soaking in a shallow pan, busted chairs stuffed
in the rafters of the neighbor’s garage, the Chevy’s
twisted undersides jacked up on blocks.
It was what we knew best, understood least,
it whipped through our bodies like fire or sleet.
We were lured by the dumpster behind the liquor store,
fissures in the baked earth, the smell of singed hair,
the brassy hum of high-tension towers, train tracks,
buzzards over a ditch, black widows, the cat
with one eye, the red spot on the back of the skirt,
the fallout shelter’s metal door hinged to the rusty
grass, the back way, the wrong path, the night’s
wide back, the coiled bedsprings of the sister’s top
bunk, the wheezing, the cousin in the next room
tapping on the wall, anything small.
We were afraid of clothesline, curtain rods, the worn
hairbrush, the good-for-nothings we were about to become,
reform school, the long ride to the ocean on the bus,
the man at the back of the bus, the underpass.
We were afraid of fingers of pickleweed crawling
over the embankment, the French Kiss, the profound
silence of dead fish, burning sand, rotting elastic
in the waistbands of our underpants, jellyfish, riptides,
eucalyptus bark unraveling, the pink flesh beneath,
the stink of seaweed, seagulls landing near our feet,
their hateful eyes, their orange-tipped beaks stabbing
the sand, the crumbling edge of the continent we stood on,
waiting to be saved, the endless, wind-driven waves.
Last Words
for Al
His voice, toward the end, was a soft coal breaking
open in the little stove of his heart. One day
he just let go and the birds stopped singing.
Then the other deaths came on, as if by permission—
beloved teacher, cousin, a lover slipped from my life
the way a rope slithers from your grip, the ocean
folding over it, your fingers stripped of flesh. A deck
of cards, worn smooth at a kitchen table, the jack
of spades laid down at last, his face thumbed to threads.
An ashtray full of pebbles on the window ledge, wave-beaten,
gathered at day’s end from a beach your mind has never left,
then a starling climbs the pine outside—
the cat’s black paw, the past shattered, the stones
rolled to their forever-hidden places. Even the poets
I had taken to my soul: Levis, Matthews, Levertov—
the books of poetry, lost or stolen, left on airport benches,
shabby trade paperbacks of my childhood, the box
misplaced, the one suitcase that mattered crushed
to nothing in the belly of a train. I took a rubbing
of the carved wings and lilies from a headstone
outside Philadelphia, frosted gin bottles
stationed like soldiers on her grave:
The Best Blues Singer in the World
Will Never Stop Singing.
How many losses does it take to stop a heart,
to lay waste to the vocabularies of desire?
Each one came rushing through the rooms he left.
Mouths open. Last words flown up into the trees.
Trying to Raise the Dead
Look at me. I’m standing on a deck
in the middle of Oregon. There are
people inside the house, It’s not my
house, you don’t know them.
They’re drinking and singing
and playing guitars. You love
this song. Remember? “Ophelia.”
Boards on the windows, mail
by the door. I’m whispering
so they won’t think I’m crazy.
They don’t know me that well.
Where are you now? I feel stupid.
I’m talking to trees, to leaves
swarming on the black air, stars
blinking in and out of heart-
shaped shadows, to the moon, half-
lit and barren, stuck like an ax
between the branches. What are you
now? Air? Mist? Dust? Light?
What? Give me something. I have
to know where to send my voice.
A direction. An object. My love, it needs
a place to rest. Say anything. I’m listening.
I’m ready to believe. Even lies, I don’t care.
Say burning bush. Say stone. They’ve
stopped singing now and I really should go.
So tell me, quickly. It’s April. I’m
on Spring Street. That’s my gray car
in the driveway. They’re laughing
and dancing. Someone’s bound
to show up soon. I’m waving.
Give me a sign if you can see me.
I’m the only one here on my knees.
The Shipfitter’s Wife
I loved him most
when he came home from work,
his fingers still curled from fitting pipe,
his denim shirt ringed with sweat,
smelling of salt, the drying weeds
of the ocean. I’d go to where he sat
on the edge of the bed, his forehead
anointed with grease, his cracked hands
jammed between his thighs, and unlace
the steel-toed boots, stroke his ankles
and calves, the pads and bones of his feet.
Then I’d open his clothes and take
the whole day inside me—the ship’s
gray sides, the miles of copper pipe,
the voice of the foreman clanging
off the hull’s silver ribs. Spark of lead
kissing metal. The clamp, the winch,
the white fire of the torch, the whistle,
and the long drive home.
Abschied Symphony
Someone I love is dying, which is why,
when I turn the key in the ignition
and the radio comes on, sudden and loud,
something by Haydn, a diminishing fugue,
then back the car out of the parking space
in the underground garage, maneuvering through
the dimly lit tunnels, under low ceilings,
following yellow arrows stenciled at intervals
on gray cement walls and I think of him,
moving slowly through the last
hard days of his life, I won’t
turn it off, and I can’t stop crying.
When I arrive at the tollgate I have to make
myself stop thinking as I dig in my pockets
for the last of my coins, turn to the attendant,
indifferent in his blue smock, his white hair
curling like smoke around his weathered neck,
and say Thank you, like an idiot, and drive
into the blinding midday light.
Everything is hideously symbolic:
the Chevron truck, its underbelly
spattered with road grit and the sweat
of last night’s rain, the dumpster
behind the flower shop, sprung lid
pressed down on dead wedding bouquets—
even the smell of something simple, coffee
drifting from the open door of a café,
and my eyes glaze over, ache in their sockets.
For months now all I’ve wanted is the blessing
of inattention, to move carefully from room to room
in my small house, numb with forgetfulness.
To eat a bowl of cereal and not imagine him,
drawn thin and pale, unable to swallow.
How not to imagine the tumors
ripening beneath hi
s skin, flesh
I have kissed, stroked with my fingertips,
pressed my belly and breasts against, some nights
so hard I thought I could enter him, open
his back at the spine like a door or a curtain
and slip in like a small fish between his ribs,
nudge the coral of his brain with my lips,
brushing over the blue coils of his bowels
with the fluted silk of my tail.
Death is not romantic. He is dying. That fact
is stark and one-dimensional, a black note
on an empty staff. My feet are cold,
but not as cold as his, and I hate this music
that floods the cramped insides
of my car, my head, slowing the world down
with its lurid majesty, transforming
everything I see into stained memorials
to life—even the old Ford ahead of me,
its battered rear end thinned to scallops of rust,
pumping grim shrouds of exhaust
into the shimmering air—even the tenacious
nasturtiums clinging to a fence, stem and bloom
of the insignificant, music spooling
from their open faces, spilling upward, past
the last rim of blue and into the black pool
of another galaxy. As if all that emptiness
were a place of benevolence, a destination,
a peace we could rise to.
Family Stories
I had a boyfriend who told me stories about his family,
how an argument once ended when his father
seized a lit birthday cake in both hands
and hurled it out a second-story window. That,
I thought, was what a normal family was like: anger
sent out across the sill, landing like a gift
to decorate the sidewalk below. In mine
it was fists and direct hits to the solar plexus,
and nobody ever forgave anyone. But I believed
the people in his stories really loved one another,
even when they yelled and shoved their feet
through cabinet doors or held a chair like a bottle
of cheap champagne, christening the wall,
rungs exploding from their holes.
I said it sounded harmless, the pomp and fury
of the passionate. He said it was a curse
being born Italian and Catholic and when he
looked from that window what he saw was the moment
rudely crushed. But all I could see was a gorgeous
three-layer cake gliding like a battered ship
down the sidewalk, the smoking candles broken, sunk
deep in the icing, a few still burning.
Pearl
She was a headlong assault, a hysterical discharge, an act of total extermination.
—MYRA FRIEDMAN,
Buried Alive: The Biography of Janis Joplin
She was nothing much, this plain-faced girl from Texas,
this moonfaced child who opened her mouth
to the gravel pit churning in her belly, acne-faced
daughter of Leadbelly, Bessie, Otis, and the booze-
filled moon, child of the honkytonk bar-talk crowd
who cackled like a bird of prey, velvet cape blown
open in the Monterey wind, ringed fingers fisted
at her throat, howling the slagheap up and out
into the sawdusted air. Barefaced, mouth warped
and wailing like giving birth, like being eaten alive
from the inside, or crooning like the first child
abandoned by God, trying to woo him back,
down on her knees and pleading for a second chance.
When she sang she danced a stand-in-place dance,
one foot stamping at that fire, that bed of coals;
one leg locked at the knee and quivering, the other
pumping its oil-rig rhythm, her boy hip jigging
so the beaded belt slapped her thigh.
Didn’t she give it to us? So loud so hard so furious,
hurling heat-seeking balls of lightning
down the long human aisles, her voice crashing
into us—sonic booms to the heart—this little white girl
who showed us what it was like to die
for love, to jump right up and die for it night after
drumbeaten night, going down shrieking—hair
feathered, frayed, eyes glazed, addicted to the song—
a one-woman let me show you how it’s done, how it is,
where it goes when you can’t hold it in anymore.
Child of everything gone wrong, gone bad, gone down,
gone. Girl with the girlish breasts and woman hips,
thick-necked, sweat misting her upper lip, hooded eyes
raining a wild blue light, hands reaching out
to the ocean we made, all that anguish and longing
swelling and rising at her feet. Didn’t she burn
herself up for us, shaking us alive? That child,
that girl, that rawboned woman, stranded
in a storm on a blackened stage like a house
on fire.
Smoke
Who would want to give it up, the coal
a cat’s eye in the dark room, no one there
but you and your smoke, the window
cracked to street sounds, the distant cries
of living things. Alone, you are almost
safe, smoke slipping out between the sill
and the glass, sucked into the night
you don’t dare enter, its eyes drunk
and swimming with stars. Somewhere
a dumpster is ratcheted open by the claws
of a black machine. All down the block
something inside you opens and shuts.
Sinister screech, pneumatic wheeze,
trash slams into the chute: leftovers, empties.
You don’t flip on the TV or the radio, they
might muffle the sound of car engines
backfiring, and in the silence between,
streetlights twitching from green to red, scoff
of footsteps, the rasp of breath, your own,
growing lighter and lighter as you inhale.
There’s no music for this scarf of smoke
wrapped around your shoulders, its fingers
crawling the pale stem of your neck,
no song light enough, liquid enough,
that climbs high enough before it thins
and disappears. Death’s shovel scrapes
the sidewalk, critches across the man-made
cracks, slides on grease into rain-filled gutters,
digs its beveled nose among the ravaged leaves.
You can hear him weaving his way
down the street, sloshed on the last breath
he swirled past his teeth before swallowing:
breath of the cat kicked to the curb, a woman’s
sharp grasp, lung-filled wail of the shaken child.
You can’t put it out, can’t stamp out the light
and let the night enter you, let it burrow through
your smallest passages. So you listen and listen
and smoke and give thanks, suck deep
with the grace of the living, blowing halos
and nooses and zeros and rings, the blue chains
linking around your head. Then you pull it in
again, the vein-colored smoke,
and blow it up toward a ceiling you can’t see
where it lingers like a sweetness you can never hold,
like the ghost the night will become.
The Orgasms of Organisms
Above the lawn the wild beetles mate
and mate, skew their tough wings
and join. They light in our hair,
on our arms, fall twirling and twinning
; into our laps. And below us, in the grass,
the bugs are seeking each other out,
antennae lifted and trembling, tiny legs
scuttling, then the infinitesimal
ahs of their meeting, the awkward joy
of their turnings around. O end to end
they meet again and swoon as only bugs can.
This is why, sometimes, the grass feels electric
under our feet, each blade quivering, and why
the air comes undone over our heads
and washes down around our ears like rain.
But it has to be spring, and you have to be
in love—acutely, painfully, achingly in love—
to hear the black-robed choir of their sighs.
Life is Beautiful
and remote, and useful,
if only to itself. Take the fly, angel
of the ordinary house, laying its bright
eggs on the trash, pressing each jewel out
delicately along a crust of buttered toast.
Bagged, the whole mess travels to the nearest
dump where other flies have gathered, singing
over stained newsprint and reeking
fruit. Rapt on air they execute an intricate
ballet above the clashing pirouettes
of heavy machinery. They hum with life.
While inside rumpled sacks pure white
maggots writhe and spiral from a rip,
a tear-shaped hole that drools and drips
a living froth onto the buried earth.
The warm days pass, gulls scree and pitch,
rats manage the crevices, feral cats abandon
their litters for a morsel of torn fur, stranded
dogs roam open fields, sniff the fragrant edges,
a tossed lacework of bones and shredded flesh.
And the maggots tumble at the center, ripening,
husks membrane-thin, embryos darkening
and shifting within, wings curled and wet,
the open air pungent and ready to receive them
in their fecund iridescence. And so, of our homely hosts,
a bag of jewels is born again into the world. Come, lost
Only As the Day Is Long Page 4
