FROM ROOM 104A

 

Overnight, with little warning but a small stitch

turning in your side, and a bit of blood where blood

should not be, you have entered the land of the unwell.

This is the kingdom of white surfaces and sanitizer,

of hushed voices and bedpans clinking, IV stands that

resemble coat racks, and curtains behind curtains,

of paper shot glasses and silent shuffling feet.

You are wheeled from one cool room to another,

quietly and efficiently, the ghost-flicker of ceiling lights

passing like the lines of a highway leading nowhere.

You count backwards. You repeat your name until it sounds

like something foreign, far removed from its source.

You listen, while the faceless man on the other side of

the recovery room coughs and moans all night,

talking, in fitful sleep, to the mother who is not there.

You wonder if your daughter will visit, wonder what day

of the week it might be, and whether you will be

able to write a poem without a window, something

you hadn't realized was essential all this time.

That's where the world is, after all, the one you wish to

return to, in spite of it all; and if it's not exactly new,

or all you had hoped for, it will never be the same

as it was when you left it only days before.

SECOND GHAZAL FOR TRISH

 

There's no burying you, no risk of forgetting;

though you would say the past is merely escape.

Whatever truce you made with life was brief,

its tentative agreements offering you no escape.

We were so young, what could we have known?

But I knew, even then, that love was more than escape.

Some days we read for hours, daylight shifting.

You said that poetry was the opposite of escape.

It was, we imagined, you and me against the world,

until the world itself managed to escape.

In the end, you pulled away from everyone,

your stubborn isolation a poor imitation of escape.

The prayer I offer now is one of silence,

the unspoken understanding of no escape.

BLUES FOR ROBERT BLY AND HONEYBOY EDWARDS

 

Robert Bly and Honeyboy Edwards would have

understood each other well, I think.

When I saw Honeyboy, already in his 90s

by then, small and sinewy, the bones of his face

shining through, his skin polished to

an elegant sheen that only comes with age,

he was playing to a small lecture hall

at the university, and when called back

for an encore, proceeded to play the same tune

he had played two songs in. He must have

known hundreds of songs by then, dating back

to the beginning of this American century,

but he wanted us, for whatever reason, to hear

that one again -- or he was simply playing it

for his own amusement, the particular joy and beauty

of doing whatever you damn well please,

another gift granted only to those who endure.

It reminded me of Bly, reading the same line

of poetry over again, pausing, gazing up

to see if it had resonated with those in attendance.

This, too, is the blues after all -- repeating

the refrain one has just sung, letting it linger,

roll off the tongue once more, in no hurry

for the resolution that may or may not come.

There is no end to this kind of song.

When a great singer says, "Take it from the top,"

what they mean is, "Go back all the way."

SEARCHING FOR THE POET'S GRAVE

 

They are searching for Lorca's remains again

today, their big yellow machinery

nudging and clawing at the silent earth,

scooping out rows and rows of doorways

along this withered patch of soil.

Though no one is here now to answer them,

no one to say, No thank you, sirs,

I'm not interested in returning,

and your Bible is no map for my soul.

But they have not questioned the cloud formations

in passing, nor the monuments of generals,

nor the crooked olive trees, unwaveringly lazy

in their beauty, witnesses to all.

No one has called in the sun and moon

to spit out their long and secret songs, explain

their absence when needed most.

No one has yet knocked upon my door,

demanding to peruse the shelves,

where they would surely find the one they seek,

still speaking, unafraid, his linen suit

not even wrinkled.

But the workers, naturally, will go on

with their labors, long past sunset,

coming back empty handed, the shapes of

new countries emerging through their shirt-sweat,

while the poet just goes on dreaming,

as he did a hundred years ago,

the witnesses to his whereabouts

now seemingly everywhere.

HEART

 

I always thought I was simply too shy

for all those dances in the cavernous school

gymnasium, shadowing the tiled wall

while trying to appear casual, prickly sweat

mingled with drugstore perfume,

and the lights never quite dim enough,

young voices rising above the pulse of music,

searching out each other, everyone

seemingly too close and too far at once.

But perhaps it was you all along,

faulty timekeeper, clumsy blood hammer

building your secret rooms, nail by crooked nail.

You never listened well, that much

is for certain, never kept a steady beat,

just made it up as you went along,

always slightly ahead or behind,

daydreaming yourself nearly out of a job.

Heart, those bright-eyed teenage girls

have long since waltzed calmly into middle age,

and I am no jazz poet. Let's sing one

of the old songs tonight, something sweet

and simple, one that begins with barely

a whisper. You know the one.

Stay with me for just a while longer.

I HAD NEARLY FORGOTTEN

 

I had nearly forgotten the poem

you had sent to me, one

that I had tucked away

to read in a quieter moment,

a moment much like this --

the low winter sun sifting through

the delicate maps of frost

upon the window glass,

blue folding imperceptibly into

gold and back again,

and each word offering itself

like the smallest of birds,

the kind my young daughter paints

with two quick brushstrokes,

each small movement threaded

to another, lifting the whole

of the sky with ease.

MYSTERY GIRL

 

She said her name was

Silence, and to call whenever

I wanted to talk, or even

if I didn't -- and sometimes

especially if I didn't. I have been

doing so religiously for all

these years, with little to show

now but these lines written

to and from myself, and to the

nameless gods who hide

amongst the bruise-colored

clouds and answer, in their way,

only when it rains.