Poemunity — your poem community

John-O was given a key to the apartment. The deal was this: if Phil died suddenly, and John-O heard, he would rush on over, enter the apartment, leave unseen with Phil’s brown suitcase, and secretly pitch it into the mounded deeps of the city dump. Simply, there were things that Phil didn’t want to hurt his family with. Do you have yours? I have mine. The brown suitcase. Sasha’s sister, on her deathbed—dinky, frail, just a mild skim-milk trickle of a hospice patient— tensed, sat up, and unloosed such confessional invective that it seemed the walls and the sheets would have to be splattered in shit, her cancer having acted with the harsh, disbursing force of a tornado on the brown and hard-shelled suitcase in her electrochemical memory webs. Is yours secure? from love? from sodium pentathol? Last year, when a tornado hit our fringe of downtown businesses, the air was alive for counties around with the downward dance of naked canceled checks, handwritten notes, hotel receipts, e-mail transcripts, smeary Polaroids, a swirl of lacy underwisps that jellyfished the skies, and from The G-Spot Shoppe a rain of plastic pleasure aids, of which one prime example pierced a cow between the eyes and struck her dead. Maybe AIDS—I wasn’t sure. But he was dying, that was sure: as dry as a stick of human chalk, and making the terrible scritch-sound of a stick of chalk, in his throat, in the community air, in the room across from Sasha’s sister. Something . . .hidden in the trace of rundown aura still around him as we chatted there one morning . . . a tv? a sissyboy tv? I wasn’t sure, but it was obvious his life-chalk held a story not yet written, not confessed yet for this storyniverous planet. And when I remembered my mother’s own last days . . . the way a person is a narrative, the strength of which is either revelation or withholding. It was summer, and the garden at the nursing home was fat with summer’s pleasures: flowered mounds like reefs of coral, bees as globular as whole yolks. In her room, my mother disappeared a breath at a time, and everything else was only a kind of scenery for that. The wink of pollen in the light. The birds. Their feather-lice. The bursting spores. Those opened-up cicada husks abandoned on the patio —the small, brown, unlocked luggage that’s completed its work in this world.

The host's girlfriend is barely seen. She's busy giving away wild animals to reluctant guests. I agree to take a snake-dog, maybe an electric eel, but when I feel its sharp teeth in my shoulder, I start to worry about the future welfare of our fragile cat, the precarious order of our rented home, and remember I am supposed to be looking for someone.... A half-wolf, half-elephant cracks through the walls of the peeling wallpapered bedroom where my former student in a fuschia robe and curlers sits by a lighted make-up mirror. The shadows off elongated fake eyelashes are as dark as the branches of an evening tree. The hovering body of a fiery sparrow is almost transparent, like flute music or an idea. I turn my back and finally, I spot her my friend, the host. She's sipping rum punch from a martini glass; her whole body appears to be smiling, glowing, and I don't know what to think. I know she doesn't drink, hasn't in decades, and I wonder what's suddenly changed, but then I remember the cancer won, my friend isn't actually here, there is no party, there was never a house.

for Max Ritvo I Three weeks until summer and then—what? Midsummer’s gravity makes our heads spin each hour a gilt thread spool, winding through the second hand, gossamer fin de semaine, fin de siècle, fin slicing the water of the too-cold-to-breathe bay, molten silver, then receding as if we hadn’t seen it, sultan of so long, see you tomorrow. Dead man’s fingers, lady’s slippers, a seal who swims too close—too close for what? The needle swerves. Our element chooses us. Water fire, air, earth—the rosebush, Lazarus, hot to the touch, gold reticulate, is love’s bull’s-eye, attar rising from the rafters. II If I could make it stop I would. Was it the crocodile Hook feared, or was it time? The hour’s arrow never misses, the gnomon, glinting, cuts the Day-Glo sun to pieces. In the ultraviolet palace of the Mermaid King his girls wear scallop shells, one for each year on their turquoise tails. Even they have birthdays, why not you? Death, hold your ponies with one hand, and stay awhile. On my desk, the lion’s paw lamps scavenged from the winter beach, its poppy-colored shells like the lit scales of an enormous Trojan fish … teeth chattering, its metronome time bomb tsk tsk— when is giving up not giving in? III ( child’s pose ) When Alice pulled the stopper, did she get smaller, or did the world get larger? In the bath, your nose bleeds a bouquet of tissue roses, white stained red—adolescence is to overdo it, but really? Thirty stories up, our birds’-eye view is the hummingbird tattoo on your bare head, wings beating, too tiny and too big to see, your wire-thin profile drawn upright, bones daring the air, marionette running on the brain’s dark marrow, tungsten for the fireflies’ freeze tag. Due south, the Chrysler Building’s gauntlet holds a lit syringe. We do and do not change. Let me go from here to anywhere. IV That’s it for now. And so we turn the page your poems standing in for you, or—that’s not it, what’s left of you, mediating between what you’d call mind and body and I, by now biting my lip, call grief, the lines netting the enormous air like silver threads, the tails of Mr. Edwards’s spiders with which they sail from ledge to branch “as when the soul feels jarred by nervous thoughts and catch on air.”Pace. Your trousers worn to mouse fur dragging on the stoop, your hip prongs barely holding them aloft, the past a phaeton, its sunlit reins bucking at before and after, but there is no after. V Or is there? For once, when you rock back on the chair I don’t say don’t do that, forelegs lifting, hooves pawing the air— Every departure’s an elopement, the shy cat fiddling while Rome sizzles, spoon mirror flipping us upside down. Son of Helios, rainbow fairy lights blazing, when one light goes out they all go out. At the top of the dune, the thorny crowns of buried trees, their teeter-totter branches a candelabra for the spiders’ silvery halo of threads. What a terrible business it is, saying what you mean. Speak, sky, the horizon scored by talons.

Today you find yourself guilty as the rim you split an egg against You press charges You spell out your name like the letters are medals for good conduct in a bad war The night moves in with you into your room until even your sleep is not your own Through the window the grass tells you to give up and you are trying but on the other hand things keep you: the moon, the cars, cars You undress yourself more deeply down like this is the way to get to the future You let the darkness medically examine you So much can’t be put back together To burn the house down to burn the house up It’s the same problem in any direction You’re matter You turn on the light

Come we to the summer, to the summer we will come, For the woods are full of bluebells and the hedges full of bloom, And the crow is on the oak a-building of her nest, And love is burning diamonds in my true lover's breast; She sits beneath the whitethorn a-plaiting of her hair, And I will to my true lover with a fond request repair; I will look upon her face, I will in her beauty rest, And lay my aching weariness upon her lovely breast. The clock-a-clay is creeping on the open bloom of May, The merry bee is trampling the pinky threads all day, And the chaffinch it is brooding on its grey mossy nest In the whitethorn bush where I will lean upon my lover's breast; I'll lean upon her breast and I'll whisper in her ear That I cannot get a wink o'sleep for thinking of my dear; I hunger at my meat and I daily fade away Like the hedge rose that is broken in the heat of the day.

When clouds turn heavy, rich and mottled as an oyster bed, when the temperature drops so fast that fog conjures itself inside the cars, as if the parking lots were filled with row upon row of lovers, when my umbrella veils my face and threatens to reverse itself at every gust of wind, and rain lashes my legs and the hem of my skirt, but I am walking to meet a man who’ll buy me coffee and kiss my fingers— what can be more beautiful, then, than these boys sprinting through the storm, laughing, shouldering the rain aside, running to their dorms, perhaps to class, carrying, like torches, their useless shoes?

Welcome, rain or tempest From yon airy powers, We have languished for them Many sultry hours, And earth is sick and wan, and pines with all her flowers. What have they been doing In the burning June? Riding with the genii? Visiting the moon? Or sleeping on the ice amid an arctic noon? Bring they with them jewels From the sunset lands? What are these they scatter With such lavish hands? There are no brighter gems in Raolconda’s sands. Pattering on the gravel, Dropping from the eaves, Glancing in the grass, and Tinkling on the leaves, They flash the liquid pearls as flung from fairy sieves. Meanwhile, unreluctant, Earth like Danae lies; Listen! is it fancy That beneath us sighs, As that warm lap receives the largesse of the skies? Jove, it is, descendeth In those crystal rills; And this world-wide tremor Is a pulse that thrills To a god’s life infused through veins of velvet hills. Wait, thou jealous sunshine, Break not on their bliss; Earth will blush in roses Many a day for this, And bend a brighter brow beneath thy burning kiss.

for donald justice Beyond the strings of water clinging to the windowpane, there were no cranes, just rain, a sky blurred by wet glass, a pond corrugated by raindrops, and, inside, the smell of naphthalene bars, a Victrola with a broken arm, a spotty daguerreotype, a dusty crinoline— O mildewed, seersucker suits draped over vacant chairs.

I was sitting in Old Town Square with tourists and birds and I was reading Foucault, how “he who is subjected to a field of visibility ... becomes the principle of his own subjection” and all around me the beautiful Czechoslovakian boys moved through the first day of spring like perennially visible inmates in the opening credits of a prison porno. The sun reflected off the glass and my table was an inscrutable tower of light from which I peered, invisibly, at the swan-graceful boys who seemed to skirr across the stones, traveling, it seemed, to something vaguely ridiculous and charmingly anachronistic: cuff link shopping, or brunch with the duchess. The coffee had made me jittery and I was beginning to sweat from both sun and desire. I considered moving to the outer edge of the circled tables, so the boys could see me as I could see them, but then the 600-year-old orloj sounded the hour and the twelve apostles and skeletal death spun around and I was afraid to leave my tower. I didn’t want to be visible in the way those small dancing figures were visible and as much as I wanted a handsome companion, I feared my foot getting caught in a sewer grate or my spoon falling from my saucer and clattering on the pavement, startling the birds into a ruckus. An errant ball of sweat fell from my chin and onto the page. I looked down to where it had landed on the word “reciprocal” which made me think how looking is always reducible to twos — two eyes, two parties, two possible outcomes, and how those who watch from the panopticon’s black pupil may, in any case, not even exist.

If sunlight fell like snowflakes, gleaming yellow and so bright, we could build a sunman, we could have a sunball fight, we could watch the sunflakes drifting in the sky. We could go sleighing in the middle of July through sundrifts and sunbanks, we could ride a sunmobile, and we could touch sunflakes— I wonder how they'd feel.