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Monday, 12 May 2014

May

May

by Jonathan Galassi
The backyard apple tree gets sad so soon,   
takes on a used-up, feather-duster look   
within a week.

The ivy's spring reconnaissance campaign   
sends red feelers out and up and down   
to find the sun.

Ivy from last summer clogs the pool,   
brewing a loamy, wormy, tea-leaf mulch   
soft to the touch

and rank with interface of rut and rot.
The month after the month they say is cruel   
is and is not.

Consciousness

Consciousness

by Joanie Mackowski
How it is fickle, leaving one alone to wander

the halls of the skull with the fluorescents
softly flickering. It rests on the head

like a bird nest, woven of twigs and tinsel
and awkward as soon as one stops to look.
That pile of fallen leaves drifting from

the brain to the fingertip burned on the stove,

to the grooves in that man's voice
as he coos to his dog, blowing into the leaves

of books with moonlit opossums
and Chevrolets easing down the roads
of one's bones. And now it plucks a single

tulip from the pixelated blizzard: yet

itself is a swarm, a pulse with no
indigenous form, the brain's lunar halo.

Our compacted galaxy, its constellations
trembling like flies caught in a spider web,
until we die, and then the flies

buzz away—while another accidental

coherence counts to three to pass the time
or notes the berries on the bittersweet vine

strewn in the spruces, red pebbles dropped
in the brain's gray pool. How it folds itself
like a map to fit in a pocket, how it unfolds

a fraying map from the pocket of the day.

The Bad Old Days

The Bad Old Days

by Kenneth Rexroth
The summer of nineteen eighteen   
I read The Jungle and The
Research Magnificent. That fall   
My father died and my aunt   
Took me to Chicago to live.   
The first thing I did was to take   
A streetcar to the stockyards.   
In the winter afternoon,   
Gritty and fetid, I walked
Through the filthy snow, through the   
Squalid streets, looking shyly   
Into the people's faces,
Those who were home in the daytime.   
Debauched and exhausted faces,   
Starved and looted brains, faces   
Like the faces in the senile   
And insane wards of charity   
Hospitals. Predatory
Faces of little children.
Then as the soiled twilight darkened,   
Under the green gas lamps, and the   
Sputtering purple arc lamps,   
The faces of the men coming
Home from work, some still alive with   
The last pulse of hope or courage,   
Some sly and bitter, some smart and   
Silly, most of them already   
Broken and empty, no life,   
Only blinding tiredness, worse   
Than any tired animal.   
The sour smells of a thousand   
Suppers of fried potatoes and   
Fried cabbage bled into the street.   
I was giddy and sick, and out   
Of my misery I felt rising   
A terrible anger and out
Of the anger, an absolute vow.   
Today the evil is clean
And prosperous, but it is   
Everywhere, you don't have to   
Take a streetcar to find it,
And it is the same evil.
And the misery, and the
Anger, and the vow are the same.

For Micha's Mother, Who Signs

For Micha's Mother, Who Signs

by Robert A. Fink
It is not poetry you fear, but poets,
their indelible brand
of words. How will your daughter
escape the mark men hanged
young women for in Salem?
I am nothing more than a teacher,
like you. See, I have removed
my shoes and socks. I am rolling
my trousers above my ankles.
No cloven hooves. Long feet and toes
like you and your beautiful daughter.

It is language that has won
her over, earth-bound words
walking orderly across the page
like children holding to
the rope attached to your wrist,
teacher and students
traversing the noisy street
at the crosswalk, with the light
of your fingers composing
the line your children read,
each syllable's afterimage trailing
your quick passage of hands
conducting the boys and girls
safely from one curb to the other.

The Visitor

The Visitor

by Carolyn Forché
In Spanish he whispers there is no time left.
It is the sound of scythes arcing in wheat,
the ache of some field song in Salvador.
The wind along the prison, cautious
as Francisco's hands on the inside, touching
the walls as he walks, it is his wife's breath
slipping into his cell each night while he
imagines his hand to be hers. It is a small country.

There is nothing one man will not do to another.
                                                              1979

For Micha's Mother, Who Signs

by Robert A. Fink
It is not poetry you fear, but poets,
their indelible brand
of words. How will your daughter
escape the mark men hanged
young women for in Salem?
I am nothing more than a teacher,
like you. See, I have removed
my shoes and socks. I am rolling
my trousers above my ankles.
No cloven hooves. Long feet and toes
like you and your beautiful daughter.

It is language that has won
her over, earth-bound words
walking orderly across the page
like children holding to
the rope attached to your wrist,
teacher and students
traversing the noisy street
at the crosswalk, with the light
of your fingers composing
the line your children read,
each syllable's afterimage trailing
your quick passage of hands
conducting the boys and girls
safely from one curb to the other.

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