THE OLD ROCKER

I reached the point in life
where I know the Byrds were right,
I was so much older then,
I’m younger than that now, and
for good measure Jethro Tull knew
I was too old to rock ‘n’ roll
but far too young to die.
And yet I am still inchoate,
a product of the Big Bang, stellar
dust accreted temporarily.
And the Webb Space Telescope
has given me the next best thing
to immortality, for when the time comes
and I hope it isn’t all that soon,
when my body is cremated, that
momentary heat signature will
be seen in some planet in a galaxy
at the edge of the universe
some 13 billion years later,
long after my ashes will have
returned to the cosmos,
from where I came.

LEFT HANGING

Why is it that so many songwriters
have an intense need, a desire really,
to leave the listener wondering
in frustration at how the story ends.

I can forgive Leonard Cohen for his
Hallelujah for no one is quite certain
how many verses he wrote, although
more than 80 seems to be the number,
so perhaps a missing one or ten
concludes the various stories
the song has told through time.

And Harry Chapin did give us
an ending of sorts to Taxi,
in his song Sequel, but even there
he left the door ajar, but he died
too young, so any subsequent sequels
went to the grave with him.

And one offender I cannot yet forgive
is the Ode to Billy Joe, since really,
he’s gone but that wasn’t enough
for brother, and you’d think
he would have a name since
he married Becky Thompson,
and what kind of store did they buy,
why in Tupelo, was she from there, and
what, if anything, do we know about her?

CHASING NO MORE

I have to admit that I
loved the Grateful Dead
saw them in concert when I could,
listened often but could never
be considered a Deadhead.

Years later my sons and I
loved Moxy Früvous and
traveled to nearby shows,
bought every album, played
them to death so we were
justifiably FrüHeads.

But time has passed, that band
is now gone as well, and I
have taken to drinking margaritas,
but only with anejo tequila,
Cointreau and lime juice and I
will never ever be mistaken
for a Parrothead.

EGGMAN

When I was a child . . .
God, how many times have you
heard something prefaced by those
ever frightening words, not
scary themselves but what
painful story they promised.

When I was a child we had
a milkman who brought
the glass bottles twice a week,
took the empties and envelope
with his payment from the
shelf built in the wall
just for deliveries.

We also had an egg man
who’d leave a dozen eggs
in a little metal basket
on the same shelf. He
had a great mustache,
almost walrus-like, and he
may have been an eggman
but he was defnitely not a walrus,
goo goo gajoob.

AT FIRST

The first time
I heard it
I knew
that voice
came from a place
I had never visited,
would never
be able to go.

It penetrated me
reverberated
within me
a harmonic
that shook
me to my core.

She reached
and grasped
what I thought
I had kept hidden,
and as I danced
with my
new bride,
I knew Etta
had led me
to love
At Last.

APPROACHING NIGHT

Arising into night
the departing sun
tangos away with its cloud,
memories soon forgotten.

Other dancers take the stage,
now a romance, now
a war dance, feathers raised
in prayer to unseen gods.

Night will soon bring
its curtain across this stage,
the avian casts’ final bows taken
the theater will darken, awaiting
another performance,
a new script tomorrow,
but for this solitary moment
of frozen grace, it is we
who write the conversation,
our lines sung by actors who
know only nature’s
unrelenting song.

First Published in Half Hour to Kill, August 2022
https://halfhourtokill.com/home/approaching-night-by-louis-faber

ONLY ONE LEFT FOOT AFTER ALL

We took private dance lessons,
she already versed in the dance,
a natural grace and flow, and I
moving with seemingly fused hips,
unsteady, bordering on clumsy.

As we went on, it began to come
to me, never graceful, but no longer
embarassing to myself nor her,
and the teacher said I could be
a natural, a kind and gentle lie.

At our wedding we glided around
the floor, a slower Eastern swing,
and when the song ended, I smiled
knowing that I had found the one

STRING QUARTET

The violinists’ laughter and tears
are flung from her flying bow,
drip from his elbow,
and wash over the stilled audience –
we can taste the sea
as we threaten to capsize.

The viola is the older brother
now steadying, now caught
in the wave, riding
its dizzying course,
dragging us in its wake.

The cello is a torso, the cellist
a surgeon, her hands
plucking small miracles
from stretched gut,
shouting for, then at,
the still stunned gods.

Somewhere, Brahms
must be smiling.

First Published in The Right to Depart, Plain View Press, 2008.

ALL THAT JAZZ

The magic of jazz
is not what you think,
there is nothing random
even in the wildest, in
the acidest of solos.

Cacophony is randomness
and the key to jazz
is to see the
invisible logic,
read the mind,
be the mind
of the musician.

It is zen, but only
if you stop searching
and just be in its
moment.

LUNA’S SONG

Tonight, when the sun
has finally conceded the day
to its distant but ever larger kin,
the moon will again sing
her ever waning song
hoping we will join
in a chorus we have
so long forgotten,
bound to the earth
in body and in waxing thought.

We will stop and listen
perhaps, over the din
of the city, the traffic,
the animals conversing
with the sky, our thoughts,
but the words will now
be an alien language
for which we have
no dictionary, only
the faint memory
of the place from which
both we and the moon
share cosmic ancestry.