Fiddleheads
Fiddlehead ferns are a delicacy where? Japan? Estonia? Ireland long ago?
I say Japan because when I think of those delicious things I think of my friend Toraiwa, and the surprise I felt when he asked me about the erotic. He said it belonged in poetry and he wanted more of it.
So here they are, Toraiwa, frilled, infolded, tenderized, in a little steaming basket, just for you.
Seamus Heaney (2006)
Captain of the Lighthouse
The late hour trickles to morning. The cattle low profusely by the anthill where brother and I climb and call Land’s End. We are watchmen overlooking a sea of hazel-acacia-green, over torrents of dust whipping about in whirlwinds and dirt tracks that reach us as firths.
We man our lighthouse – cattle as ships. We throw stones as warning lights whenever they come too close to our jagged shore. The anthill, the orris-earth lighthouse, from where we hurl stones like light in every direction.
Tafara stands on its summit speaking in sea-talk, Aye-aye me lad – a ship’s a-coming! And hurls a rock at the dumb cow sailing in. Her beefy hulk stupidly jolts and turns. Aye, Captain, another ship saved! I cry and furl my fingers into an air-long telescope – searching for more vessels in the day-night.
Now they low on the anthill, stranded in the dark. Their sonorous cries haunt through the night. Aye, methinks, me miss my brother, Captain of the lighthouse, set sail from land’s end into the deepest seventh sea.
Togara Muzanenhamo (2006)
from Angle of Yaw
The first gaming system was the domesticated flame. Contemporary video games allow you to select the angle from which you view the action, inspiring a rash of high school massacres. Newer games, with their use of small strokes to simulate reflected light, are all but unintelligible to older players. We have abstracted airplanes from our simulators in the hope of manipulating flight as such. Game cheats, special codes that make your character invincible or rich, alter weather conditions or allow you to bypass a narrative stage, stand in relation to video games as prayer to reality. Children, if pushed, will attempt to inflict game cheats on the phenomenal world. Enter up, down, up, down, left, right, left, right, a, b, a, to tear open the sky. Left, left, b, b, to keep warm.
Ben Lerner (2006)
The Phases of the Moon in London
She and I were talking about the weather, the rusty key that opens conversations here in London. Mrs Morrison, our old neighbour, is the last English woman on our street, where the English have dropped off one by one once the population balance tipped toward the Asian immigrants. She said, ‘the London sky was not like this in the past, but must have resembled your sky in India.’
I said, ‘I am from Jordan’, but she did not stop at my correction, which she may not have seen as a correction in the first place. In that English manner whose emotional resonances are hard to read, she continued that they too used to see the stars and detect the phases of the moon.
I was not convinced, but I played on in this game of English politeness. I said, ‘What caused the stars and moon to disappear and the sky to turn into a blotted sheet even on these nights clear as a rooster’s eye?’
‘I don’t know,’ she said. ‘Maybe the change in the weather, or our insatiable consumption of electricity, this excessive urbanization. We light the earth and the sky disappears. You’re probably better off in India.’
‘In Jordan,’ I said.
Again, she did not pause at my correction. She smiled and directed her small shopping trolley toward her house, announcing the end of a conversation that politeness had imposed on two neighbours who otherwise try all they can to avoid each other when they meet at the door.
I wanted to tell her that the skies of eastern cities, bent under military rule and corruption, are also blotted out, and that the stars that freckled our childhood with comets have also disappeared, but I feared to lose the only gift for which she envied me.
Amjad Nasser (2004), translated from the Arabic by Khaled Mattawa
Corruption
I am about to recite a psalm that I know. Before I begin, my expectation extends over the entire psalm. Once I have begun, the words I have said remove themselves from expectation & are now held in memory while those yet to be said remain waiting in expectation. The present is a word for only those words which I am now saying. As I speak, the present moves across the length of the psalm, which I mark for you with my finger in the psalm book. The psalm is written in India ink, the oldest ink known to mankind. Every ink is made up of a color & a vehicle. With India ink, the color is carbon & the vehicle, water. Life on our planet is also composed of carbon & water. In the history of ink, which is rapidly coming to an end, the ancient world turns from the use of India ink to adopt sepia. Sepia is made from the octopus, the squid & the cuttlefish. One curious property of the cuttlefish is that, once dead, its body begins to glow. This mild phosphorescence reaches its greatest intensity a few days after death, then ebbs away as the body decays. You can read by this light.
Srikanth Reddy (2004)
from echolocation
The sky is fitted linen, stretched over sealine without a crease, pegged to the spikes and jags of mountains, kingsize, navy, preparing to be sunshot. Sooner than lovers can hide, no sooner than the taste of stars striking your lips, one by one stunned and falling to light.
It’s all been said and yet, need, blowing between our lips, streams inside a tree. We flowed out of time and back so soon eating eggs our own. Through each other we pass like water.
At the sun to see how it never changes, at the moon to see how it does, algae slipping beneath our feet, roots travelling and dewdrops dying in visible speed. There is no such thing as a circular river.
Unlike bread, the body becomes softer with age. We tag our children with our names, store the plaits of our daughters, stash berries under rocks and look for them later.
Held in the fangs of a wristwatch, a well-worn path of a nail in our veins, heart-hammered time trail.
No matter who two are kissing, eternity arrives, jelly bean eyes black crystal balls. The longer we look, the more we recognize and anything we could say is too obvious. The songs we like are the songs we know, and every song on the radio is about us.
Mani Rao (2003)
from Chapter E
for René Crevel
Enfettered, these sentences repress free speech. The text deletes selected letters. We see the revered exegete reject metred verse: the sestet, the tercet – even les scènes élevées en grec. He rebels. He sets new precedents. He lets cleverness exceed decent levels. He eschews the esteemed genres, the expected themes – even les belles lettres en vers. He prefers the perverse French esthetes: Verne, Péret, Genet, Perec – hence, he pens fervent screeds, then enters the street, where he sells these letterpress newsletters, three cents per sheet. He engenders perfect newness wherever we need fresh terms.
Relentless, the rebel peddles these theses, even when vexed peers deem the new precepts ‘mere dreck’. The plebes resent newer verse; nevertheless, the rebel perseveres, never deterred, never dejected, heedless, even when hecklers heckle the vehement speeches. We feel perplexed whenever we see these excerpted sentences. We sneer when we detect the clever scheme – the emergent repetend: the letter E. We jeer; we jest. We express resentment. We detest these depthless pretenses – these present-tense verbs, expressed pell-mell. We prefer genteel speech, where sense redeems senselessness.
Christian Bök (2002)
Denigration
Did we surprise our teachers who had niggling doubts about the picayune brains of small black children who reminded them of clean pickaninnies on a box of laundry soap? How muddy is the Mississippi compared to the third-longest river of the darkest continent? In the land of the Ibo, the Hausa, and the Yoruba, what is the price per barrel of nigrescence? Though slaves, who were wealth, survived on niggardly provisions, should inheritors of wealth fault the poor enigma for lacking a dictionary? Does the mayor demand a recount
of every bullet or does city hall simply neglect the black alderman’s district? If I disagree with your beliefs, do you chalk it up to my negligible powers of discrimination, supposing I’m just trifling and not worth considering? Does my niggling concern with trivial matters negate my ability to negotiate in good faith? Though Maroons, who were unruly Africans, not loose horses or lazy sailors, were called renegades in Spanish, will I turn any blacker if I renege on this deal?
Harryette Mullen (2002)
A Hardworking Peasant from the Idyllic Countryside
I was illiterate until yesterday. All these squiggly lines – tattooed on every available surface, all around me, all my life – suddenly started to make sense yesterday. Until yesterday I did not know that the invectives and commands constantly swarming around me were actually made of words. I thought they were mosquitoes, or dust, or flecks of paint, each one leaving a prickling sensation on my thin, almost transparent skin. Yesterday someone said something in my vicinity and I finally decided to write it down, a phonetic transcription, to the best of my abilities: FUAK YOW MOFTHEARFUAKIER.
I wrote that down with a blue pen on a yellow piece of paper. I finally wrote, I thought, now I’m a writer. If I had merely transcribed the above as a blue thought onto my yellow memory, I would still be seen as a hardworking peasant from the idyllic countryside.
Linh Dinh (2001)
Ted’s Head
So there’s this episode of Mary Tyler Moore where Ted’s trying to get a raise & after finagling and shenaniganizing he puts one over on Lou & gets his contract changed to non-exclusive so’s he can do commercials which is not cool w/ Lou & the gang because Ted’s just a brainless gimp & it hurts the image of the news to have the anchorman selling tomato slicers & dogfood so Lou gets despondent because the contract can’t be rescinded but then he gets mad & calls Ted into his office & says, you know his voice, ‘You’re going to stop doing commercials, Ted’ & Ted says ‘why would I do that Lou?’ & Lou says ‘Because if you don’t I’ll punch your face out’ & Ted says ‘I’ll have you arrested’ & Lou says ‘It’ll be too late, your face will be broken, you’re not gonna get too many commercials with a broken face now are you Ted?’ & Ted buckles under to force & everybody’s happy, except Ted but he’s so dumb nobody cares & everybody loves it that Lou’s not despondent anymore he’s back to his brustling chubby loud loveable whiskey-drinking football-loving ways. Now imagine if Ted were Lou, if Ted were the boss. You know how incredibly fucking brainless Ted is, but let’s imagine he understands & is willing to use force. That’s the situation we’re now in as Americans.
Rod Smith (2001)
Hosea: A Commentary
Reaping a whirlwind, I remarked, pointing to the words on the sandwich board that was leaning against his chair as he sipped his cappuccino: a bit steep for a spot of adultery between consenting adults? He said he didn’t think it was meant literally, it was more a figure of speech, and I warmed to him at once – not at all the uptight evangelical type I’d expected, the sort with metal fatigue who could crack open at any moment and spill their payload across the hinterland of a major industrial city. So the palaces devoured by fire, the slaying of the fruit of the womb, the infants dashed in pieces …? He said he couldn’t be one hundred per cent sure – he was only doing this job while Hosea was away on vacation, he had a place at college to read immunology in September – but basically, at the root of it all, the issue was pollution. We let the word rest between us for a while, it had the right anthropological ring, until we noticed a man walking past in sandals, muttering to himself through his long grey beard. I could feel my boy becoming a bit edgy – that was Isaiah himself, and the prophets were supposed to stick to their own streets, there was a gentleman’s agreement. Luckily a hairdresser’s over the road was still open, a few late customers were sitting on leather sofas reading up the tips on foreplay in glossy magazines. We each took one of Isaiah’s arms and hustled him in for a haircut. He offered only token resistance, I think secretly he was quite happy.
Charles Boyle (2001)
The Skull Ring
I am very excited about the skull ring. I didn’t know anyone would think I wanted a silver skull ring. Now, when I am rude to those who oppose me, I can just look down at the skull ring. It has ruby chips in the eyes! Ruby chips like the nasty flame in my own eyes when I am insulted or reviled. No one will dare oppose me now in my hometown. For a very long time I have avoided rings because none of them seemed right for me. A skull ring is actually a good complement to my diabolical will. Thank you very much for the skull ring.
Chelsey Minnis (2001)
from The Weather
Monday
First all belief is paradise. So pliable a medium. A time not very long. A transparency caused. A conveyance of rupture. A subtle transport. Scant and rare. Deep in the opulent morning, blissful regions, hard and slender. Scarce and scant. Quotidian and temperate. Begin afresh in the realms of the atmosphere, that encompasses the solid earth, the terraqueous globe that soars and sings, elevated and flimsy. Bright and hot. Flesh and hue. Our skies are inventions, durations, discoveries, quotas, forgeries, fine and grand. Fine and grand. Fresh and bright. Heavenly and bright. The day pours out space, a light red roominess, bright and fresh. Bright and oft. Bright and fresh. Sparkling and wet. Clamour and tint. We range the spacious fields, a battlement trick and fast. Bright and silver. Ribbons and failings. To and fro. Fine and grand. The sky is complicated and flawed and we’re up there in it, floating near the apricot frill, the bias swoop, near the sullen bloated part that dissolves to silver the next instant bronze but nothing that meaningful, a breach of greeny-blue, a syllable, we’re all across the swathe of fleece laid out, the fraying rope, the copper beech behind the aluminum catalpa that has saved the entire spring for this flight, the tops of these a part of the sky, the light wind flipping up the white undersides of leaves, heaven afresh, the brushed part behind, the tumbling. So to the heavenly rustling. Just stiff with ambition we range the spacious trees in earnest desire sure and dear. Brisk and west. Streaky and massed. Changing and appearing. First and last. This was made from Europe, formed from Europe, rant and roar. Fine and grand. Fresh and bright. Crested and turbid. Silver and bright. This was spoken as it came to us, to celebrate and tint, distinct and designed. Sure and dear. Fully designed. Dear afresh. So free to the showing. What we praise we believe, we fully believe. Very fine. Belief thin and pure and clear to the title. Very beautiful. Belief lovely and elegant and fair for the footing. Very brisk. Belief lively and quick and strong by the bursting. Very bright. Belief clear and witty and famous in impulse. Very stormy. Belief violent and open and raging from privation. Very fine. Belief intransigent after pursuit. Very hot. Belief lustful and eager and curious before beauty. Very bright. Belief intending afresh. So calmly and clearly. Just stiff with leaf sure and dear and appearing and last. With lust clear and scarce and appearing and last and afresh.
Lisa Robertson (2001)
Ode
For let me consider him who pretends to be the pizza delivery man and is instead the perfect part of day, for the fact he is a medium, for the eight to twelve inches of snow he tends to be, for he who covers the waterfront, for he that was handmade in a tiny village in japan, for that he is more than just an envelope or inside-out balloon, for that he can always find the scotch tape, for that he resembles a river in mid-December muddied over, for that he has seen the taxi cabs on fire in the rain, for that he is like the heat beneath the desk lamp, for that he is not a tiny teal iguana, for that it is he who waits for me inside cafes, for that he has hands and legs, for that he exceeds the vegetable, for that he is the rest of the balance continuing huge.
Lisa Jarnot (2001)
from Letters to Wendy’s
September 2, 1996
I love the cleanliness of a Wendy’s. Such a clean is not in any sense a banishing of genitalia; it is the creation of a quiet bright mind-space that allows for the deliciousness of genitalia to become obvious
. I look out over the colorful clean tables and the pretty food posters and I like people again; each has a dick and balls, or a cunt and titties, which, clean, are simply enjoyable.
September 5, 1996
Naturally I think about smashing the skulls and rib-cages of the other customers. They stand in line so smug – like they were safe, outside the desires of or for an other. It’s as if, for them, there is no other’s desire – as if desire was one thing, and was ours. Restraining myself is not dishonest. It’s a way of maintaining a keen sense of the unforeseeable injuries which shall reunite us.
September 21, 1996
If I had to say what Wendy really was – if she had to be one thing instead of a field of various energies – I think I’d have to say that she was a penis. Something about her face and the shape of her hair, the muffled red coherence of head and torso, and perhaps too her lack of arms and legs. A penis is founded in just such a lack of limbs; it’s really amazing when it arrives anywhere.
February 8, 1997
Wendy, will you not even poke me? Not even a slow poke? I wonder why you treat me so. Am I a wooden board? Am I to be thought of as a simple wooden board? Come on, just give me a slow poke. I’m not a wooden board, honey. Come on, just poke me like you used to. Just a slow poke. Look into my eyes – are these the eyes of a wooden board?
June 3, 1997
I took my Frosty into the bathroom and sat it on the floor. I pulled my pants down, got down on all fours, and buried the tip of my cock in the cold brown swirl. Then I forced my cock and balls all the way into the cup, Frosty spilling on to the floor. Then I thought sexy thoughts. My erection slowly forced more Frosty on to the floor. This is the real test of a drink’s thickness.
The Penguin Book of the Prose Poem Page 9
