I ask in my kitchen at Pheasant Ridge.
(detail)
It was getting late in the year,
the sky had been low and overcast for days,
and I was drinking tea in a glassy room
with a woman without children,
a gate through which no one had entered the world.
She was turning the pages of an expensive book
on a coffee table, even though we were drinking tea,
a book of colorful paintings—
a landscape, a portrait, a still life,
a field, a face, a pear and a knife, all turning on the table.
Men had entered there but no girl or boy
had come out, I was thinking oddly
as she stopped at a page of clouds
aloft in a pale sky, tinged with red and gold.
This one is my favorite, she said,
even though it was only a detail, a corner
of a larger painting which she had never seen.
Nor did she want to see the countryside below
or the portrayal of some myth
in order for the billowing clouds to seem complete.
This was enough, this fraction of the whole,
just as the leafy scene in the windows was enough
now that the light was growing dim,
as was she enough, perfectly by herself
somewhere in the enormous mural of the world.
Adage
When it’s late at night and branches
are banging against the windows,
you might think that love is just a matter
of leaping out of the frying pan of yourself
into the fire of someone else,
but it’s a little more complicated than that.
It’s more like trading the two birds
who might be hiding in that bush
for the one you are not holding in your hand.
A wise man once said that love
was like forcing a horse to drink
but then everyone stopped thinking of him as wise.
Let us be clear about something.
Love is not as simple as getting up
on the wrong side of the bed wearing the emperor’s clothes.
No, it’s more like the way the pen
feels after it has defeated the sword.
It’s a little like the penny saved or the nine dropped stitches.
You look at me through the halo of the last candle
and tell me love is an ill wind
that has no turning, a road that blows no good,
but I am here to remind you,
as our shadows tremble on the walls,
that love is the early bird who is better late than never.
The Flight of the Statues
The ancient Greeks … used to chain
their statues to prevent them from fleeing.
—Michael Kimmelman
It might have been the darkening sky
that sent them running in all directions
that afternoon as the air turned a pale yellow,
but were they not used to standing out
in the squares of our city
in every kind of imaginable weather?
Maybe they were frightened by a headline
on a newspaper that was blowing by
or was it the children in their martial arts uniforms?
Did they finally learn about the humans
they stood for as they pointed a sword at a cloud?
Did they know something we did not?
Whatever the cause, no one will forget
the sight of all the white marble figures
leaping from their pedestals and rushing away.
In the parks, the guitarists fell silent.
The vendor froze under his umbrella.
A dog tried to hide in his owner’s shadow.
Even the chess players under the trees
looked up from their boards
long enough to see the bronze generals
dismount and run off, leaving their horses
to peer down at the circling pigeons
who were stealing a few more crumbs from the poor.
Baby Listening
According to the guest information directory,
baby listening is a service offered by this seaside hotel.
Baby-listening—not a baby who happens to be listening,
as I thought when I first checked in.
Leave the receiver off the hook,
the directory advises,
and your infant can be monitored by the staff,
though the staff, the entry continues,
cannot be held responsible for the well-being
of the baby in question.
Fair enough: someone to listen to the baby.
But the phrase did suggest a baby who is listening,
lying there in the room next to mine
listening to my pen scratching against the page,
or a more advanced baby who has crawled
down the hallway of the hotel
and is pressing its tiny, curious ear against my door.
Lucky for some of us,
poetry is a place where both are true at once,
where meaning only one thing at a time spells malfunction.
Poetry wants to have the baby who is listening at my door
as well as the baby who is being listened to,
quietly breathing into the nearby telephone.
And it also wants the baby
who is making sounds of distress
into the curved receiver lying in the crib
while the girl at reception has just stepped out
to have a smoke with her boyfriend
in the dark by the great wash and sway of the North Sea.
Poetry wants that baby, too,
even a little more than it wants the others.
Bathtub Families
is not just a phrase I made up
though it would have given me pleasure
to have written those words in a notebook
then looked up at the sky wondering what they meant.
No, I saw Bathtub Families in a pharmacy
on the label of a clear plastic package
containing one cow and four calves,
a little family of animals meant to float in your tub.
I hesitated to buy it because I knew
I would then want the entire series of Bathtub Families,
which would leave no room in the tub
for the turtles, the pigs, the seals, the giraffes, and me.
It’s enough just to have the words,
which alone make me even more grateful
that I was born in America
and English is my mother tongue.
I was lucky, too, that I waited
for the pharmacist to fill my prescription,
otherwise I might not have wandered
down the aisle with the Bathtub Families.
I think what I am really saying is that language
is better than reality, so it doesn’t have
to be bath time for you to enjoy
all the Bathtub Families as they float in the air around your head.
The Fish
As soon as the elderly waiter
placed before me the fish I had ordered,
it began to stare up at me
with its one flat, iridescent eye.
I feel sorry for you, it seemed to say,
eating alone in this awful restaurant
bathed in such unkindly light
and surrounded by these dreadful murals of Sicily.
And I feel sorry for you, too—
yanked from the sea and now lying dead
next to some boiled potatoes in Pittsburgh—
I said back to the fish as I raised my fork.
And thus my dinner in an unfamiliar city
with its rivers and lig
hted bridges
was graced not only with chilled wine
and lemon slices but with compassion and sorrow
even after the waiter had removed my plate
with the head of the fish still staring
and the barrel vault of its delicate bones
terribly exposed, save for a shroud of parsley.
A Dog on His Master
As young as I look,
I am growing older faster than he,
seven to one
is the ratio they tend to say.
Whatever the number,
I will pass him one day
and take the lead
the way I do on our walks in the woods.
And if this ever manages
to cross his mind,
it would be the sweetest
shadow I have ever cast on snow or grass.
The Great American Poem
If this were a novel,
it would begin with a character,
a man alone on a southbound train
or a young girl on a swing by a farmhouse.
And as the pages turned, you would be told
that it was morning or the dead of night,
and I, the narrator, would describe
for you the miscellaneous clouds over the farmhouse
and what the man was wearing on the train
right down to his red tartan scarf,
and the hat he tossed onto the rack above his head,
as well as the cows sliding past his window.
Eventually—one can only read so fast—
you would learn either that the train was bearing
the man back to the place of his birth
or that he was headed into the vast unknown,
and you might just tolerate all of this
as you waited patiently for shots to ring out
in a ravine where the man was hiding
or for a tall, raven-haired woman to appear in a doorway.
But this is a poem,
and the only characters here are you and I,
alone in an imaginary room
which will disappear after a few more lines,
leaving us no time to point guns at one another
or toss all our clothes into a roaring fireplace.
I ask you: who needs the man on the train
and who cares what his black valise contains?
We have something better than all this turbulence
lurching toward some ruinous conclusion.
I mean the sound that we will hear
as soon as I stop writing and put down this pen.
I once heard someone compare it
to the sound of crickets in a field of wheat
or, more faintly, just the wind
over that field stirring things that we will never see.
Divorce
Once, two spoons in bed,
now tined forks
across a granite table
and the knives they have hired.
This Little Piggy Went to Market
is the usual thing to say when you begin
pulling on the toes of a small child,
and I have never had a problem with that.
I could easily picture the piggy with his basket
and his trotters kicking up the dust on an imaginary road.
What always stopped me in my tracks was
the middle toe—this little piggy ate roast beef.
I mean I enjoy a roast beef sandwich
with lettuce and tomato and a dollop of horseradish,
but I cannot see a pig ordering that in a delicatessen.
I am probably being too literal-minded here—
I am even wondering why it’s called “horseradish.”
I should just go along with the beautiful nonsense
of the nursery, float downstream on its waters.
After all, Little Jack Horner speaks to me deeply.
I don’t want to be the one to ruin the children’s party
by asking unnecessary questions about Puss in Boots
or, again, the implications of a pig eating beef.
By the way, I am completely down with going
“Wee wee wee” all the way home,
having done that many times and knowing exactly how it feels.
Old Man Eating Alone in a Chinese Restaurant
I am glad I resisted the temptation,
if it was a temptation when I was young,
to write a poem about an old man
eating alone at a corner table in a Chinese restaurant.
I would have gotten it all wrong
thinking: the poor bastard, not a friend in the world
and with only a book for a companion.
He’ll probably pay the bill out of a change purse.
So glad I waited all these decades
to record how hot and sour the hot and sour soup is
here at Chang’s this afternoon
and how cold the Chinese beer in a frosted glass.
And my book—José Saramago’s Blindness
as it turns out—is so absorbing that I look up
from its escalating horrors only
when I am stunned by one of its arresting sentences.
And I should mention the light
which falls through the big windows this time of day
italicizing everything it touches—
the plates and tea pots, the immaculate tablecloths,
as well as the soft brown hair of the waitress
in the white blouse and short black skirt,
the one who is smiling now as she bears a cup of rice
and shredded beef with garlic to my favorite table in the corner.
Oh, My God!
Not only in church
and nightly by their bedsides
do young girls pray these days.
Wherever they go,
prayer is woven into their talk
like a bright thread of awe.
Even at the pedestrian mall
outbursts of praise
spring unbidden from their glossy lips.
The Future
When I finally arrive there—
and it will take many days and nights—
I would like to believe others will be waiting
and might even want to know how it was.
So I will reminisce about a particular sky
or a woman in a white bathrobe
or the time I visited a narrow strait
where a famous naval battle had taken place.
Then I will spread out on a table
a large map of my world
and explain to the people of the future
in their pale garments what it was like—
how mountains rose between the valleys
and this was called geography,
how boats loaded with cargo plied the rivers
and this was known as commerce,
how the people from this pink area
crossed over into this light-green area
and set fires and killed whoever they found
and this was called history—
and they will listen, mild-eyed and silent,
as more of them arrive to join the circle,
like ripples moving toward,
not away from, a stone tossed into a pond.
Envoy
Go, little book,
out of this house and into the world,
carriage made of paper rolling toward town
bearing a single passenger
beyond the reach of this jittery pen
and far from the desk and the nosy gooseneck lamp.
It is time to decamp,
put on a jacket and venture outside,
time to be regarded by other eyes,
bound to be held in foreign hands.
So off you go, infants of the brain,
with a wave and some bits of fatherly advice:
> stay out as late as you like,
don’t bother to call or write,
and talk to as many strangers as you can.
FROM HOROSCOPES FOR THE DEAD
(2011)
Grave
What do you think of my new glasses
I asked as I stood under a shade tree
before the joined grave of my parents,
and what followed was a long silence
that descended on the rows of the dead
and on the fields and the woods beyond,
one of the one hundred kinds of silence
according to the Chinese belief,
each one distinct from the others,
and the differences being so faint
that only a few special monks
were able to tell them all apart.
They make you look very scholarly,
I heard my mother say
once I lay down on the ground
and pressed an ear into the soft grass.
Then I rolled over and pressed
my other ear to the ground,
the ear my father likes to speak into,
but he would say nothing,
and I could not find a silence
among the 100 Chinese silences
that would fit the one that he created
even though I was the one
Aimless Love Page 6