Serpents appeared on my path,
spiders, field mice, baby vultures.
They were neither good nor evil now—every living thing
was simply creeping or hopping along in the mass panic.
I looked back in desolation.
In shame because we had stolen away.
Wanting to cry out, to go home.
Or only when a sudden gust of wind
unbound my hair and lifted up my robe.
It seemed to me that they were watching from the walls of Sodom
and bursting into thunderous laughter again and again.
I looked back in anger.
To savor their terrible fate.
I looked back for all the reasons given above.
I looked back involuntarily.
It was only a rock that turned underfoot, growling at me.
It was a sudden crack that stopped me in my tracks.
A hamster on its hind paws tottered on the edge.
It was then we both glanced back.
No, no. I ran on,
I crept, I flew upward
until darkness fell from the heavens
and with it scorching gravel and dead birds.
I couldn’t breathe and spun around and around.
Anyone who saw me must have thought I was dancing.
It’s not inconceivable that my eyes were open.
It’s possible I fell facing the city.
Seen from Above
A dead beetle lies on the path through the field.
Three pairs of legs folded neatly on its belly.
Instead of death’s confusion, tidiness and order.
The horror of this sight is moderate,
its scope is strictly local, from the wheat grass to the mint.
The grief is quarantined.
The sky is blue.
To preserve our peace of mind, animals die
more shallowly: they aren’t deceased, they’re dead.
They leave behind, we’d like to think, less feeling and less world,
departing, we suppose, from a stage less tragic.
Their meek souls never haunt us in the dark,
they know their place,
they show respect.
And so the dead beetle on the path
lies unmourned and shining in the sun.
One glance at it will do for meditation—
clearly nothing much has happened to it.
Important matters are reserved for us,
for our life and our death, a death
that always claims the right of way.
Experiment
As a short subject before the main feature—
in which the actors did their best
to make me cry and even laugh—
we were shown an interesting experiment
involving a head.
The head
a minute earlier was still attached to . . .
but now it was cut off.
Everyone could see that it didn’t have a body.
The tubes dangling from the neck hooked it up to a machine
that kept its blood circulating.
The head
was doing just fine.
Without showing pain or even surprise,
it followed a moving flashlight with its eyes.
It pricked up its ears at the sound of a bell.
Its moist nose could tell
the smell of bacon from odorless oblivion,
and licking its chops with evident relish
it salivated its salute to physiology.
A dog’s faithful head,
a dog’s friendly head
squinted its eyes when stroked,
convinced that it was still part of a whole
that crooks its back if patted
and wags its tail.
I thought about happiness and was frightened.
For if that’s all life is about,
the head
was happy.
Smiles
The world would rather see hope than just hear
its song. And that’s why statesmen have to smile.
Their pearly whites mean they’re still full of cheer.
The game’s complex, the goal’s far out of reach,
the outcome’s still unclear—once in a while,
we need a friendly, gleaming set of teeth.
Heads of state must display unfurrowed brows
on airport runways, in the conference room.
They must embody one big, toothy “Wow!”
while pressing flesh or pressing urgent issues.
Their faces’ self-regenerating tissues
make our hearts hum and our lenses zoom.
Dentistry turned to diplomatic skill
promises us a Golden Age tomorrow.
The going’s rough, and so we need the laugh
of bright incisors, molars of goodwill.
Our times are still not safe and sane enough
for faces to show ordinary sorrow.
Dreamers keep saying, “Human brotherhood
will make this place a smiling paradise.”
I’m not convinced. The statesman, in that case,
would not require facial exercise,
except from time to time: he’s feeling good,
he’s glad it’s spring, and so he moves his face.
But human beings are, by nature, sad.
So be it, then. It isn’t all that bad.
The Terrorist, He’s Watching
The bomb in the bar will explode at thirteen twenty.
Now it’s just thirteen sixteen.
There’s still time for some to go in,
and some to come out.
The terrorist has already crossed the street.
The distance keeps him out of danger,
and what a view—just like the movies:
A woman in a yellow jacket, she’s going in.
A man in dark glasses, he’s coming out.
Teenagers in jeans, they’re talking.
Thirteen seventeen and four seconds.
The short one, he’s lucky, he’s getting on a scooter,
but the tall one, he’s going in.
Thirteen seventeen and forty seconds.
That girl, she’s walking along with a green ribbon in her hair.
But then a bus suddenly pulls in front of her.
Thirteen eighteen.
The girl’s gone.
Was she that dumb, did she go in or not,
we’ll see when they carry them out.
Thirteen nineteen.
Somehow no one’s going in.
Another guy, fat, bald, is leaving, though.
Wait a second, looks like he’s looking for something in his
pockets and
at thirteen twenty minus ten seconds
he goes back in for his crummy gloves.
Thirteen twenty exactly.
This waiting, it’s taking forever.
Any second now.
No, not yet.
Yes, now.
The bomb, it explodes.
A Medieval Miniature
Up the verdantest of hills,
in this most equestrian of pageants,
wearing the silkiest of cloaks.
Toward a castle with seven towers,
each of them by far the tallest.
In the foreground, a duke,
most flatteringly unrotund;
by his side, his duchess
young and fair beyond compare.
Behind them, the ladies-in-waiting,
all pretty as pictures, verily,
then a page, the most ladsome of lads,
and perched upon his pagey shoulder
something exceedingly monkeylike,
endowed with the drollest of faces
and tails.
Following close behind, three knights,
all chivalry and rivalry,
so if the first is f
earsome of countenance,
the next one strives to be more daunting still,
and if he prances on a bay steed
the third will prance upon a bayer,
and all twelve hooves dance glancingly
atop the most wayside of daisies.
Whereas whosoever is downcast and weary,
cross-eyed and out at elbows,
is most manifestly left out of the scene.
Even the least pressing of questions,
burgherish or peasantish,
cannot survive beneath this most azure of skies.
And not even the eaglest of eyes
could spy even the tiniest of gallows—
nothing casts the slightest shadow of a doubt.
Thus they proceed most pleasantly
through this feudalest of realisms.
This same, however, has seen to the scene’s balance:
it has given them their Hell in the next frame.
Oh yes, all that went without
even the silentest of sayings.
Aging Opera Singer
“Today he sings this way: tralala tra la.
But I sang it like this: tralala tra la.
Do you hear the difference?
And instead of standing here, he stands here
and looks this way, not this way,
although she comes flying in from over there,
not over there, and not like today rampa pampa pam,
but quite simply rampa pampa pam,
the unforgettable Tschubek-Bombonieri,
only
who remembers her now—”
In Praise of My Sister
My sister doesn’t write poems,
and it’s unlikely that she’ll suddenly start writing poems.
She takes after her mother, who didn’t write poems,
and also her father, who likewise didn’t write poems.
I feel safe beneath my sister’s roof:
my sister’s husband would rather die than write poems.
And, even though this is starting to sound as repetitive as Peter
Piper,
the truth is, none of my relatives write poems.
My sister’s desk drawers don’t hold old poems,
and her handbag doesn’t hold new ones.
When my sister asks me over for lunch,
I know she doesn’t want to read me her poems.
Her soups are delicious without ulterior motives.
Her coffee doesn’t spill on manuscripts.
There are many families in which nobody writes poems,
but once it starts up it’s hard to quarantine.
Sometimes poetry cascades down through the generations,
creating fatal whirlpools where family love may founder.
My sister has tackled oral prose with some success,
but her entire written opus consists of postcards from vacations
whose text is only the same promise every year:
when she gets back, she’ll have
so much
much
much to tell.
Hermitage
You expected a hermit to live in the wilderness,
but he has a little house and a garden,
surrounded by cheerful birch groves,
ten minutes off the highway.
Just follow the signs.
You don’t have to gaze at him through binoculars from afar.
You can see and hear him right up close,
while he’s patiently explaining to a tour group from Wieliczka
why he’s chosen strict isolation.
He wears a grayish habit,
and he has a long white beard,
cheeks pink as a baby’s,
and bright-blue eyes.
He’ll gladly pose before the rosebush
for color photographs.
His picture is being taken by one Stanley Kowalik of Chicago
who promises prints once they’re developed.
Meanwhile a tight-lipped old lady from Bydgoszcz
whom no one visits but the meter reader
is writing in the guestbook:
“God be praised
for letting me
see a genuine hermit before I die.”
Teenagers write, too, using knives on trees:
“The Spirituals of ’75—meeting down below.”
But what’s Spot up to, where has Spot gone?
He’s underneath the bench pretending he’s a wolf.
Portrait of a Woman
She must be a variety.
Change so that nothing will change.
It’s easy, impossible, tough going, worth a shot.
Her eyes are, as required, deep blue, gray,
dark, merry, full of pointless tears.
She sleeps with him as if she’s first in line or the only one on
earth.
She’ll bear him four children, no children, one.
Naïve, but gives the best advice.
Weak, but takes on anything.
A screw loose and tough as mils.
Curls up with Jaspers or Ladies’ Home Journal.
Can’t figure out this bolt and builds a bridge.
Young, young as ever, still looking young.
Holds in her hands a baby sparrow with a broken wing,
her own money for some trip far away,
a meat cleaver, a compress, a glass of vodka.
Where’s she running, isn’t she exhausted.
Not a bit, a little, to death, it doesn’t matter.
She must love him, or she’s just plain stubborn.
For better, for worse, for heaven’s sake.
Evaluation of an Unwritten Poem
In the poem’s opening words
the authoress asserts that while the Earth is small,
the sky is excessively large and
in it there are, I quote, “too many stars for our own good.”
In her depiction of the sky, one detects a certain helplessness,
the authoress is lost in a terrifying expanse,
she is startled by the planets’ lifelessness,
and within her mind (which can only be called imprecise)
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