Study for an American West
"If kerosene works, why not gasoline?"
–Brian Henneman
1.
The armadillo's moved forward, as if wanting to be relevant
And the actual brushwork of the artist–a man in his sixties
Swaddled in a light chambray robe, drinking coffee–could
Bring about some particular change in their provisional life
Together, as artist & subject, reversing the role of the creator
And unassailable creation, to one of more mutual exchange.
Beneath him, what might pass for a rock–shifts, gives way
To his derision, the knuckled bones of his tail pearling over
A landscape of dust & smallish cacti; in the American idiom
For loneliness, a coyote squares her shoulders to the moon-
Light in a gesture too pronounced for such incitement, as if
Somewhere in the foreground, a mother & child had pulled
To the roadside to look at a map; &, for the first time, taken by
The sheer vastness of the desert, recognize the commonality
That must subsist in all things; the road goes on forever . . .
2.
But to a mother, the half-moons of her youngest daughter's
Newly-formed breasts under the pale dome of the Explorer
Outshine even coyotes; &, in the end, after the credits expose
The mystery behind the magic, after the snow begins to fall
And startles us awake, after breath & the likeliness of being,
Of unbeing? audience is everything . . . the armadillo knows
And remains apathetic to these fellow passengers; the artist,
Turning the tail of a coyote unnaturally away from her body
Like an added appendage or the leg of a chair–progressing
Towards evolutionary displacement, something unnecessary
But almost expected from a man so formidable, sharpening
A camel-hair brush in a small barrel of turpentine or mineral
Spirits diluted with water–but the coyote, unscathed, again
Finds herself at the center of all things–excepting, perhaps,
The moon's irascible rendering of light, a universal constant
3.
Even in the American West–where nothing is constant but
Miles of dust & the opportunity for train robbery–none of
Which happens here, for it is night, & the light weathers only
Shapes, the gestures towards moments, & not the moments
Themselves. Still, the armadillo is moving forward, weaving
Back & forth, between flat cacti, the disproportionate yucca,
And, what might be mountains–molehills? At this distance
It is difficult to tell. And the coyote has unlocked her throat
And is howling at the moon, a sort of lament that whimpers
Out to almost nothing; then rises, stronger, & more forlorn.
But, the artist doesn't hear it . . . in the distance, an Explorer
Slows, then stops; the interior alights on a map–unfolding,
The passenger, studying her mother's hands as they emulate
The roads, saying "Coyote, Mom. You hear it?"–as if, perhaps
She couldn't–wouldn't. In the darkness, an armadillo crossing.
The Sea-Monkey Dreams
In Destruction, everyone is an adept.
– First Admiral, Don Cristóbal Colón
1.
In the back pages of this Boy's Life, a few stray ads & dedications,
An opportunity for blue sky, congested with the traffic of clouds:
My parents, for instance–who never understood my infatuation
For trinkets–the switch-blade combs & compasses, the bb guns
Made to look like German Lugars & Remington Prairie Rifles–
Saturday Night Specials kids could carry for the rest of their lives.
And why not? The Estes Rocketeers are rifling toilet paper tubes
At the moon, their payloads packed with living cargo–a praying
Mantis, June bugs & Japanese beetles–little da Gamas & Cooks,
Cartiers, ready to raise the white flag, break bread & start staking
Their claims. And with little–or no–say in the matters of home,
What would you expect a child to do? Even our own government
Shows no shame, pilfering the inside secrets behind x-ray glasses;
Their invisible inks & whoopee cushions, like so many exploding
Cigarettes. Just walk away . . . Is that your answer? Please Doctor.
––––––
In the dream it is always the same: I am climbing, rung over rung,
Towards what must be the center of my life, afraid to look down,
To let go–my mother, standing over a table, arranging the petals
Of a flower I cannot name–though my father, his pencil etching
Out the mistakes in the morning crossword, most certainly could
And would were he speaking to me & not to my mother, who isn't
Listening. There is a postcard on the table, an ashtray–& a book
About birds, my mother never tires of reading. Outside, the night
Settles into medicinal dark on the backs of baying cattle, on trains
Carrying livestock, & coal, into the heart of a city, which offers us
Nothing, if not the vagaries of transient living–the queer trundle
Of cars, clearing the beam bridge–then the viaducts & north . . .
Like the wolves the local, farm kids took potshots at–rumor was
They killed cattle, descended in packs upon the herd, giving chase
To the weaker ones . . . usually calves, the older milk cows, which,
Stumbling, break the bones of a fetlock, or knee, & cannot run–
Mostly, you wouldn't notice them, at night, against a darker stand
Of trees, & until early evening they didn't exist at all, & then, only
Slowly, & from the south, & after my father has picked his pencil
Off the table & has begun writing again–something about trains,
His propensity for trains, their dilapidated whistles & that rhythm
Of wheels, rolling over itself–& even then, you might not see one,
In the wild, standing against this small ridge of untouched timber
Like a sentinel checking passports at the gatehouse–unflinching,
Indifferent, to even the nervousness of those passengers he'll flag
For further search or seizure; the tiny revolutions of the turnstiles
Facilitating something like hope–or so I'd once believed. In the end,
It is a story without poverty, & whatever died, stayed dead, or lies
Bleeding, in the tall grass, & fescue, listening to the quiet chirring
The crickets' wings against a night, so full of stars, even the most
Obvious constellations appear inaccessible–the highway's whirr,
The cattle-cars crossing, re-crossing, the beam bridge–just another
Kind of silence groping towards the morning, like song–an aria?
With no beginning, & no foreseeable end–just the rough weight
Of a body as it retreats & falls, as it retreats & falls, & cannot rise.
––––––
It begins with a branch: then disaster & disenchantment, a sprawl
Of water rolling up over the deck. The tomb of Christ. The dead-
Reckoning–by sun & by stars. The diffident bird, unaccustomed
To sea. The miles of kelp (of Sargassum) extending north, like a top
With no bottom (like stargrass), the elongated stalk (like mastic trees)
Overburdened with fruit. It begins with the real & imagined fears:
The ice congealed about the hull & St. Amador's ship held fast–
Where would you walk, if you could walk (top with no bottom) away?
O Captain. It begins with a woodcut of monsters at sea, the myth
Of the two-dimensional world dismissed (exchanged) for purgatory
(Life, liberty, the pursuit of–). It begins with a fractured sky & a star
Falling through. A cross-stave, the eventual astrolabe . . . it begins
With the nascent science of navigation. The topmast of a 120 ton
Vessel (splintered) adrift at sea. It begins with salt & wine, molasses
And honey, dried meats, biscuits & fruits. It begins with a branch:
A small boy in the crow's-nest, (clearing his throat) with nothing say.
––––––
A grape ensconced between cheek & gum–the young lieutenant
Drags the heels of his well-made shoes, dividing our history class
Into nearly perfect rectangles. It is the kind of geometric formula
Pythagoras would have enjoyed, but utilized in such a way, Hitler,
Even in the late-domestic days, would applaud. No one is fooled,
Especially with the girls gone to a seminar on STDs & erroneous
Fallacies of original sin, & so much testosterone in the classroom.
I am thinking of Eve straddling the hood of a '68 Dodge Charger
And taking it from behind. I am thinking goosestep, & forty-two
Minutes until lunch. I am thinking well-made shoes; The Rolling
Stones' Exile . . . in mono. I am thinking I hate myself & want to die.
––––––
There is a woman on the road–pushing a shopping cart of what
Looks like used clothes, ransacked from the Salvation Army bins
Behind the Trinitarian church . . . & she is laughing at something
That may, or may not, exist. She is laughing, as if the bird, beside
Her now, has told a joke about memory, & desire–in a language
That promises nothing. She is laughing, & mopping her forehead
With her shirtsleeves. She is the bird woman, our resident lunatic
Of the city street. In the rafters, the sparrows are trying at speech,
Their mouths too full of song–the theory of song? Too many notes,
But the acoustics are good . . . she doesn't stop–she never stops.
And we all pretend to be busy, pretend not to notice the obvious
Pandering to an audience, with no prospects but to listen. I think
Of sex, & how little I know–how behind the gym, the freshmen
Are smoking–hiding, from Mrs. Steinbeck, who is also smoking.
How the janitor looks busy. No one is fooled–& no one rappels
From the building, or carries an assault rifle. No one drives tanks,
Or jumps from an airplane. No one cares. We're only killing time
Until the next big thing, which looks a little like lunch–Salisbury
Steak & scalloped potatoes, green beans, or cut corn? a piece of pie.
––––––
But I am wrong. I am not dying–&, for the next couple minutes,
I just want the angel in the first row, across the hall & two grades
Above me, to continue writing whatever it is she's writing. I want
The young lieutenant to be the long distance runner, I remember
As a child of the third grade–his hair foppish, & wild with wind,
A congress of frictions & the disciplined motions of muscle, taut,
Like pistons firing, like God. And, if he drags his foot, he drags it
With reason. I know. But I hate to see him crippled up this way–
So humbled by the world–&, for the third time today, repeating
The familiar mantras–faith, honor, courage. Uncle Sam needs us.
If not now–then when? Johnny Koszinnski is holding his pencil
Unconsciously like a revolver, & Bryan Carmichael is writing Shocka-
Zoo-loo down his right forearm in permanent marker–believing it
Will bring providence to tonight's game; Stevie Wymore is asleep,
As he is always asleep. Outside, the bird woman keeps navigating
For the home I have never seen. A carpenter bee keeps bouncing
Against the window. I am thinking the sun is a star. I am thinking
Pounds-per-square-inch–thinking stress fractures. I am thinking
How the grapes in the young lieutenant's cheek make him appear
Less human–how almost chipmunk, how squirrel. How adaptable
The grapes must be to find their own organizing principles. How,
Like planetary systems, like quadrants of stars . . . how, when one
Grape rolls off our teacher's desk–someone should yell grenade
And dive to the floor–how no one does. I am thinking of a dog
Yapping across the street, what he might be saying. I am thinking
Columbus, three ships, & so much ocean. I am thinking deserted
Streets & the laughter of children . . . thinking of Eve, the garden,
A good rain. How good it feels to hold hands–how like thunder,
The report of a cannon–the abandonment of wings taking flight.
––––––
Of madness–what could I know? but to watch the slow descent
Of a stranger's hand, working its way along a wall–like mayflies,
The fingers sporadically rising & falling in pattern with the paper,
But with more deliberateness, more measure, the way aquarium fish
Seem to hover, ghostlike, over a visitor's head, the thin gossamer
Of their tails, fanning, then falling, like flags of foreign diplomats,
Turning & turning, & breaking no ground. I think of the implied
Violence of barracuda, of pike–of the occasional beta, thrashing
Against the vitreous walls of the terrarium–& all those banisters
Blistered with night sweat & hypoallergenic cold creams, placebo
Pills, Lithium & Thorozine, the elongated halls, widened enough
Two beds could pass, comfortably–the night nurses & orderlies
Making their rounds, washing down bedpans & trash receptacles
Flung against the hard-waxed floors, bright with phosphorescent
Light: so much whiteness, undeviating, like compass points, stars.
––––––
I am thinking of Columbus–of newly caulked, dry-docked ships
Waiting for the one-ton, wine barrels to be wheeled into the hulls
Of each vessel–& the men therein, carving their initials & the sea
Monsters that will, eventually, destroy them, gnawing the leathered
Rations of salt-pork, & as much fresh fruit as they can find: 1492,
The year & not the number, I am thinking Genoa & Christopher,
The Saint & the boy who bears his name. I am thinking of God's
Good nature & the relative humility of the West, in a time of war
And enterprise. The rise of Islam at the expense of Christendom.
The futile attempts to recover the Holy Sepulchre. The Ottoman
Empire, now knocking on the doors of Vienna. On the top-deck
Of the largest ship, two men are throwing dice, playing the bones
Back & forth between their hands. Another man stands amongst
The riggings, casting his nose into the air, like a dog, domesticated
To know his master's scent. A day behind. This is the curtain call
Of men made to look the part of sailors, hauling rocks for ballast
And trade cargo that would appease the Grand Khan: glass beads
And decorative bells, fashioned for the feet of falcons, harriers &
Sparrow-hawks upholding an air between God & man–the spirit
Of the divine, a turbulence of wind. Through the streets of Palos,
The late Pedro Vasques de la Frontera is dancing like a mad-man
And roaring at anyone who will listen, something about an island
In the western Azores; islands–which he, himself, had discovered
Some forty years prior–adrift in the Sargasso; islands, untouched
By man, full of innumerable riches . . . And, beyond that, another,
Larger & more beautiful, lost, to so much fog–an impenetrable fog.
––––––
It is a question of vanity–a question of faith. The long goodbye
That brought these men, & the women beside them, the children
Of Luis de Torres–a converted Jew & interpreter of the fleet–
And the children of Diego de Harana–a cousin of the Admiral's
Cordovan mistress & marshal of the Santa Maria–chasing a dog,
Or being chased; it is difficult to tell. There are fires by the water,
Fires & abandoned bedrolls where the men assembled. The night
Becoming day, & still no word. The whole town surfacing, to see
The men away–in the plaza & on the shores, where the Atlantic
Leans into the Golfo de Cádiz, & then lulls, like hoof-hammered
Steel, rolling out, the story of itself, burnished between two worlds.
––––––
Because he could no longer touch her face, & because she spoke
Only to her father, who did not know, slowly & from the corner
Of her mouth, Juan Quintero–boatswain of the Pinta–scraped
Salt from the halyards & lifts, buntlines & bow-,–then clewlines,
Sheet & tack, bright fractals of mineral amassed at sea, on the air,
And in the bodies of these men, & clawed his skin, as if he could
Loose the memory (of her body) by drawing water from his own.
Because–in the eyes of sailors & in the running-riggings of each
Vessel, the belaying pins & pulleys–salt is an irritant, & because
It needed to be done. Because, even in Palos, she was too young
And too exhausted with her father's health, to do anything but stay
Quiet & forget. Stay quiet & forget, she must have thought, mining
The motions (of his body) like a schoolboy, learning the letters of
His own name, in the Latin–or Greek?–a language, not entirely
Unlike her own, magnified by a clarity born out of failure, a hand
On a slumped shoulder, that says, I'm sorry to have to tell you this . . .
That says, Your father . . . but it is not her father she thinks of now,
Or the cold hand that brushed her knees to touch her inner thigh
Beneath the dress of its ordinary life, or the horses, in the stables
Where they met & continued to meet, congregating around what-
Ever light the moon managed & the dark slub of near-emulsified
Foods, Juan would lug from the market, which filled their trough
And kept them warm–though at times, their nostrils, flared like
Serpentine dragons, would produce so much steam, their muzzles
Seemed masked by all that smoke, & she'd been afraid they'd die,
If not from cold, from their own asphyxiation, & it seemed unfair
One should die twice. Stay quiet & forget–she must have thought,
Holding to her father's hand, as he pulled her through the streets
Of men & women, children, chickens & dogs–stay quiet & forget.
––––––
And what of memory? That car crash we passed when I was nine;
One car eased into the trees, another upended, suspended between
Relativity & those markers of time we can't reverse–a single tire
Still turning, silently, towards that pale cerulean fissure opening up
Along the sky's edge. And the world stayed round; the sky stayed
Round. Our wheels, still turning . . . Isn't there something we could do?
My mother's face collapsing on itself . . . Yes, my father said, drive.
––––––
But, as Columbus reminds us, the mind is never so simple: the sea
And the land together form a sphere, & afford mutual support to each other,
As the kernel of a nut is confined by its shell . . . & so too those parents
We sleep beside; touch to know they're real. How far is too far gone?
What were we thinking? When were we thinking we could go? Our wheels,
Still turning over the snow & sluice, the asphalt cinders of a road
That bent beyond these mountains, or burrowed its way through?
Editor's Note: The final sections of The Sea-Monkey Dreams are slated for publication in the fall by Poetry.
A Conventional Weather
The water in the bath has stilled, & there is a silence about the room
Which she will not rise to–though he has gone again, & she is alone.
The busted bicycle still leans against the tool-shed, handlebars rusted
The color of clay, though not enough to suggest that this is Alabama,
To say nothing of the coming night, the distance between our homes,
The hollow pitch of gravel against the wheel-wells as he pulls away–
None of which would consul or cure us. We are absolved of nothing,
Abstain from nothing. Exchange few words. Speak, when spoken to.
––––––
Everyone is lonesome–It's alright, you can say it here . . . . You can say it
And not want to believe–but it isn't in the demarcations, the camisoles
Like curtains drawn tight about the body, that we cover our nakedness.
It isn't in the gardenia votive she's lit, or in the two cut iris she'll leave
Too long in the window–the little things, my grandmother would say,
The creature comforts–which are only enough to know what isn't there,
Which is him–which is everything. Self-conscious as we are–to watch
And be watched–to speak for those who don't acknowledge us, or wish
To be acknowledged–these things, too, will pass: what she remembers,
Folded flat, pressed in origami doves. The improvised hand of a father,
Fumbling to find what he cannot say–as if to stop time, or take back
A name. The rote coffee & cigarettes, lithe upon the throat, & rising–
What she remembers–as from a great height, the rush & whir, the scatter
Of pigeons, through the window–which, by now, must hold the heat
Of his coffee, the heaviness of voice. The single pebble of sand, which
Beveled the glass to a point of weakness. The rush & whir, the pigeons
He'd imagined to be doves, taking flight, lifting–just then–up, & out.
The air around his head darkening. The sky changing shape all at once.
––––––
Had she been older, she might have comforted him–she might have
Cradled his neck against her own & held him there in the affectionate
Posture of a mother, or at least have turned to look at him. As it was,
She did not & continued sweeping–each stroke issuing across the tile
A sound like expensive paper being torn from the backs of old books
No one cared to read, & which, a fire kindling, ignited easily–in a way
So habitual it seemed less a duty of childhood, than a childish attempt
Not to succumb to the slow assimilation of time–the cold partitions,
Chimeras, between what is real & what we come to believe–because
The story never changes, once the wheels are set to motion, & death–
As in all stories–takes its center & consecrates a beginning. There is
No unending. No asters, or tulips, for cars to pass & grant their shape.
––––––
Such is the way of windows, of gravity & rock–conventional weather.
The truth is, the water is warmer than she would like, & between here
And there is mostly wasted space, an empty driveway that no one uses,
A fifty-year-old pecan tree that produces no fruit, dropping dry limbs
At the mere suggestion of rain. Mostly, there is quiet & the absence of
Quiet–an occasional car in passing, or mockingbird among bamboo.
Mostly, we do not speak–& the truth is, at this distance, I can see only
Enough to know that she has drawn a bath, &–if anything–appears
Disinterested–lost in the light above her head, & the soft dissonance
Of that music: it is a language, strange to her, as if spoken too quickly
From an airport payphone, a terminal busy with passengers, boarding
And unboarding. So many voices–the almost indiscernible screams
Of children, of tires touching down, of rubber & steel, the quick click
Of a woman, in heels–now slowing–now passing away. The luggage
Wheels, & wheels of strollers, whirring at dirt, & dust, the microfibers
Of a boy's brown coat, being dragged across the floor. And a woman
Is crying. In the arms of her mother, a girl–too big to be carried–drops
A lollipop, & on impact–exploding, in a confusion of ruby shards–
It sounds, in fact, more exquisite than it is–& though the child seems
Not to care, & more than a little bored by it–for a moment all sound
Stops. The escalator jams, the striders & laggards alike. Then, nothing.
Only a man clearing the tunnel from LaGuardia or Newark, scanning
The room–his thick wool suit, too warm for the weather–working his way
Towards the arms of his wife, whose prepared dinner with candles–
Salmon sautéed in fresh chilies, & limes–her hands, rife with vinegar
And a low-cost lotion, the fragrance of tea trees–her arms, extended
As if she were swimming. And then, nothing–only the awkwardness
Of reunion, the sweet smell of candy . . . & water, water, every where.