Gassing the woodchucks didn't turn out right.
The knockout bomb from the Feed and Grain Exchange
was featured as merciful, quick at the bone
and the case we had against them was airtight,
both exits shoehorned shut with puddingstone,
but they had a sub-sub-basement out of range.
Next morning they turned up again, no worse
for the cyanide than we for our cigarettes
and state-store Scotch, all of us up to scratch.
They brought down the marigolds as a matter of course
and then took over the vegetable patch
nipping the broccoli shoots, beheading the carrots.
The food from our mouths, I said, righteously thrilling
to the feel of the .22, the bullets' neat noses.
I, a lapsed pacifist fallen from grace
puffed with Darwinian pieties for killing,
now drew a bead on the little woodchuck's face.
He died down in the everbearing roses.
Ten minutes later I dropped the mother. She
flipflopped in the air and fell, her needle teeth
still hooked in a leaf of early Swiss chard.
Another baby next. O one-two-three
the murderer inside me rose up hard,
the hawkeye killer came on stage forthwith.
There's one chuck left. Old wily fellow, he keeps
me cocked and ready day after day after day.
All night I hunt his humped-up form. I dream
I sight along the barrel in my sleep.
If only they'd all consented to die unseen
gassed underground the quiet Nazi way.
CONTINUUM: A LOVE POEM
going for grapes with
ladder and pail in
the first slashing rain
of September rain
steeping the dust
in a joyous squelch the sky
standing up like steam
from a kettle of grapes
at the boil wild fox grapes
wickedly high tangled in must
of cobweb and bug spit
going for grapes year
after year we two with
ladder and pail stained
with the rain of grapes
our private language
We ride up softly to the hidden
oval in the woods, a plateau rimmed
with wavy stands of gray birch and white pine,
my horse thinking his thoughts, happy
in the October dapple, and I thinking
mine-and-his, which is my prerogative,
both of us just in time to see a big doe
loft up over the four-foot fence, her white scut
catching the sun and then releasing it,
soundlessly clapping our reveries shut.
The pine grove shudders as she passes.
The red squirrels thrill, announcing her departure.
Come back! I want to call to her,
we mean you no harm. Come back and show us
who stand pinned in stopped time to the track
how you can go from a standing start
up and over. We on our side, pulses racing,
are synchronized with your racing heart.
I want to tell her, Watch me
mornings when I fill the cylinders
with sunflower seeds, see how the chickadees
and lesser redbreasted nuthatches crowd
onto my arm, permitting me briefly
to stand in for a tree,
and how the vixen in the bottom meadow
I ride across allows me under cover
of horse scent to observe the education
of her kits, how they dive for the burrow
on command, how they re-emerge at another
word she uses, a word I am searching for.
THE HERMIT GOES UP ATTIC
Up attic, Lucas Harrison, God rest
his frugal bones, once kept a tidy account
by knifecut of some long-gone harvest.
The wood was new. The pitch ran down to blunt
the year: 1811, the score: 10, he carved
into the center rafter to represent
his loves, beatings, losses, hours, or maybe
the butternuts that taxed his back and starved
the red squirrels higher up each scabbed tree.
1812 ran better. If it was bushels he risked,
he would have set his sons to rake them ankle deep
for wintering over, for wrinkling off their husks
while downstairs he lulled his jo to sleep.
By 1816, whatever the crop goes sour.
Three tallies cut by the knife are all
in a powder of dead flies and wood dust pale as flour.
Death, if it came then, has since gone dry and small.
But the hermit makes this up. Nothing is known
under this rooftree keel veed in with chestnut
ribs. Up attic he always hears the ghosts
of Lucas Harrison's great trees complain
chafing against their mortised pegs,
a woman in childbirth pitching from side to side
until the wet head crowns between her legs
again, and again she will bear her man astride
and out of the brawl of sons he will drive like oxen
tight at the block and tackle, whipped to the trace,
come up these burly masts, these crossties broken
from their growing and buttoned into place.
Whatever it was is now a litter of shells.
Even at noon the attic vault is dim.
The hermit carves his own name in the sill
that someone after will take stock of him.
IN THE PARK
You have forty-nine days between
death and rebirth if you're a Buddhist.
Even the smallest soul could swim
the English Channel in that time
or climb, like a ten-month-old child,
every step of the Washington Monument
to travel across, up, down, over or through
-- you won't know till you get there which to do.
He laid on me for a few seconds
said Roscoe Black, who lived to tell
about his skirmish with a grizzly bear
in Glacier Park.
He laid on me not doing anything.
I could feel his heart
beating against my heart.
Never mind lie and lay, the whole world
For Roscoe Black you might say
all forty-nine days flew by.
I was raised on the Old Testament.
In it God talks to Moses, Noah,
Samuel, and they answer.
People confer with angels.
Certain animals converse with humans.
It's a simple world, full of crossovers.
Heaven's an airy Somewhere, and God
has a nasty temper when provoked,
but if there's a Hell, little is made of it.
No longtailed Devil, no eternal fire,
and no choosing what to come back as.
When the grizzly bear appears, he lies/lays down
on atheist and zealot. In the pitch-dark
each of us waits for him in Glacier Park.
And suppose the darlings get to Mantua,
suppose they cheat the crypt, what next? Begin
with him, unshaven. Though not, I grant you, a
displeasing cockerel, there's egg yolk on his chin.
His seedy robe's aflap, he's got the rheum.
Poor dear, the cooking lard has smoked her eye.
Another Montague is in the womb
although the first babe's bottom's not yet dry.
She scrolls a weekly letter to her Nurse
who dares to send a smock through Balthasar,
and once a month, his father posts a purse.
News from Verona? Always news of war.
Such sour years it takes to right this wrong!
The fifth act runs unconscionably long.
Having come unto
the tall house of our habit
where it settles rump downward
on its stone foundations
in the manner of a homely brood mare
who throws good colts
and having entered
where sunlight is pasted on the windows
ozone rises from the mullions
dust motes pollinate the hallway
and spiders remembering a golden age
sit one in each drain
we will hang up our clothes and our vegetables
we will decorate the rafters with mushrooms
on our hearth we will burn splits of silver popple
we will stand up to our knees in their flicker
the soup kettle will clang five notes of pleasure
and love will take up quarters.
Mother my good girl
I remember this old story:
you fresh out of the Conservatory
at eighteen a Bach specialist
in a starched shirtwaist
begging permission to go on tour
with the nimble violinist you were
never to accompany and he
flinging his music down
the rosin from his bow
flaking line by line
like grace notes on the treble clef
and my grandfather
that estimable man I never met
scrubbing your mouth with a handkerchief
saying no daughter of mine
tearing loose the gold locket
you wore with no one's picture in it
and the whole German house on 15th Street
at righteous white heat...
At eighteen I chose to be a swimmer.
My long hair dripped through the dinner
onto the china plate.
My fingers wrinkled like Sunsweet
yellow raisins from the afternoon workout.
My mouth chewed but I was doing laps.
I entered the water like a knife.
I was all muscle and seven doors.
A frog on the running board.
King of the Eels and the Eel's wife.
I swallowed and prayed
to be allowed to join the Aquacade
and my perfect daddy
who carried you off to elope
after the fingerboard snapped
and the violinist lost his case
my daddy wearing gravy on his face
swore on the carrots and the boiled beef
that I would come to nothing
that I would come to grief...
Well, the firm old fathers are dead
and I didn't come to grief.
I came to words instead
to tell the little tale that's left:
the midnights of my childhood still go on.
The stairs speak again under your foot.
The heavy parlor door folds shut
and "Claire de Lune"
puckers from the obedient keys
plain as a schoolroom clock ticking
and what I hear more clearly than Debussy's
love song is the dry aftersound
of your long nails clicking.
Into my empty head there come
a cotton beach, a dock wherefrom
I set out, oily and nude
through mist, in chilly solitude.
There was no line, no roof or floor
to tell the water from the air.
Night fog thick as terry cloth
closed me in its fuzzy growth.
I hung my bathrobe on two pegs.
I took the lake between my legs.
Invaded and invader, I
went overhand on that flat sky.
Fish twitched beneath me, quick and tame.
In their green zone they sang my name
and in the rhythm of the swim
I hummed a two-four-time slow hymn.
I hummed "Abide with Me." The beat
rose in the fine thrash of my feet,
rose in the bubbles I put out
slantwise, trailing through my mouth.
My bones drank water; water fell
through all my doors. I was the well
that fed the lake that met my sea
in which I sang "Abide with Me."
SONNET IN SO MANY WORDS
The time comes when it can't be said,
thinks Richard Dalloway, pocketing his
sixpence of change, and off he goes
holding a great bunch of white and red
roses against his chest, thinking himself
a man both blessed and doomed in wedlock
and Clarissa meanwhile thinking as he walks back
even between husband and wife a gulf...
If these are Virginia and Leonard, are they not
also you and me taking up the coffee
grinder or scraping bits of omelet free
for the waiting dogs who salivate and sit?
Never to say what one feels. And yet
this is a love poem. Can you taste it?
LOOKING BACK IN MY EIGHTY-FIRST YEAR
How did we get to be old ladies -
my grandmother's job - when we
were the long-leggéd girls?
- Hilma Wolitzer
Instead of marrying the day after graduation,
in spite of freezing on my father's arm as
here comes the bride struck up
saying, I'm not sure I want to do this,
I should have taken that fellowship
to the University of Grenoble to examine
the original manuscript
of Stendhal's unfinished Lucien Leuwen,
I, who had never been west of the Mississippi,
should have crossed the ocean
in third class on the Cunard White Star,
the war just over, the Second World War
when Kilroy was here, that innocent graffito,
two eyes and a nose draped over
A fence line. How could I go?
Passion had locked us together.
Sixty years my lover,
he says he would have waited.
He says he would have sat
where the steamship docked
till the last of the pursers
decamped, and I rushed back
littering the runway with carbon paper...
Why didn't I go? It was fated.
Marriage dizzied us. Hand over hand,
flesh against flesh for the final haul,
we tugged our lifeline through limestone and sand,
lover and long-leggéd girl.
WOMEN AND HORSES
After Auschwitz, to write a poem is barbaric.
- Theodor Adorno
After Auschwitz: after ten of my father's kin -
the ones who stayed - starved, then were gassed in the camps.
After Vietnam, after Korea, Kuwait, Somalia, Haiti, Afghanistan.
After the Towers. This late in the life of our haplessly orbiting world
let us celebrate whatever scraps the muse, that naked child,
can pluck from the still smoldering dumps.
If there's a lyre around, strike it! A body, stand back, give it air!
Let us have sparrows laying their eggs in bluebird boxes.
Let us have bluebirds insouciantly nesting elsewhere.
Lend us navel-bared teens, eyebrow- and nose-ringed prodigies
crumbling breakfast bagels over dog-eared and jelly-smeared texts.
Allow the able-bodied among us to have steamy sex.
Let there be fat old ladies in flowery tent dresses at bridge tables.
Howling babies in dirty diapers and babies serenely at rest.
War and détente will go on, détente and renewed tearings asunder,
we can never break free from the dark and degrading past.
Let us see life again, nevertheless, in the words of Isaac Babel
as a meadow over which women and horses wander.