Friday, January 1, 2021

From a Diary of the Plague Year (20)

Masked, we stand like sentries.
In line six feet apart at
our local post office. 

At the counter, postal
clerks query clients, shuffle
forms, tease computer

screens, and explain.
And explain. Their knowledge
and patience are gnostic.

They meet miffed 
remarks with measured
words, weighing them

like a package bound
for anywhere on the planet.
Older ones of us

in line may see 
the Post Office as sacred.
May have lived on rural

routes or in micro-towns.
The world got in touch
with us through the Post

Office. Some may have
dabbled secretly in 
philately. Or corresponded

with St. Nick. Or ordered
a baseball glove or a doll
from a catalogue as thick

as an oak stump. We 
do not know why a crowd
in power wants to wreck

this secular temple. Weary,
always mocked, the post office
is, like a library or a free

clinic, the kind of institution
that saves civilization, 
as drops of rain eventually

save crops. Which is why,
in line and masked, holding
boxes and plump 

envelopes, we accept
the wait
with everyday grace. 

Thursday, December 31, 2020

Under the Horizon

 [version two]


The Old Man got body-tired of 

and mind-bored with

labor about the same time.

Built his last rock wall at 70.

 

I thought of him today 

when I was chopping at a vegetable

garden's frozen mud in January.  


My mind let my body make my mind

think, "This shit is getting old."

How he would have phrased it. 


I felt like I thought  the sun

looks when it seems to drop

below the top of shadowed hills:

ready for bed. Of course there's more

work waiting under the horizon.

from "New Year Letter," by W.H. Auden

 Reading/video of excerpt from W.H. Auden's "New Year Letter":

https://www.youtube.com/watch?v=NTQVfZr9VZE

William Tell Ravine

 [second version]


(a tributary of the North Yuba River, Sierra County, California)


Before he'd heard anything about Switzerland, Schiller,

Rossini & stuff, he'd looked across the river from the house

at the long white beard of William Tell Falls. The sheer-drop

ravine looked perpendicular.  No home for trout.  Im-


pulsively, at 17, he decided to hike up there.

Headed out, crossed the river, climbed straight up,

more laddering than walking. Ravine was path in form 

of bedrock. Manzanita brush walled the sides.


He got as far as the pool the falls slapped in jagged

pulses. Sounds of that constant collision careened

around the stone box. There was no climbing further.

In soaked jeans and wet boots, legs loaded up


with lactic acid, he slithered down like an arthritic

snake, satisfied to have spied on a geologic scene,

to have introduced himself to William Tell Ravine,

and to have witnessed water and rock in their own time.


Sunday, December 20, 2020

Merry Christmas, Mary Magdalene

Merry Christmas, Mary 
Magdalene, you who to me
are the most interesting of all.

First one to the tomb.
Long black hair, deep brown
eyes, say I. Vigilant in chill
darkness, stars heavy overhead.

You were the first to see
refabricated Jesus, your friend--
now a floating Christ,  now close 
to but forever distant from you.

You: who knew his smell, his temper
and teeth. Laughed with him.
What was funny to you both?
Watched him tortured in the sun.

What is wrong with people?
That's a pertinent religious query. 

At the tomb, soon other women
assembled. (The men, long gone.)
They saw what you saw and talked.
You stayed quiet. My God,
your thoughts, Mary Magdalene:
if somehow we could know them . . . .

McCoy Tyner

 (1938-2020)


Once

in Berkeley, smoke like Bay fog lay

over heads of cool-hip-jazz-club-clientele &

waitresses slivered through tables/bodies/chairs,

kept drinks coming, ice and glass and liquid held aloft &


Mr. Tyner


--he hit the mthrfckn keys

so hard one time strings

popped & whipped  like snakes out

‘the belly of the grand dark


piano


& the percussionist had some

mojo stuff hanging from racks—

bones, steel tubes, feathers—


all


humid and scratchy and knock-talk

click-back bicker-bock-a-zone

sounds, & McCoy was rippin and roarin,

working the gift


out


of Keyborderland. And the horns. It was a big

marrow-filling, ear-enlightening night. Outside

after encores:


cool, misty Berkeley. Had a look around

to see which way the karma blew,

got in the ’67 Camaro, drove back up EYE-80

to plain brown-cow Davis, college town,


brain


humming like the lowest pianoforte

E-note pedaled through the measures.

"Winter Solstice," by Kara B. Imle

 A link to a fine poem by Kara B. Imle, "Winter Solstice," in the online journal medium:

https://kbimle.medium.com/winter-solstice-3d415e434d2a

Friday, December 18, 2020

Traveling Cat

 (second version)


He was a traveling cat. He raced

and slunk, padded and trotted, sleek

and balanced, tendons full of

future speed.  He moved soundlessly

but for a hiss or a yowl now

and then, or a crazy crash,

never his fault. Yes,  a


questing cat, moving from this to

that, from at to at, detecting

motion, smooth as lotion, reading

air, decoding sounds from

everywhere. Itinerant and


cool, self-possessed and freely

feline--leonine, nined up with lives,

purring worries, cagey but uncaged,

guileless and wise.  Green eyes.


2020

Thursday, December 17, 2020

Bartok and the Stars

 (second version)

"The ways of life are infinite and mysterious."- Georgio Scerbanenco, Traitors to All, translated by Howard Curtis



In spite of my playing, the piano

produced a simple minuet by Bartok, 

which made me think of walking

cautiously across a frozen pond.


An empty coffee cup sat there

on the bookshelf. Cool ceramic.

Out there, and "up":  night.

And stars, which we think of


as a permanent installation, 

not a chaotic map of explosions

or freckles on an infinite face.

I dream recurrently about new


stars, close and bright, 

flowing past in a sky-parade

as I look up from a meadow

in mountains and watch, 


thrilled and terrified. I almost

forget to breathe. Someone I can't see

says, "Words are stars. I've

told you that before. Many times."

Istanbul Evening

 (second version)


A white, four-masted yacht slips between

dingy barges and trawlers, disappears into

a blue haze on the Sea of Marmara. The call

to prayer's an hour away. Swallows dive

and glide, pigeons prowl, the sun's

about to settle down. 


Below the terrace, lush maples and oaks

sigh and sway, leaning west. Sounds of traffic,

children, and work never cease. Near a mosque's

minaret on the hill, a faded Turkish flag

flutters in slow motion. Now a seagull appears.


It glides in a wide arc, which now becomes 

a large invisible circle. The glide traces

ever smaller concentric circles against 

the backdrop of the sea until the gull 

lands precisely at the point of a rooftop

below. The gull stands,


strong and ready, facing a low sun, and

something in the scene says all is well

this evening, even when it may not be,

especially if it may not be.