Like the Anasazi’s sudden
departure from his cliff dwelling
I too snuck away, with hardly
any trace from a life no longer
in clear recollection, only faint
images survive, of hours
in the City Lights Bookstore
reading Corso, Ferlinghetti
and Ginsberg, then buying
the slim volume “Gasoline”
not because it was my
greatest desire, but its price.
Now the worn volume sits nestled
between Wilbur and Amichai,
a fond memory, like an afternoon
in the park in Salt Lake City
the tarot spread out before me
whispering their secrets
for the slip of blotter,
the small blue stain
bringing an evening
of color and touch
and that momentary fear
that nothing would again be
as I knew it to be.
The Anasazi knew
the arrow of time had flown,
had passed the four corners
where I lay in the street
another senseless victim
of a senseless war, while Karl
held the placard
until the police urged us
to move along, and offered
the assistance we
were sworn to reject.
Now the corners seem
older, more tired of the life
that treads on them daily,
on my path to the Federal Courthouse
to argue a motion
where once we spilled
the red paint
the blood of our generation.
Now there is a wall
with their names,
a permanent monument
while we, like our Anasazi
but faint memories.
First Appeared in Ellipsis Literature and Art, Issue 35, 1999.
You want to yell at him, tell him
to stop, that it is too soon, that he
is not ready, cannot be, won’t be
for months to come, but you know
he will not listen to you
standing, gesticulating, imagining
a stone in your hand, shattering
the glass walls, the crackling
gaining his full attention
causing him to realize what is
so very obvious to you.
But you cannot do so, wishes aside,
there are no stones to be found
within the house in which you stand
and if there were, there still are
very clear rules against your throwing one.
They said it was essential
for a writer to have a substantial platform,
one built high enough to be easily seen
by those passersby who might just give
a passing glance, even if it was a typo
landed them here, updated, regularly
changing with time, tide, and fashion
always ready, always accommodating.
It must be a composite, the better
to handle storms, ill winds lacking
the ennui of winter, curse of summer.
It was no small task to build,
everyone offered plans, templates,
none ever quite right, but he built it,
and when the time came, like most
writers he knew, it would suffice
where they put the noose around his neck
and hung him by his words, his
truth that they came to hate.
There is a reason for this
as there is is a reason for most things
whether we like it or not, I tell my son.
He gives me that smile that says
“I do not agree at all with that,
but you are my father, and so
I won’t disagree,” but I know
he means this only as
a Japanese hai, yes, I understand,
but I will take it as hai, I agree.
I don’t speak Japanese,
neither does my son, but we
both know that if we
were right now in France
the one thing he wouldn’t
be saying is d’accord, father or no.