Poems

I’m back again scrutinizing the Milky Way           

    of your ultrasound, scanning the dark 

         matter, the nothingness, that now the heads say           

   is chockablock with quarks and squarks,

gravitons and gravatini, photons and photinos. Our sprout,   

 

who art there inside the spacecraft                

    of your Ma, the time capsule of this printout,                

        hurling and whirling towards us, it’s all daft           

   on this earth. Our alien who art in the heavens,

our Martian, our little green man, we’re anxious     

 

to make contact, to ask divers questions           

     about the heavendom you hail from, to discuss                     

         the whole shebang of the beginning and end,           

    the pre-big bang untime before you forget the why

and lie of thy first place. And, our friend, 

 

to say Welcome, that we mean no harm, we’d die              

    for you even, that we pray you’re not here                     

       to subdue us, that we’d put away           

   our ray guns, missiles, attitude and share

our world with you, little big head, if only you stay.

1995

Published 1995

Patient

The snow has melted clean off the mountain.

It’s winter still. Yet another indication that Gaia

Is in trouble, that things aren’t sound.

The rocky mountaintops shines

Like the bald head of a woman after chemo

who wills herself out of her hospital bed

To take in trees, the squirrels, the commotion

in the town, sip beer in a dive, smiles

To the child staring at her shining, wishing

it didn’t take all this dying to live life.

Grace Gillick of the The Hacklers Theatre Company (Cavan, Ireland) performs “Rafflesia Arnoldii.”

Tagging the Stealer

So much of it I hadn't a bull's notion of
at first, and like the usual ignoramus
who casts his eyes at, say, a Jackson Pollock
or "This Is Just to Say," I scoffed at it.
I didn't twig how it was as close to art
as art itself with its pregame ballyhoo,
antics, rhubarbs, scheming, luck; its look
as if little or nothing is going on.
How often have we waited for the magic
in the hands of some flipper throwing a slider,
sinker, jug-handle, submarine, knuckle, or screwball?
And if we're lucky the slugger hits a daisy cutter
with a choke-up or connects with a Baltimore chop,
instead of batting a fish to slug a pop fly.
And if he really fouls up he swings a rusty gate,
caught with his foot in the bucket,
and a ball hawk catches a can of corn
with a basket catch and the ball rounds the horn.

Oh, look, Davo, how I'm sent sailing
right out of the ball park just by its lingo.
But I swear the most memorable play I witnessed
was with you on our highstools in the Daily Planet
as we slugged the elixirs of our Saturday-night beers.
The Yankees were playing your Toronto Blue Jays.
They were tied at the top of the ninth.
I can't now for the life of me remember
who won, nor the name of the catcher, except
he was an unknown, yet no rookie either.
Suddenly behind the pinch hitter's back he signaled
the pitcher, though no one copped why until seconds later,
as the catcher fireballed the potato to the first baseman,
tagging the stealer. It doesn't sound like much,
but everyone stood up in the house Ruth built,
like hairs on the back of the neck -- because the magic
was scary, too. O Jesus, give each of us just once
a poem the equal of that unknown man's talking hand.

The Composing Room

Click the image to read “The Composing Room.”