silence
that my hope is, and my aim.
A song whose lines
I cannot make or sing
sounds menâs silence
like a root. Let my say
and not mourn: the world
lives in the death of speech
and sings there.
ANGER AGAINST BEASTS
The hook of adrenaline shoves
into the blood. Manâs will,
long schooled to kill or have
its way, would drive the beast
against nature, transcend
the impossible in simple fury.
The blow falls like a dead seed.
It is defeat, for beasts
do not pardon, but heal or die
in the absence of the past.
The blow survives in the man.
His triumph is a wound. Spent,
he must wait the slow
unalterable forgiveness of time.
AT A COUNTRY FUNERAL
Now the old ways that have brought us
farther than we remember sink out of sight
as under the treading of many strangers
ignorant of landmarks. Only once in a while
they are cast clear again upon the mind
as at a country funeral where, amid the soft
lights and hothouse flowers, the expensive
solemnity of experts, notes of a polite musician,
persist the usages of old neighborhood.
Friends and kinsmen come and stand and speak,
knowing the extremity they have come to,
one of the their own bearing to the earth the last
of his light, his darkness the sunâs definitive mark.
They stand and think as they stood and thought
when even the gods were different.
And the organ music, though decorous
as for somebody elseâs grief, has its source
in the outcry of pain and hope in log churches,
and on naked hillsides by the open grave,
eastward in mountain passes, in tidelands,
and across the sea. How long a time?
Rock of Ages, cleft for me, let my hide my
self in Thee. They came, once in time,
in simple loyalty to their dead, and returned
to the world. The fields and the work
remained to be returned to. Now the entrance
of one of the old ones into the Rock
too often means a lifework perished from the land
without inheritor, and the field goes wild
and the house sits and stares. Or it passes
at cash value into the hands of strangers.
Now the old dead wait in the open coffin
for the blood kin to gather, come home
for one last time, to hear old men
whose tongues bear an essential topography
speak memories doomed to die.
But our memory of ourselves, hard earned,
is one of the landâs seeds, as a seed
is the memory of the life of its kind in its place,
to pass on into life the knowledge
of what has died. What we owe the future
is not a new start, for we can only begin
with what has happened. We owe the future
the past, the long knowledge
that is the potency of time to come.
That makes of a manâs grave a rich furrow.
The community of knowing in common is the seed
of our life in this place. There is not only
no better possibility, there is no
other, except for chaos and darkness,
the terrible ground of the only possible
new start. And so as the old die and the young
depart, where shall a man go who keeps
the memories of the dead, except home
again, as one would go back after a burial,
faithful to the fields, lest the dead die
a second and more final death.
THE RECOGNITION
You put on my clothes
and it was as though
we met some other place
and I looked and knew
you. This is what we keep
going through, the lyrical
changes, the strangeness
in which I know again
what I have known before.
PLANTING CROCUSES
1.
I made an opening
to reach through blind
into time, through
sleep and silence, to new
heat, a new rising,
a yellow flower opening
in the sound of bees.
2.
Deathly was the giving
of that possibility
to a motion of the world
that would bring it
out, bright, in time.
3.
My mind pressing in
through the earthâs
dark motion toward
bloom, I thought of you,
glad there is no escape.
It is this we will be
turning and re-
turning to.
PRAISE
1.
Donât think of it.
Vanity is absence.
Be here. Here
is the root and stem
unappraisable
on whose life
your life depends
2.
Be
Lorie O'Clare
C.M. Steele
Katie Oliver
J. R. Karlsson
Kristine Grayson
Sandy Sullivan
Mickey J. Corrigan
Debra Kayn
Phillip Reeve
Kim Knox