Contents ( 36)
- CONTENTS
- ACKNOWLEDGMENTS
- WHAT IT LOOK LIKE
- THE DEER
- HOW TO BE DRAWN TO TROUBLE
- NEW YORK POEM
- AS TRAFFIC
- WIGPHRASTIC
- MY LIFE AS A HUMMER
- GENTLE MEASURES1
- A CONCEPT OF SURVIVAL
- WHO ARE THE TRIBES
- BLACK CONFEDERATE GHOST STORY
- HOW TO DRAW AN INVISIBLE MAN
- BARBERISM
- THE CARPENTER ANT
- AMERICAN SONNET FOR WANDA C.
- LIKE MERCY
- A. MACHINE
- PORTRAIT OF ETHERIDGE KNIGHT IN THE STYLE OF A CRIME REPORT: PART I
- PORTRAIT OF ETHERIDGE KNIGHT IN THE STYLE OF A CRIME REPORT: PART II
- PORTRAIT OF ETHERIDGE KNIGHT IN THE STYLE OF A CRIME REPORT: PART III
- ELEGY WITH ZOMBIES FOR LIFE
- INSTRUCTIONS FOR A SÉANCE WITH VLADIMIRS
- THE ROSE HAS TEETH
- ANTEBELLUM HOUSE PARTY
- RECONSTRUCTED RECONSTRUCTION
- WE SHOULD MAKE A DOCUMENTARY ABOUT SPADES
- FOR CRYING OUT LOUD
- MODEL PRISON MODEL
- SOME MAPS TO INDICATE PITTSBURGH
- NEW JERSEY POEM
- SELF-PORTRAIT AS THE MIND OF A CAMERA
- HOW TO DRAW A PERFECT CIRCLE
- ARS POETICA FOR THE ONES LIKE US
- NOTES
an evolved self-destructive property, and on its face
mandibles twice the size of its body,
and can carry on its back, as I have seen on TV,
a rotted bird or branch great distances
to wherever the queen is buried—kingdom:
Animalia, phylum: Arthropoda, tribe: Camponotini,
the species that lives on wood is, like mud, rain,
and time, the carpenter’s enemy, yes,
but I would love to devour the house I live in
until it is a permanent part of me,
I would love to shape, as Perumthachan,
the master sculptor, carpenter, and architect
of India, is said to have shaped, a beautiful tree
into the coffin in which I am to be buried,
I know whatever we place in a coffin, the coffin
remains empty, I know nothing buried is buried,
I don’t know why God keeps blessing me,
I don’t know why God keeps blessing me.
AMERICAN SONNET FOR WANDA C.
Who I know knows why all those lush-boned worn-out girls are
Whooping at where the moon should be, an eyelid clamped
On its lightness. Nobody sees her without the hoops firing in her
Ears because nobody sees. Tattooed across her chest she claims
IS BRING ME TO WHERE MY BLOOD RUNS and I want that to be here
Where I am her son, pent in blackness and turning the night’s calm
Loose and letting the same blood fire through me. In her bomb hair:
Shells full of thunder; in her mouth: the fingers of some calamity,
Somebody foolish enough to love her foolishly. Those who could hear
No music weren’t listening—and when I say it, it’s like claiming
She’s an elegy. It rhymes, because of her, with effigy. Because of her,
If there is no smoke, there is no party. I think of you, Miss Calamity,
Every Sunday. I think of you on Monday. I think of you hurling hurt
Where the moon should be and stomping into our darkness calmly.
LIKE MERCY
I swear a dim yellow light settled around the head
Of the little choirgirl who’d stepped forward to sing
“More Like Jesus” and almost everyone was moved.
Much later, I watched a boy slap the sin out of a man
Old enough to be his grandfather on the street outside
My window and I was happy, for a moment,
That two people could display such shamelessness,
Such a form of love. I would have said something
But my window was shut, the street almost empty
When I stepped out like a man of God.
Who can live like that? We should not have been
Expected to lift the holy choirgirl into our arms,
Though we could have, skinny as she was, light
As the branch of a tree reflected in a river.
I was not one of the women thrashing in the aisle
Like somebody drowning. Work me till I drop,
Sweet Jesus, my Rock, I never said that.
But I know if I was a singer, I’d be more godly.
I’d know how to exit a room flooded with grief.