its talons are for real

RAPTOR-SEAL

We moved through a smog thicker than coal-dust

filled with angry cries.

I couldn’t recognize

my guide, only her humming through a gust

of wind.  The moon was a copper disk

printed faintly rust-green

over that desolation –

like a hovering fingerprint, a mask

for Queequeg, Abraham – a penny

for Liberty, glinting

from the dark well (hinting

freedom, good will, where there wasn’t any).

A doubloon for Mammon flickered so

below shrouds of the Pequod –

many an aching tattoo would

echo in blood that talent for woe.

Marine Corps taps (trompette marine).

Memory shapes emblems

like coral wreaths... drums

weave light fleece mandala, copper green

& gold.  Like an iron spring wound

taut into infinity,

one Mendelssohn memory

emerges from my swampy ground –

the ancient plow we found, Heidi

& dragged back home together

through April weather

(iris blooming like a peacock’s eye

                    *

out of dead bulbs that never die).

The tarnished metallurgy

Iron Age surgery

some Raven-shaman shall (with high

& fluting Light Warlpiri) bring

might lift our eyes again

to one galactic common

wheel, that voices in Ark-Argo sing –

Hagia Sophias in Yezidi throng

to harmonize their peacock

tongues, & nations flock

to chime each footnote of a brazen gong.

The Word flies backward so, before Babel.

Its talons (like a raptor-

seal of olive-arrows) are

for real – to carry us from Hell

to Paradise, fledged by free will;

its almond eye (above

the pyramid) is Love –

forever fair & kind & true, until

the splendor of infant Creation

shines like Sacajawea

from green Equadoria –

justice & liberty combine

in meek Franciscan poverty

to weld the planetary

flora into Primavera

sunlight-gold... bright solidarity.

3.21.17 

Minneapolis Star-Tribune, 3.21.17

Palmyra, Palmyra

I heard part of a BBC broadcast on the ISIS rampage in Syria.  A British scholar was asserting that the neoclassical architecture of Washington, DC was modeled in part on the ruins of Palmyra.

That's not where this poem came from, exactly.

A poem is the idiom of an idiot, full of flounders & slurry, signifying (maybe) something.  Ezekiel saw dem wheel's a'glory, way in the middle of the air (Louis Armstrong).  Eugenio Montale waxed lyric about this particular LP.

"Nummulitic" : art historian Adrian Stokes talks about the particular kind of limestone used to build the pyramids - called "Nummulitic".  After the nummulites, small protozoic creatures trapped in Egyptian limestone - from "nummus", or coin, in Latin, because of their disc-like shape.

Somehow we got from Egyptian nummulites to American dollar bills (with the pyramid & the disc) - from money to Mammon - George Washington on the other side.

Long way from the Lincoln penny.

Poetry is a work-in-progress, like the Earth (according to divine Providence).  Ursus here is a sort of image of the State as Beast (USA, RUS, USSR).  But the bears might be redeemed.  "Without vision, the people perish."

WOODEN LOGS

August departure... evening crickets

elegize on wooden

logs.  In Peto’s brownian

study, a sad decade disintegrates

like Queen Zeno’s palm-fronds, in

Palmyra.  One wing-scratched hand

pleads Washington’s jarred band

of masons (keening for Syrian

widows, orphan sons).  Important

information inside.

Your gravy train can’t hide

from Grace, her chaste Nubian portent –

always arriving never quite,

a Paradise for turtle-

dives.  So melt the mortal

Quito coin, our double-down knight

(shy U-bird cycling her parking

lot).  Concentric wheels

of Nummulitic seals...

one bears dawn for Ursus (barking

Mammon flipping tails) – the other

gyrates toward his irate

Beatrice – oceanic

ex, Czech mate (cyclonic mother

coated in cute limestone slime).

One down, one to go

up again, Horatio.

Antique Atlantis corals rime.

8.31.15

Reminiscences of 1865, by John F. Peto (Minneapolis Institute of Arts)