted mail, Nor even thy virtues, tyrant, shall avail To save thy secret soul from nightly fears, From Cambria's curse, from Cambria's tears!" Such were the sounds, that o'er the crested pride Of the first Edward scatter'd wild dismay, As down the steep of Snowdon's shaggy side He wound with toilsome march his long array. Stout Glo'ster stood aghast in speechless trance; To arms! cried Mortimer, and couch'd his quiv'ring lance. I.2. On a rock, whose haughty brow Frowns o'er old Conway's foaming flood, Rob'd in the sable garb of woe, With haggard eyes the poet stood; (Loose his beard, and hoary hair Stream'd, like a meteor, to the troubled air) And with a master's hand, and prophet's fire, Struck the deep sorrows of his lyre; "Hark, how each giant-oak, and desert cave, Sighs to the torrent's awful voice beneath! O'er thee, O King! their hundred arms they wave, Revenge on thee in hoarser murmurs breathe; Vocal no more, since Cambria's fatal day, To high-born Hoel's harp, or soft Llewellyn's lay. I.3. "Cold is Cadwallo's tongue, That hush'd the stormy main; Brave Urien sleeps upon his craggy bed: Mountains, ye mourn in vain Modred, whose magic song Made huge Plinlimmon bow his cloud-topp'd head. On dreary Arvon's shore they lie, Smear'd with gore, and ghastly pale: Far, far aloof th' affrighted ravens sail; The famish'd eagle screams, and passes by. Dear lost companions of my tuneful art, Dear, as the light that visits these sad eyes, Dear, as the ruddy drops that warm my heart, Ye died amidst your dying country's cries— No more I weep. They do not sleep. On yonder cliffs, a griesly band, I see them sit, they linger yet, Avengers of their native land: With me in dreadful harmony they join, And weave with bloody hands the tissue of thy line:— II.1. "'Weave the warp, and weave the woof, The winding sheet of Edward's race. Give ample room, and verge enough The characters of hell to trace. Mark the year, and mark the night, When Severn shall re-echo with affright The shrieks of death, thro' Berkley's roofs that ring, Shrieks of an agonising King! She-Wolf of France, with unrelenting fangs, That tear'st the bowels of thy mangled mate, From thee be born, who o'er thy country hangs The scourge of Heav'n. What terrors round him wait! Amazement in his van, with Flight combin'd, And Sorrow's faded form, and Solitude behind. II.2. "'Mighty victor, mighty lord, Low on his funeral couch he lies! No pitying heart, no eye, afford A tear to grace his obsequies. Is the Sable Warrior fled? Thy son is gone. He rests among the dead. The swarm, that in thy noon-tide beam were born? Gone to salute the rising Morn. Fair laughs the Morn, and soft the Zephyr blows, While proudly riding o'er the azure realm In gallant trim the gilded vessel goes; Youth on the prow, and Pleasure at the helm; Regardless of the sweeping Whirlwind's sway, That, hush'd in grim repose, expects his evening prey. II.3. "'Fill high the sparkling bowl, The rich repast prepare; Reft of a crown, he yet may share the feast. Close by the regal chair Fell Thirst and Famine scowl A baleful smile upon their baffled guest. Heard ye the din of battle bray, Lance to lance, and horse to horse? Long years of havoc urge their destin'd course And thro' the kindred squadrons mow their way. Ye towers of Julius, London's lasting shame, With many a foul and midnight murther fed, Revere his consort's faith, his father's fame, And spare the meek usurper's holy head. Above, below, the rose of snow, Twined with her blushing foe, we spread: The bristled Boar in infant-gore Wallows beneath the thorny shade. Now, brothers, bending o'er th' accursed loom Stamp we our vengeance deep, and ratify his doom. III.1. "'Edward, lo! to sudden fate (Weave we the woof. The thread is spun) Half of thy heart we consecrate. (The web is wove. The work is done.)' Stay, oh stay! nor thus forlorn Leave me unbless'd, unpitied, here to mourn! In yon bright track, that fires the western skies! They melt, they vanish from my eyes. But oh! what solemn scenes on Snowdon's height Descending slow their glitt'ring skirts unroll? Visions of glory, spare my aching sight, Ye unborn Ages, crowd not on my soul! No more our long-lost Arthur we bewail. All-hail, ye genuine kings, Britannia's issue, hail! III.2. "Girt with many a baron bold Sublime their starry fronts they rear; And gorgeous dames, and statesmen old In bearded majesty appear. In the midst a form divine! Her eye proclaims her of the Briton-line; Her lion-port, her awe-commanding face, Attemper'd sweet to virgin-grace. What strings symphonious tremble in the air, What strings of vocal transport round her play! Hear from the grave, great Taliessin, hear; They breathe a soul to animate thy clay. Bright Rapture calls, and soaring, as she sings, Waves in the eye of Heav'n her many-colour'd wings. III.3. "The verse adorn again Fierce War, and faithful Love, And Truth severe, by fairy Fiction drest. In buskin'd measures move Pale Grief, and pleasing Pain, With Horror, tyrant of the throbbing breast. A voice, as of the cherub-choir, Gales from blooming Eden bear; And distant warblings lessen on my ear, That lost in long futurity expire. Fond impious man, think'st thou, yon sanguine cloud, Rais'd by thy breath, has quench'd the orb of day? To-morrow he repairs the golden flood, And warms the nations with redoubled ray. Enough for me: with joy I see The different doom our Fates assign. Be thine Despair, and scept'red Care, To triumph, and to die, are mine." He spoke, and headlong from the mountain's height Deep in the roaring tide he plung'd to endless night.

This poem is essentially about life and death. What is clear about this particular poem, compared to most poetry, is that through the voice of the speaker the reader can feel the emotions and thoughts of the author flattening down into points that come across as very personal to delight and sadden the younger readers of today. In almost all other poetry there is a “speaker” who goes upward and upward, a machine that absorbs vibration from bigger machines but if it happens here now, in this poem will there be anyone nearby who wants to see? Maybe the dead know how to live more fully, torches turned down but still fuming like rinds around hot marshmallows do, their divided subject matter focused primarily on dark imagery with symbols of light inside— I never understood the big whoop about Demeter: reading is already a giant supplanting. A new reader discovers this work while he is leaving flowers where his dead bride used to be. But it enables him to be reborn again each time— Persephone is not the unhappy one moving up the dark stairs she considers in her consciousness as light while the poem commences and commences like the days dividing summer from its students, sponges that sway in an undersea film Until the poem spreads, and reaches its conclusion that students are each taught to believe in things differently: that Persephone was a goddess who was abducted by Pluto, the author himself a blue web that exists years and years after his death stuck inside the tired envelope of poetry Who feels he finally is reading himself, the spring flowers intense and papery like they used to be, enabling the reader again to feel the darkness with a rhythm that enables the reader to almost see. Was his conclusion merely a mistake, or did he intentionally use elements of different poems until he finally made his destination, from blue to smoking to flatten, September confused with its light?

A hundred and one butter lamps are offered to my uncle who is no more. Distraction proves fatal in death. A curtain of butter imprints in air. After the burning of bones, ashes are sent on pilgrimage. You are dead, go into life, we pray. My uncle was a man given to giggles in solemn moments. Memory springs like crocuses in bloom. Self conscious and precise. Without blurring the cornea, details are resuscitated. Dried yak meat between teeth. Semblance of what is. Do not be distracted, Uncle who is no more. He does not see his reflection in the river. The arching of speech over “s” as he is becoming. Curvature of spine as it cracked on a misty morning. A shadow evades the wall. You are no more, Uncle who is no more. Every seven days he must relive his moment of expiration. The living pray frequently amid burning juniper. Communication efforts require the right initiative. Somewhere along the line matters of motion and rest are resolved. Crows pick the last offerings. You are someone else, uncle no more.

Blessings on thee, little man, Barefoot boy, with cheek of tan! With thy turned-up pantaloons, And thy merry whistled tunes; With thy red lip, redder still Kissed by strawberries on the hill; With the sunshine on thy face, Through thy torn brim’s jaunty grace; From my heart I give thee joy,— I was once a barefoot boy! Prince thou art,—the grown-up man Only is republican. Let the million-dollared ride! Barefoot, trudging at his side, Thou hast more than he can buy In the reach of ear and eye,— Outward sunshine, inward joy: Blessings on thee, barefoot boy! Oh for boyhood’s painless play, Sleep that wakes in laughing day, Health that mocks the doctor’s rules, Knowledge never learned of schools, Of the wild bee’s morning chase, Of the wild-flower’s time and place, Flight of fowl and habitude Of the tenants of the wood; How the tortoise bears his shell, How the woodchuck digs his cell, And the ground-mole sinks his well; How the robin feeds her young, How the oriole’s nest is hung; Where the whitest lilies blow, Where the freshest berries grow, Where the ground-nut trails its vine, Where the wood-grape’s clusters shine; Of the black wasp’s cunning way, Mason of his walls of clay, And the architectural plans Of gray hornet artisans! For, eschewing books and tasks, Nature answers all he asks; Hand in hand with her he walks, Face to face with her he talks, Part and parcel of her joy,— Blessings on the barefoot boy! Oh for boyhood’s time of June, Crowding years in one brief moon, When all things I heard or saw, Me, their master, waited for. I was rich in flowers and trees, Humming-birds and honey-bees; For my sport the squirrel played, Plied the snouted mole his spade; For my taste the blackberry cone Purpled over hedge and stone; Laughed the brook for my delight Through the day and through the night, Whispering at the garden wall, Talked with me from fall to fall; Mine the sand-rimmed pickerel pond, Mine the walnut slopes beyond, Mine, on bending orchard trees, Apples of Hesperides! Still as my horizon grew, Larger grew my riches too; All the world I saw or knew Seemed a complex Chinese toy, Fashioned for a barefoot boy! Oh for festal dainties spread, Like my bowl of milk and bread; Pewter spoon and bowl of wood, On the door-stone, gray and rude! O’er me, like a regal tent, Cloudy-ribbed, the sunset bent, Purple-curtained, fringed with gold, Looped in many a wind-swung fold; While for music came the play Of the pied frogs’ orchestra; And, to light the noisy choir, Lit the fly his lamp of fire. I was monarch: pomp and joy Waited on the barefoot boy! Cheerily, then, my little man, Live and laugh, as boyhood can! Though the flinty slopes be hard, Stubble-speared the new-mown sward, Every morn shall lead thee through Fresh baptisms of the dew; Every evening from thy feet Shall the cool wind kiss the heat: All too soon these feet must hide In the prison cells of pride, Lose the freedom of the sod, Like a colt’s for work be shod, Made to tread the mills of toil, Up and down in ceaseless moil: Happy if their track be found Never on forbidden ground; Happy if they sink not in Quick and treacherous sands of sin. Ah! that thou couldst know thy joy, Ere it passes, barefoot boy!

The moon comes up. The moon goes down. This is to inform you that I didn’t die young. Age swept past me but I caught up. Spring has begun here and each day brings new birds up from Mexico. Yesterday I got a call from the outside world but I said no in thunder. I was a dog on a short chain and now there’s no chain.

Same size, my parents stained and tore alike in the barn, their brown hair ripe as cow after twelve hours of gutters. At supper they spoke in jokey moos. Sure, showers could dampen that reek down to a whiff under fingernails, behind ears, but no wash could wring the animal from their clothes: one pair, two pair, husband, wife, reversible.

The barnacle is rather odd — It’s not related to the clam Or limpet. It’s an arthropod, Though one that doesn’t give a damn. Cousin to the crab and shrimp, When larval, it can twitch and swim, And make decisions — tiny imp That flits according to its whim. Once grown, with nothing more to prove It hunkers down, and will remain Stuck fast. And once it does not move, Has no more purpose for a brain. Its one boast is, it will not budge, Cemented where it chanced to sink, Sclerotic, stubborn as a grudge. Settled, it does not need to think.