quiet end of the year

LOVE’S CAVERN

At the quiet end of the year,

among the barn smells

a chilly infant wails –

a refugee.  Shepherds draw near.

He is king.  His mother is

queen.  His father is

a mule-driver (was,

anyway) – Vietnamese,

I think?  They live in Egypt now.

They’ve never seen Ghiberti’s

Gates of Paradise –

that brazen lava overflow

to metamorphoses of fiery dream

and rock – sedimentary,

igneous, flickery...

roiling sun to spring, upstream;

they’ve never been to Providence

or heard the Rose Ensemble

whose violas tremble

with harmonious transience...

they live the poverty of innocence.

Light flickers in a manger.

Someone senses danger –

cows murmur, chickens grow tense...

enormous shadows of the monster-men

leer over flesh & blood.

It is the shadow of the rude

star burning in the last heaven

                  *

– the red star, bringing rectitude

out of the mild mien

of that child-man –

incarnate stony magnitude

heavy past sullen measurements

of every swollen tinpot

despot in his chariot.

Matrix of cosmic elements –

the figure of a man emerges,

burning in brazen tongs

and glossolalia of tongues

from every tribe.  Sea surges

multitudinous, incarnadine...

Ocean called universe

forging one verse

with arches (catenary, almondine).

So combers crested in a tower –

moonbright Witch’s Hat

tenting her desolate

oak-limbs (snowy owl’s bower).

Quetzalcoatl, brazen serpent,

lift each refugee of time

into your feathered rhyme

of flame.  Your flicker-tongue, sent

dancing into each soul’s paradigm –

the sparkling river, bent

back to its fundament;

Love’s cavern, salting every lime.

12.23.17

bearing her true report

ROSE TATTOO

This tenderness of moss-green light

in the craggy oaks around

the Witch’s Hat (ground

bass of Sibelius, to finish right).

The hat itself a darker green.

Twilight of thunderstorm –

fork-gyring twister-worm

over holm oak in Oklahoma (lonely

scene, brooding).  That mounded Pan

by Mississippi, in Rez

graveyard... his enormous

Rabbit-corpus.  Heavy Everyman

skittered, skating on ice

unswift as raven-wing

(Po-boy, kow-towing

Whitman’s rust-mold Providence

under the night-shade of Cautantowwit).

Earth shaken by thunder,

horns of Minotaur – 

titanic labyrinth of lies (knit

by yon dull orange cur, on fire).

Outcast beyond these walls

Jerusalem worm-hurls

against the black hole (central pyre

                *

of Man’s propensity to murder)

– bearing her true report

like tattered gun-shot

pennant under murk of war.

These damaged epitaphs of pride

& shame (twin Boanerges

buried for albino

snow-contagion).  No crypt can hide,

no script elide.  Vermilion Thunderbird

wheels down to Red Wing

tallying everything

& reckoning each deadman’s ford –

plumb eye of blistered Galilee,

eye of the hurricane.

Out of the depths, someone

traces an arc of palm, for Henry –

skipping from the sea like royalty

(posthumous Davy for

posterity).  Sea-floor

of grey Jonah.  Ocean-reality.

From Queequeg’s casket, like Osiris-

tomb, the rose tattoo

(framed by two-man canoe

of Manitou) slowly rises –

sweet grail of sunken Paradise.

The maze of Ariadne

beams from Milky Way –

meek penny-glow (seal’s copper glaze).

4.30.17

figure for equality

DOUBLE LINE

The Mississippi mottled with ice

a milky translucence

in the limpid air.  Sense

of coral rings solidifying.  Twice

& twice... smoky astigmatism

of a sundog rainbow.

Miss Destiny, Hobo.

Frescoed Siena formalism –

sweet couch of Pax, Justitia,

grave horsehair salience.

A gray circumference

of flags, targets... the palm of Jonah

read into fragile cat’s-cradle

or spiderweb.  A disk

of gold nailed to a casque

(louis, doubloon) – mandala-medal

for Hamlet’s mettle (or Macbeth).

Time circles on a nail;

therein hangs a tail.

Serious blasts off the mast of death.

The little copperplate landscape

of Tower Hill (the Witch’s

Hat) my mother etched

reminds me of Big Bear’s last scrape –

Henry’s author – the buried man

on Arthur Ave.,

#33 (just below

that rise) – black Denmark sun

                   *

son of Dragon Pen.  & round

the table in my heart

Little Bear will shout

for joy – recomposing the sound

of Mendelssohn, his neighborhood

(old Arthur St., where

we’d begun).  Circular

the agate labyrinth, dark with the blood

of Jonah Fisher-King.  The gray

bird croons in the tamarack.

The rigid Minotaur is back –

orange Leviathan in search of prey;

only a copper penny in a well

might draw the milky-grey

dolphin to leap this way,

& breach his livid traitor’s spell.

Only a moon-shot Camelot;

only a breathing dream.

Green island scheme

lifted from pyramidal plot

to float – an almond eye within

a double line, one lofty

figure for equality.

Sign of a Jonah resurrection

(life-saver up from hurricane). 

So pearls shine from a shell

beneath deep ocean-swell,

Earth circling Maypole again.

2.5.17

The Hiawatha

SMOKE-SIGNUM

I carry Sophie through the snow

to the summit of Tower Hill.

She says, It’s magical

(prodigal 2-yr-old). & so

it is.  That conical moss-green

Witch’s Hat crowns

a Yeatsian limestone

keep (prehistoric submarine

barnacled with biomorphic

hieroglyphs).  Isis

the octopus gathers

her segmented sea-worm (limbic

bronze phosphorus monarch child)

in streams of time – before

the 9th planet was born,

or knowledge-tree known (wild

afterthought of smoke-signum).

Chicago Hiawatha

arrowed here, truer

than rue – trained consummation,

like soft carnation in Quaker lapel

(hexagonamatrix).  Rule,

Scattergood Friends School –

your West Branch harbor (charitable

agape) a hostel in a hostile time.

Justice for orphan, widow,

refugee.  Praise be, grey

catenary icon (9-twined lime).

1.20.16

Tower Hill (Prospect Park, Minneapolis)

Yeats' Tower Hill (almost)

GHOST-SHIP

The long year closes on snowfall,

finally.  Over the ridge

to the Witch’s Hat, a ledge

over Arthur Ave. (#33 - les

jeux sont faits, John Berryman).

My father’s flinty ashes

by the creek, that washes

through my mother’s thoughts.  A man,

c’est tout.  Her lacquered plate

of autumn gold (Yeats’

Tower Hill, almost)

shines for the poet now, like fate.

A circle, fiery wheel of light...

Apollo’s chariot,

or Noah’s boat... a plot

of Plotinus, from cloudy height

of thunderherd – heart-mirth

of chuckling Apollinaire

(his swaddled head a pear

donated to interstellar 4th

or 14th (Q) Juillet).  The pattern

gold, shot through by fencing

needles, under the glancing

plectrum of wind-beaten mast.  Stern

heights & forthright gunnel-curves

of one gaunt ghost-ship

surging through the deep –

one orange alba-ange flares (swerves).

12.30.15