Sample Poems

Before They Dropped Salads

You receive a letter. When did that

last happen? (When the post office

they’re trying so hard to privatize worked.)

Creased, handwritten

in pencil on lined paper, many pages and

misspellings. You received one like this

years back, but that was recommending Jesus.

Here there are only wounds the system, not

identified as such, keeps open:

the bad pay, no breaks, no job.

One kid’s condition, bills.

Two stops in one night, an earlier beatdown,

cop breaking a taillight then ticketing the broken

taillight. Illness. Artless,

whatever grey words come to hand, the only

(unconscious, effective) image a styrofoam

bowl from McDonalds the writer uses

again and again, washing carefully.

Not asking for money, or anything.

You scan and file the pages and respond.

Since you aren’t asking for money,

I can only assume you heard of me somehow,

and thought I could write about you, and that that

might help. But you must understand:

I’m a poet, and no one reads poetry

except those who already sympathize

as much as I and are as [substitute something

for “impotent”] as I. You’d do better

to contact a novelist [insert names].

But remember: minorities disapprove

when someone not in a given minority

writes fiction, however sympathetic, about it.

I mention this because you haven’t

specified your [race]. – You go on

three more lines, trying to inject

human warmth, then print and sign (that may

be worth something, someday), and fold.

Take out a twenty, hesitate, add another,

then realize there’s no return address.


The Toys

Somewhere in modernity, a New Woman

exits a stagedoor. The bloodstreaked ghostpale

makeup for her role

as ingenue in Goddess in the Underground

has yielded to freshness; next season,

if various plots mature, she will be Goddess.

The stalls’ and critics’ ecstasies

linger. Her silent assistant bears away

several nose-cones

of roses. She will find them vased

at home – save one,

stolen to grace

the assistant’s tiny immigrant apartment

and watered by nameless emotions.

A streetlamp limns the actress’s better profile.

Droshkies and broughams jingle to the curb,

are displaced (horses clopping

droop-headed off) by a jeep,

MG, and Rolls. A studied gesture

brings glove to dimple, choosing.

 

Across the street, an aging youth

wearing the Pierrot costume the system

demands of rebels, glares at the suitor cars

with a jealousy that at least is real.

He should be off being a genius

or blogging but in a way

he is at his post. Now fascists pass,

breaking heads and windows, obstructing his view.

(The driver of the jeep calls

HQ, but the time to shoot them

has passed.) The youth is tempted

to join them – let anger out, it’s easier

to despise women – but a miraculous,

unmotivated niceness

prevents. He goes off

to mitigate Third World conditions

several blocks away. At times the very white

whites of the eyes in dark

faces in lightless rooms remind him

how he looked at her.

 

Soon she’s the Goddess,

awaiting her car and chauffeur,

head full of film contracts and leading men,

when along the boulevard, narrowly avoiding

bouquets of surveillance cameras, swoops

a new two-person jetpack. It’s

a youth she has seen at the edge of the world,

well-dressed enough beneath the helmet.

He invites her for a spin.

I can give you my autograph here, she says,

and Pierrot, imploding, cries

that what he wants is her love – that since he saw her

as the Rebel Girl last year he can see nothing else;

neither ethics nor action nor madness nor pride

helps. How did you get the jetpack?

she asks. He shrugs, sighs.

She lets him down efficiently but gently.

He squares his shoulders, tells himself and her

it must be Art

she has decided to live for. No.


Line from Eliot

                 First, the cold friction of expiring sense …

Eyes as they dim attempt

the glare of a leader, or

the certainty and calm

of another leader; fail.

Glasses bring screens

and the young bodies horribly

at home in them closer. And

words, but words themselves

seem unreliable, evasive.

Alone, eyes at each moment fear

they show the loss and need they once

contained. Which they won’t accept,

because, when they see them,

they must still mock and dismiss them.

Ears in contrast

find peace. When a wind

fiercer than any remembered brings

down leaves in the prime of life,

removing gadgets stills it.

Likewise certain voices. Quarrels,

danger can be outsourced

to eyes, which can close.

That sudden, always somehow surprising

silence is flattery;

important sounds may pierce it, but

they too can be ignored.

An innermost revelation: even you

needn’t listen to you