Poemunity — your poem community

I might as well begin by saying how much I like the title. It gets me right away because I’m in a workshop now so immediately the poem has my attention, like the Ancient Mariner grabbing me by the sleeve. And I like the first couple of stanzas, the way they establish this mode of self-pointing that runs through the whole poem and tells us that words are food thrown down on the ground for other words to eat. I can almost taste the tail of the snake in its own mouth, if you know what I mean. But what I’m not sure about is the voice, which sounds in places very casual, very blue jeans, but other times seems standoffish, professorial in the worst sense of the word like the poem is blowing pipe smoke in my face. But maybe that’s just what it wants to do. What I did find engaging were the middle stanzas, especially the fourth one. I like the image of clouds flying like lozenges which gives me a very clear picture. And I really like how this drawbridge operator just appears out of the blue with his feet up on the iron railing and his fishing pole jigging—I like jigging— a hook in the slow industrial canal below. I love slow industrial canal below. All those l’s. Maybe it’s just me, but the next stanza is where I start to have a problem. I mean how can the evening bump into the stars? And what’s an obbligato of snow? Also, I roam the decaffeinated streets. At that point I’m lost. I need help. The other thing that throws me off, and maybe this is just me, is the way the scene keeps shifting around. First, we’re in this big aerodrome and the speaker is inspecting a row of dirigibles, which makes me think this could be a dream. Then he takes us into his garden, the part with the dahlias and the coiling hose, though that’s nice, the coiling hose, but then I’m not sure where we’re supposed to be. The rain and the mint green light, that makes it feel outdoors, but what about this wallpaper? Or is it a kind of indoor cemetery? There’s something about death going on here. In fact, I start to wonder if what we have here is really two poems, or three, or four, or possibly none. But then there’s that last stanza, my favorite. This is where the poem wins me back, especially the lines spoken in the voice of the mouse. I mean we’ve all seen these images in cartoons before, but I still love the details he uses when he’s describing where he lives. The perfect little arch of an entrance in the baseboard, the bed made out of a curled-back sardine can, the spool of thread for a table. I start thinking about how hard the mouse had to work night after night collecting all these things while the people in the house were fast asleep, and that gives me a very strong feeling, a very powerful sense of something. But I don’t know if anyone else was feeling that. Maybe that was just me. Maybe that’s just the way I read it.

No ladders, no descending angels, no voice out of the whirlwind, no rending of the veil, or chariot in the sky—only water rising and falling in breathing springs and seeping up through limestone, aquifers filling and flowing over, russet stands of prairie grass and dark pupils of black-eyed Susans. Only the fixed and wandering stars: Orion rising sideways, Jupiter traversing the southwest like a great firefly, Venus trembling and faceted in the west—and the moon, appearing suddenly over your shoulder, brimming and ovoid, ripe with light, lifting slowly, deliberately, wobbling slightly, while far below, the faithful sea rises up and follows.

The world below the brine, Forests at the bottom of the sea, the branches and leaves, Sea-lettuce, vast lichens, strange flowers and seeds, the thick tangle, openings, and pink turf, Different colors, pale gray and green, purple, white, and gold, the play of light through the water, Dumb swimmers there among the rocks, coral, gluten, grass, rushes, and the aliment of the swimmers, Sluggish existences grazing there suspended, or slowly crawling close to the bottom, The sperm-whale at the surface blowing air and spray, or disporting with his flukes, The leaden-eyed shark, the walrus, the turtle, the hairy sea-leopard, and the sting-ray, Passions there, wars, pursuits, tribes, sight in those ocean-depths, breathing that thick-breathing air, as so many do, The change thence to the sight here, and to the subtle air breathed by beings like us who walk this sphere, The change onward from ours to that of beings who walk other spheres.

The world had fled, with all its silly cares and questionable aches, and in one swoon we rose above its stupefying airs like flying lovesick pigs up to the moon. In that blue light where two lives equaled all, our souls looked down upon a spinning ball. The world returned, and this was a surprise I raged against like someone on a rack, telling the sun, tears clouding my stunned eyes, give us our splendid isolation back. I craved third rails, a shot of something strong when I found out it doesn’t last for long. The world came back and stayed, pain never ended, but when the aches and cares begged for a hand, grew softer in the light we’d made and tended, I finally began to understand love’s widening third stage, and of the three this was the most outstanding ecstasy.

The world is too much with us; late and soon, Getting and spending, we lay waste our powers;— Little we see in Nature that is ours; We have given our hearts away, a sordid boon! This Sea that bares her bosom to the moon; The winds that will be howling at all hours, And are up-gathered now like sleeping flowers; For this, for everything, we are out of tune; It moves us not. Great God! I’d rather be A Pagan suckled in a creed outworn; So might I, standing on this pleasant lea, Have glimpses that would make me less forlorn; Have sight of Proteus rising from the sea; Or hear old Triton blow his wreathèd horn.

If I close my eyes now, I can still see them canopied by the visor of my sunhat: three children islanded on a narrow rim of earth between the huge crack-willow that they squat before, hushed, poised to net a frog, and the pond the frog will jump to (it got away) a glass its dive will shatter. The unbroken image pleases my mind’s eye with its density, such thick crisscross of tree-trunk, earth, and tall grass I see no breach, no source for the light that steeps it but a blue burning in the pond’s green glass. The grass withered, the tree blew down, earth caught the frog, the children grew. Sky’s ice-blue flame teased along the wick it would consume.

In Japan, when you die, they wheel what’s left of you out of the incinerator, and what’s left of your family takes turns picking with special chopsticks. It looks like they have gathered to dine over a dead campfire, but they are not, of course, eating you. They are feeding you to the round mouth of an urn: only in pieces, Father, to the fire. In their bright swimsuits, my daughters spill warm sand over my skin as I lie still, watching the sun needle the sky. The baby licks her fingers to tell, perhaps, if I am ready, her bald head white with lotion, her mouth full of vowels. The older one says nothing above the ocean’s slow rush, but scoops and pats to get me done and gone. I’ve never been to Japan, but once, a globe of glass found me at the clear end of a wave. It drifted from the other side, my mother said. Cold and slick, it glistened as I held it up with both hands and looked through to the green flames of the sun before tasting the salt with my tongue.

I wanted so ably to reassure you, I wanted the man you took to be me, to comfort you, and got up, and went to the window, pushed back, as you asked me to, the curtain, to see the outline of the trees in the night outside. The light, love, the light we felt then, greyly, was it, that came in, on us, not merely my hands or yours, or a wetness so comfortable, but in the dark then as you slept, the grey figure came so close and leaned over, between us, as you slept, restless, and my own face had to see it, and be seen by it, the man it was, your grey lost tired bewildered brother, unused, untaken— hated by love, and dead, but not dead, for an instant, saw me, myself the intruder, as he was not. I tried to say, it is all right, she is happy, you are no longer needed. I said, he is dead, and he went as you shifted and woke, at first afraid, then knew by my own knowing what had happened— and the light then of the sun coming for another morning in the world.

I saw Eternity the other night, Like a great ring of pure and endless light, All calm, as it was bright; And round beneath it, Time in hours, days, years, Driv’n by the spheres Like a vast shadow mov’d; in which the world And all her train were hurl’d. The doting lover in his quaintest strain Did there complain; Near him, his lute, his fancy, and his flights, Wit’s sour delights, With gloves, and knots, the silly snares of pleasure, Yet his dear treasure All scatter’d lay, while he his eyes did pour Upon a flow’r. The darksome statesman hung with weights and woe, Like a thick midnight-fog mov’d there so slow, He did not stay, nor go; Condemning thoughts (like sad eclipses) scowl Upon his soul, And clouds of crying witnesses without Pursued him with one shout. Yet digg’d the mole, and lest his ways be found, Work’d under ground, Where he did clutch his prey; but one did see That policy; Churches and altars fed him; perjuries Were gnats and flies; It rain’d about him blood and tears, but he Drank them as free. The fearful miser on a heap of rust Sate pining all his life there, did scarce trust His own hands with the dust, Yet would not place one piece above, but lives In fear of thieves; Thousands there were as frantic as himself, And hugg’d each one his pelf; The downright epicure plac’d heav’n in sense, And scorn’d pretence, While others, slipp’d into a wide excess, Said little less; The weaker sort slight, trivial wares enslave, Who think them brave; And poor despised Truth sate counting by Their victory. Yet some, who all this while did weep and sing, And sing, and weep, soar’d up into the ring; But most would use no wing. O fools (said I) thus to prefer dark night Before true light, To live in grots and caves, and hate the day Because it shews the way, The way, which from this dead and dark abode Leads up to God, A way where you might tread the sun, and be More bright than he. But as I did their madness so discuss One whisper’d thus, “This ring the Bridegroom did for none provide, But for his bride.”

When I learned I could own a piece of The World I got my chequebook out. Eternal life belongs to those who live in the present. My wife's bright eye affirmed it. As do the soothing neutral tones and classic-contemporary decor of our professionally designed apartments, private verandahs before which the globe, endlessly and effortlessly circumnavigated, slips by, allowing residents no end of exotic ports, a new destination every few days to explore with a depth we hadn't thought possible. It's not how things are on The World that is mystical, not the market and deli, proximity of masseuse and sommelier, not the gym, our favourite restaurant, our other favourite restaurant, the yacht club, the library, the golf pro, the pool, but that it exists at all, a limited whole, a logic and a feeling. What looks like freedom is, in fact, the perfection of a plan, and property a stocktaking laid against us in a measure. The difference between a thing thought, and done. One can ignore neither the practical applications nor the philosophical significance of our onboard jewelry emporium, its $12 million inventory, natural yellow diamonds from South Africa no one needs, thus satisfying the criteria for beauty. Without which there is no life of the mind. What we share, though, transcends ownership, our self-improvement guaranteed by the itineraries, licensed experts who prepare us for each new harbour and beyond, deliver us into the hands of native companions on The World's perpetual course. The visual field has no limits. And the eye— the eye devours. Polar bears, musk oxen, rare thick-billed murre. We golfed on the tundra and from The World were airlifted to pristine snowfields, clifftops where we dined alfresco above frozen seas. The World is the entirety. The largest ship ever to traverse the Northwest Passage. How the silent energy coursed between us. Fundamental rules had changed. Except, with time, it seems a sort of accident— natural objects combined in states of affairs, their internal properties. Accusatory randomness and proliferation of types, brutal quantity literally brought to our doors. Or past them, as if on the OLED high-def screen of our circumstances, which hides more than it reveals. For what we see could be other than it is. Whatever we're able to describe at all could be other than it is. Such assaults on our finer feelings require an appeal to order, to the exercise of discipline a private Jacuzzi represents, from which one might peacefully enjoy the singular euphoria of the Panama Canal or long-awaited departure from fetid Venice. There is some truth in solipsism, but I fear I'm doing it wrong, standing at the rail for ceremonial cast-offs thunderously accessorized with Vangelis or "Non, je ne regrette rien," made irritable by appreciative comments about the light. In Reykjavík or Cape Town, it's the same. Familiarity without intimacy is the cost of privacy, security of a thread count so extravagant its extent can no longer be detected. Even at capacity, The World is eerily empty: its crew of highly trained specialists in housekeeping, maintenance, beauty, and cuisine—the heart and soul of the endeavour—are largely unseen and likely where the fun is. We sit at the captain's table but don't know him. He's Italian. I think on my Clarksville boyhood long before EPS, ROE— retractable clothesline sunk in concrete, modest backyard a staging ground for potential we felt infinite to the degree our parents knew it wasn't. The unknown is where we played. And while fulfilment of a premeditated outcome confers a nearly spiritual comfort of indifference to the time of year, a paradise of fruits always in season, the span of choice defines its limit, which cannot be exceeded. The sea rolls over, props on an elbow, and now is heard the small sound of a daydream running softly aground. Dissatisfaction, in a Danish sense. On prevailing winds a scent of compromise; for one tires of the spacewalk outside what is the case. Beyond immediate luxuries lives speculation and the tragic impression one is yet to be born. It could be when all pursuits have been satisfied, life's problems will remain untouched. But doubt exists only where questions exist. The World satisfies its own conditions. It argues for itself. Herein lies an answer.