The Planet Is Hooked

The fish are getting high
on our pharmaceuticals. Perch
take anti-anxiety meds
prescribed by our sewage
and runoff & they swim
like hell. We like to share.
Gulls smoke our clouds of
junk, bears chew through plastic,
and clams can't find the calcium
anymore because of our acid trips.
The planet's on our street now.
We'll sell it anything.



hans ostrom 2013

Old Man, I'm Talking to You

Old man, I'm talking to you. I am you.
I didn't used to be. I used to fly past
on a train. You'd be sitting on a bench
at the station--gray eyes, gray sweater,
a blur of inert age. And I? Well, I

was all tendon-taught, unfraught, lithe,
and smug with youth. Uncouth. I was
on my way to . . . to here, as
it happened. And it's happened.

I'm situated at the station now, too,
talking to you, old man. Here
comes a train.


hans ostrom, 2013

Official American Poetry

Official American Poetry is a corporation like
any other. It has executive officers, middle-
managers, salespeople, controllers, and share-
holders. It operates major retail outlets

such as anthologies, presses, workshops,
and MFA programs. There are Academies
and Institutes, with canons on the parapets
and reviewers pouring hot grease on the mob.

Official American Poetry (OAP) frequently
says, "We are unamused by most american
poetry." When OAP notes an Interesting
Development, then OAP buys it up to

maintain market control. It bought up
Dickinson and Whitman, Plath and Sexton,
the Beats and LANGUAGE. There is insider-
trading, lobbying, and influence-peddling.

There's the awkward American imitation
of royalty (Pound crowning Eliot). OAP
is a tower of glass and steel. If you want
to try to try to trade independence for

recognition, go for it. Good luck.
Otherwise, just keep walking. And
writing. That's what Walt and Emily would do.
Bukowski and Bob Kaufman, too,

and this is not to mention,
and this is not to mention
all the poets alive, above and
under ground both at once.


hans ostrom 2013

It's the Birthday of Shakespeare, and He Wants to Know, "Who Is Sylvia?"

Earth Day--and Hopkins' "Pied Beauty"

"The Hour Glass," by Ben Jonson

What She Realized

She realized one day
that what she had produced
in her field was as good
and often better than
what the famous in her field
had produced. She knew
she'd never be famous.
She understood the machinery
that established hierarchy.
She knew that proclaiming
her work was as good and often
better was a losing ploy,
and she knew that complaining
was the sucker's payoff.
So she chose satisfaction.
According to hard criteria,
what she had done was good
and even excellent. Let it
be that, she thought,
and let the rest go.



hans ostrom, 2013

Bond of Union

(after M.C. Escher's Lithograph, "Bond of Union," 1956)


We first met in a vat of soup,
you and I. The bubbles entranced.
Then they turned into spongy spheres,
and the soup evaporated entirely.

More adventure: our insides--
brains and guts, bones and such--
departed. We became mere ribbons
of being, me with my sad goatee,

you with your lovely mouth
and luxuriant hair. We discovered
but one ribbon became us. So we
move cautiously now and try

not to attribute blame.


hans ostrom, 2013

From Inside a Renoir Painting

I am speaking to you from one
of Renoir's paintings. My voice
shatters softly like light.
I'm perspiring terribly
beneath these tight clothes,
these goddamned buttons and bows.

I'm drunk in that annoying way--
you know: wine gone sour
in the belly, head heavy, ambition
for a sexy evening vanished.
Only a nap says to me, "Hey."
I'm glad you like the painting.



hans ostrom, 2013

"Tour of a Painting"

Thanks: A Poem

Life happened to me,
fortunately. It could
not have happened
to me, quite possibly,
although there would
have been no I to have
missed the opportunity,
no sensor of vacuity.

Occasionally, one asks
why, or what have I done,
or what was I supposed
to do. No clue. I'm
nothing more than just
another you perceived or
not by other I's and yous,
we's and theys. Thanks are
a kind of praise.



hans ostrom, 2013

The Great Age of Fingernail Polish

Citizens, we've entered
the great age of fingernail polish.
I should be writing about things
less trivial. Apologies.
But I've been out among women
whose digital surfaces have been
enameled with all the colors
that have escaped the spectra.
And I could look at women's
hands forever. And women's hands
are not trivial.



hans ostrom, 2013

The Brain's Oven

The old woman
who slid a pan of cookies
into my brain's oven
never returned.
The cookies have turned
into black dots that float
across my vision.
I reek of burnt dough.

I lie on my side like a
buffalo who's been reading
Hegel on the parched
plain of Kansas for
example. Invisible merchants

empty microscopic vats
of hot slime on my neck,
my forehead. A thin woman
with cold fingers practices
scales on my spine,
and a chorus of angelic rats
prevents me from nodding off.

I raise one hand
as if to conduct
their concert. And I
pass out. I am a loser,
I am a loser, hallelujah
and amen.


2013 hans ostrom