Metro, Milano

Three steps down,
and you inhale a wash
of metro exhale,
a garrulous breeze blending
smells of dirt, steel, people,
and the past. As with all metros,
even the air commutes.

Turnstiles and silly small
gates need to know about your ticket,
which gets eaten then
barfed up by something chrome.
How strange
that all the metro workers have
left these caves.

Because you think in cities
that violence whispers to everyone,
you hang back from the track
at least six strides.

The train bullies a wind
in front of it.  The car doors
hiss like bothered cats. Outflow
of guarded faces comes before
inflow of anxious faces,
and don't dare take your time,
as if it belonged to you.

How quiet the riders are.
The train does all the talking--
a recorded voice from the 1960s,
lilting and aloof. A few furtive
glances disrupt the numbed
glumness. In the caves,

a few beggars and buskers
reshape not at all the flow of torsos
and heads on legs.  Branches
of the River Metro flow against
gravity up to level, where
oceans of noise are ludicrously
loud. Below, above, it's all
a goddamned semi-efficient mess.
Take your allusions

to Plato, Styx, and Persephone
and toss them like a ticket.
Nobody cares.
This is urban business. Surplus
value rides these trains
wherever these trains ride.


hans ostrom 2018

Retirement Communities Advertise (Of Course They Do)

The retirement communities, where retirements
live in groups, advertise themselves. They
feature images of people who seem vibrant
like earthquakes, active like yeast, and
damned White, if you ask me.

I'm closer to living in such a place
than I was yesterday. I guess this
is true of a lot of people. My hip
aches, so I won't have too much more
to say here (a lie) than I wish the ads weren't

so cheery: It's basically the same appeal
that's used to get American children to get
their parents to buy cubic tons of stuff made
in Asia.  Except now the kids are indirectly
urged to shelve the Old Man and Ma here,
and not there. I'd prefer ads narrated

by Charon from his ferry. "Come on down!
We're at the corner of Styx and Acheron!"
Or a riff on Bergman's white-masked Death
playing chess. "It's your move . . . into
assisted living!"  Or an actor playing
Robert Johnson singing, "Meet me
at the crossroads, baby. We'll eat
some peas and mashed potatoes."

Or how about this: "Look, it's a
dormitory for the gray, it's okay
to smoke weed, and we promise
not to bother you or make you pray.
We don't guarantee it, but you
might get laid, somehow, some way."


Copyright 2012 Hans Ostrom