something
at this hour when I am already made?
Never a famous hero, a star, a priestâ
my mind decides a little faster than
the world can talk, and what I dreamed was only
the darker sketch of what I would become.
Itâs 1996. Iâm forty-eight.
I am a monk who never prays. I am
a prayer. The pilgrim comes to hear me;
the banker comes, the bald janitors arrive,
the mothers lift their wicked children upâ
they wait for me as if I were a bus,
with or without hope, whatâs the difference?
One guy manipulates a little calculator,
speaking to it as to a friend. Sweat
is delivered from its mascara,
sad women read about housesâ¦
and now the deaf approach, trailing the dark smoke
of their infirmity behind them as they leave it
and move toward the prayer that everything
is praying: the summer evening a held bubble,
every gesture riveting the love,
the swaying of waitresses, the eleven television
sets in a storefront broadcasting a murdererâs faceâ
these things speak the clear promise of Heaven.
Passengers
The world will burst like an intestine in the sun,
the dark turn to granite and the granite to a name,
but there will always be somebody riding the bus
through these intersections strewn with broken glass
among speechless women beating their little ones,
always a slow alphabet of rain
speaking of drifting and perishing to the air,
always these definite jails of light in the sky
at the wedding of this clarity and this storm
and a womanâs turningâher languid flight of hair
traveling through frame after frame of memory
where the past turns, its face sparking like emery,
to open its grace and incredible harm
over my life, and I will never die.
ONE
The Rockefeller Collection of Primitive Art
Solter my neighbor rocks his lover through the human night,
softly and softly, so as not to tell the walls,
the walls the friends of the spinster. But Iâm only a spinster,
Iâm not a virgin. I have made love. I have known desire.
I followed desire through the museums.
We seemed to float along sculptures,
along the clicking ascent
of numerals in the guardsâ hands. Brave works
by great masters were all around us.
And then we came out of a tunnel into one of those restaurants
where the natural light was so unnatural
as to make heavenly even our fingernails and each radish.
I saw everyoneâs skull beneath the skin,
I saw sorrow painting its way out of the faces,
someone was telling a lie and I could taste it,
and I heard the criminal tear-fall,
saw the dog
who dances with his shirt rolled up to his nipples,
the spiderâ¦
Why are their mouths small tight circles,
the figures of Africa, New Guinea, New Zealand,
why are their mouths astonished kisses beneath drugged eyes,
why is the eye of the cantaloupe expressionless
but its skin rippling with terror,
and out beyond Coney Island in the breathless waste
of Atlantia, why
does the water move when it is already there?
My neighborâs bedsprings struggle
âsoon she will begin to screamâ
I think of them always
traveling through space,
riding their bed so
softly it staves the world through the air
of my roomâit is their right,
because we freely admit how powerful the sight is,
we say that eyes stab and glances rake,
but it is not the sight
that lets us taste the salt on someoneâs shoulder in the night,
the musk of fear in the morning,
the savor of falling in the falling
elevators in the buildings of rock,
it is the dark that lets us it is the dark. If
I can imagine them then
why canât I imagine this?
Talking Richard Wilson Blues, by Richard Clay Wilson
You might as well take a razor
to your pecker as let a woman in your heart.
First they do the wash and then they kill you.
They flash their lights and teach your wallet to puke.
They bring it to you foldedâif you see her
stepping between the coin laundry and your building
over the