Spaces:
Sleeping
Sleeping
| Copyright (c) 2003 by John Moncure Wetterau | |
| The Book With | |
| The Yellow Cover | |
| John Moncure Wetterau | |
| (c) copyright 2003 by John Moncure Wetterau. | |
| This work is licensed under the Creative Commons | |
| Attribution-NoDerivs-NonCommercial License. Essentially, anyone is free | |
| to copy, distribute, or perform this copyrighted work for | |
| non-commercial uses only, so long as the work is preserved verbatim and | |
| is attributed to the author. To view a copy of this license, visit: | |
| http://creativecommons.org/licenses/by-nd-nc/1.0/ or send a letter to: | |
| Creative Commons | |
| 559 Nathan Abbott Way | |
| Stanford, California 94305, USA. | |
| ISBN #: 0-9729587-0-3 | |
| Published by: | |
| Fox Print Books | |
| 137 Emery Street | |
| Portland, ME 04102 | |
| foxprintbooks@earthlink.net | |
| 207.775.6860 | |
| Some of these poems first appeared in: Poetry East-West, The Maine | |
| Sunday Telegram, The Maine Times, Nostoc, Backwoods Broadsides, | |
| H.O.M.E., Headcheese, Chants, Backwoods Broadsides Chaplet Series, Café | |
| Review, and To Keep You Company. | |
| for w.cat | |
| I had a book of Chinese and Japanese poems that I gave to a friend on | |
| the west coast. It was a very small book with a yellow cover, stapled | |
| together. No adornments. Just the poems, alive after hundreds of years. | |
| J.M.W. | |
| The Japanese Mason | |
| Without haste, gathering | |
| scrape of the trowel, | |
| slap of cement, | |
| reaching for a block, | |
| setting and tapping it level, | |
| turning with the wheelbarrow, | |
| graceful, sweating, | |
| freed | |
| of every moment. | |
| Kauai | |
| Sweet Hawaii | |
| Even if somebody did steal | |
| my battery, generator, oil cap, | |
| visegrips last night, | |
| I passed the test to be a taxi driver, | |
| and even if I don't have the money | |
| to buy a _Charley's Taxi_ shirt, | |
| congratulations to me. | |
| I'll figure something out. | |
| I'll have coffee in _Everybody's Bake Shop; _ | |
| I'll write Varve and Finn, | |
| tell them I love them, | |
| tell them sweet Hawaii | |
| going to be our new home. | |
| Honolulu | |
| Bus Stop | |
| 14, eyes of a deer | |
| in bamboo. | |
| 16, heavier, going to school | |
| without her books. | |
| King Street | |
| Honolulu | |
| For Rob | |
| Handsome Rob. | |
| Half the women hate you; | |
| the other half | |
| will give you anything. | |
| Deep in Nam: | |
| your buddy shot, tracheotomy. | |
| "He died happy," you told me, | |
| "he believed I was going to | |
| save him." | |
| Perhaps he knew | |
| he would lie in your arms | |
| forever. | |
| Too Big | |
| Listening to Schubert | |
| while Great-Aunt Hannah | |
| embroiders on the wall, | |
| and darkness closes-- | |
| what have we come to? | |
| We've gone wrong, | |
| too big | |
| to find our way by song, | |
| light | |
| falling on a face | |
| and handkerchief, | |
| illumination | |
| in the manner | |
| of Rembrandt. | |
| Peter's Answer | |
| Little Blue Heron, young, still white, | |
| by the north causeway bridge-- | |
| stick legs, too thin | |
| for the swelling body, | |
| the visual weight of feathers, | |
| stepping slowly in shallow water, | |
| long toes trailing limply, then | |
| extending, three splayed forward, | |
| one back. Brilliant neck | |
| curving, poised. Dagger beak | |
| the same gray as legs and toes. | |
| Why is nature beautiful? | |
| The lust for pattern, Peter said. | |
| The heron's head rose and twisted, | |
| circular eye, light brown, orange | |
| rimmed, ancient intelligence | |
| asking a different question. | |
| I was unmoving, not dangerous. | |
| The heron turned to hunt, | |
| brush, a cloud above the river. | |
| New Smyrna Beach, | |
| Florida | |
| Wally's Poem | |
| Dolphins surge up and under. | |
| Mozart's soprano | |
| stitches the heart together. | |
| Washes for a watercolor. | |
| An ant crosses my foot. | |
| Wallace Klitgaard; | |
| _Epitome of Splendor_-- | |
| ants, sun, one's lot. | |
| He typed it himself, | |
| showed it to me on the bus | |
| 38 years ago. | |
| He was grinning, | |
| the glad no age | |
| that we become, bent | |
| to making clumsy prayer. | |
| Morning, Maine Honolulu | |
| Early mist breaking | |
| on low tide, mud smell. | |
| Ducks, the small birds, | |
| the rooster down the road | |
| begin to sing the air, | |
| the light, the whole | |
| enormous chance | |
| grateful as the old people | |
| reclaiming Pauahi Street, | |
| seeing each other in doorways | |
| after the night. | |
| I Would | |
| In 1948 | |
| I walked all the way | |
| to 14th Street | |
| to buy a bow and arrow. | |
| It was 30 cents; I had 29. | |
| The woman sold it to me anyway | |
| and I was free and happy | |
| on Sixth Avenue | |
| as any Indian. | |
| If I could find her tonight, | |
| I would keep death far away. | |
| For Anita Bartlett, | |
| Too Late | |
| Why cannot blue be enough? | |
| Light in the sky, dark in the sea, | |
| the shades between. | |
| The green of fields, | |
| red clover, buttercups. | |
| Bridal white of apple blossoms, | |
| burial earth, hawk's feather, snakeskin. | |
| Monarchs, Anita, | |
| feeding on purple aster, | |
| fluttering up, | |
| sun glowing orange, brown, bronze | |
| through black edged wings, twenty | |
| joining twenty joining a hundred, | |
| down, up, over, from | |
| color to color | |
| to Mexico. | |
| Clouds booming over | |
| the washed woods, | |
| blue sun, Finn eats | |
| chop suey from a pot | |
| while I shave. | |
| Six months to dismantle | |
| the dead rooms of a marriage, | |
| down to a borrowed tent, | |
| patches of snow, and invisibly, | |
| all around us, sap rising | |
| in its own sweet time. | |
| April, Maine | |
| Alexis | |
| Icons, coal mines, Ten Mile Creek, | |
| the Monongahela, | |
| a long way to this house | |
| by the Kennebec, | |
| sitting erect, | |
| brushing your hair, | |
| fire and peace in your cheeks, | |
| preparing for the further | |
| steppes of feeling. | |
| Back In Town | |
| Billy Frailly's got a new shirt, | |
| shaved and walking down the road | |
| ready for anything. | |
| When I was in fifth grade | |
| Billy powered his bike up Church Hill | |
| (black Stetson, yellow kerchief). | |
| I helped him shovel out Mrs. Cowell's | |
| parking place. He did most of the work, | |
| but he split the money fifty-fifty. | |
| He's an outcast now; | |
| no frontier he can reach. | |
| But he's not crying, and we know | |
| there is no virtue, only consequence | |
| and the sometimes music | |
| of a new shirt. | |
| Woodstock | |
| Bluejay Feather | |
| Bluejay feather | |
| in the grass. | |
| Something was here | |
| once, | |
| A flash of color, | |
| a harsh cry, | |
| and it was gone. | |
| The feather remains: | |
| tough, precise, | |
| useful | |
| For Sylvester | |
| On his 40th | |
| Talking To Myself | |
| Early dark blue, one jet trail | |
| arching past Venus, | |
| snow coming tomorrow. | |
| My mother, | |
| unable to move. | |
| Hit it down the road, seven hours, | |
| stand by her bed, | |
| acknowledge the bond of blood, | |
| the sensitivity | |
| she could never handle, | |
| that I have ridden to beauty | |
| beyond all expectation. | |
| Wilson Street | |
| Low gray sky. | |
| Cold. Still. | |
| Christmas tree upside down, | |
| tinsel on dirty snow. | |
| A yellow balloon | |
| bounces slowly | |
| across Wilson Street. | |
| A black cat | |
| glides three steps up, | |
| turns in a doorway. | |
| Portland | |
| On Looking At A Mediocre Painting | |
| Thin paint. No passion. | |
| We would agree, I know, | |
| although we met only once-- | |
| some things are in the blood. | |
| Mustard, orange, navy blue | |
| around a fake significance. | |
| The loss of Ireland, the 19th century, | |
| what were you to do? | |
| Fuck the beautiful, the gifted | |
| (my mother before she went crazy); | |
| leave the clanging cockroach cold | |
| behind (Bobby); | |
| find the best (Pollock, Kline, | |
| Noguchi, Nakian), | |
| live uptown (Kevin); | |
| die finally. | |
| Well, ashes to ashes then. | |
| But the three of us--your sons, | |
| scattered to separate lives-- | |
| one way or another | |
| we carry you on, | |
| this eye, | |
| this fist within. | |
| Sean | |
| Every Moment | |
| Sun warms | |
| one side of the alley. | |
| A young woman smiles at me, | |
| surprised by her new beauty. | |
| Sex, tenderness, cobblestones. | |
| Once I was a Venetian | |
| with my last gold coin. | |
| Once I broke my vows | |
| and left the Order. | |
| Arms around her legs, | |
| the blue milk crate | |
| on which she sits, the | |
| kitchen door propped open | |
| with a mop--every moment | |
| like this. | |
| Portland | |
| For Tamey | |
| Drove over the bridge today, | |
| saw the water far below | |
| and once again imagined | |
| your last jump-- | |
| desperation, pain, relief, | |
| a twist of gallantry | |
| across your face, | |
| your final bow to the truth | |
| you always told me to tell. | |
| You sure as hell saved my life. | |
| Tamey, I could never say goodbye. | |
| I miss you. I wish | |
| you could have played with Finnegan. | |
| Rough cloth, | |
| the gathering of giant ferns | |
| woven together, supple, bending, | |
| energy moving up your spine, | |
| mind dancing in the night, | |
| Palm Tree Exercise. | |
| Kailua | |
| The Early Ones | |
| Black night turns dark blue, | |
| a wedge of lighter blue, | |
| dim gray. | |
| Outposts on the beach | |
| become aware of each other: | |
| narrow stones | |
| aligned to the east, | |
| grouped around a driftwood stick | |
| sixteen inches high. | |
| In an hour-- | |
| sheltered by grass, overhanging | |
| edge of the continent-- | |
| they will cast long thin shadows; | |
| they will be first, | |
| brave against the day. | |
| For an anonymous sculptor, | |
| Crescent Beach, Maine | |
| Warm Sake | |
| Warm sake, sashimi maguro, | |
| blood red slices on a wooden block, | |
| light green chicory, pickled ginger. | |
| Outside: harbor ice rocking in the tide, | |
| translucent, thin dark edges | |
| swirling in black water. | |
| Shiki | |
| Portland | |
| Leaving Finn | |
| Las Cruces at dusk, | |
| necklace on the desert. | |
| Back in Tucson, Finn | |
| recovering from surgery, | |
| sweat on his nose, | |
| trying to smile, whispering, | |
| "Have a good trip, Dad." | |
| Late Breakfast | |
| Red nails, | |
| gold cigarette, | |
| young pampered mouth, | |
| hair drawn back, | |
| a sense of having reached | |
| her limits, | |
| a perfect twenty-two. | |
| There was a moment | |
| when she chose all this. | |
| I must begin again, | |
| without shame. | |
| Wailana Coffee Shop | |
| Honolulu | |
| Spring Dream of SueSue | |
| Perfectly quiet | |
| a trout lets me hold him. | |
| You surface laughing, | |
| dark hair, | |
| blue shirt unbuttoned. | |
| March | |
| Lament For Paul | |
| Scratching your beard, excited, | |
| "Fantastic," you said about | |
| the Beatles' new record. | |
| The next night you played | |
| your own shy songs, surprising us. | |
| You were crushed beneath your car, | |
| but your songs, Paul, I heard them. | |
| We all heard them. | |
| Woodstock | |
| For Coyote | |
| I think of you drinking, dancing, | |
| unable to sleep, reading until first light, | |
| a blanket drawn around your shoulders, | |
| afternoons, working your wheel until | |
| the time to mingle with true hearts, | |
| raise glasses, hug, laugh, | |
| help as you can. | |
| We are all dying, slower or faster, | |
| but it hurts to watch. | |
| And out of the numb exuberant wreckage of your days | |
| come these raku pots-- | |
| graceful open shapes, lines freely | |
| scratched into the clay, deep turquoise, | |
| copper glazes, extravagant, surprised, | |
| too beautiful for tears. | |
| After Months | |
| Shifting unstable air, | |
| patches of light, | |
| raindrops standing on | |
| the candy red gas tank | |
| of a Kawasaki 750. | |
| Coming down harder, | |
| bouncing off the seat, | |
| dripping from the tips | |
| of black rubber handgrips, | |
| tach speedometer needles | |
| resting on their zero pegs, | |
| twin mirrors focused back. | |
| October, | |
| Maine | |
| Fortune Cookie | |
| Almond lemon gritty on the tongue, | |
| --_TIMES LONG AGO WILL PRESENT | |
| A SPECIAL TREASURE TO YOU_-- | |
| A moment whole again? | |
| To see more clearly, Trudi, 17, | |
| washing in the Woodland Valley | |
| stream. Tamey, | |
| giving me another nickel | |
| to play pinball. | |
| Barbara's smile, wanting a child. | |
| My grandfather's arm, levering | |
| a floor board, skin hanging | |
| from his biceps cord, | |
| holding while I nailed. | |
| So many treasures I can't quite see. | |
| Wrecking Ball, Commercial Street | |
| Salmon streaks of pulverized brick, | |
| white pigment, tar, nicked and scarred | |
| in every direction, patina of blows | |
| on a mute obdurate interior. | |
| Six weeks I carried it until | |
| the beautiful surface cast off, | |
| weightless. The iron opened from | |
| the inside out and like a new bell | |
| began to sing. | |
| For Elena | |
| The Polynesian Navigator | |
| Swells current, | |
| sky rimmed, | |
| shell on a stick chart | |
| promise of land, | |
| alone and | |
| singing. | |
| Kahuna's Way | |
| Twisting through high cane, | |
| silver green, tossing in the trade winds, | |
| toward the mountain wall | |
| dark green jagged, deep shadows | |
| where a warrior prayed, | |
| ancient silence, Kahuna's way, | |
| beyond King Sugar | |
| and the city that is coming. | |
| Hulemalu Road | |
| Kauai | |
| 41, In The Honolulu Public Library | |
| Like beautiful fish | |
| moving slowly through coral, | |
| they eddy through the library, | |
| dark hair, bright dark eyes, | |
| the wisdom of their mothers | |
| lying gravely on their faces; | |
| ready to love, to stay, | |
| they flick away | |
| on currents deep and proper. | |
| For Catherine, someday | |
| in a quiet hour, wondering | |
| what is possible | |
| When I hold your mother | |
| while she holds me, | |
| all that was, is; | |
| the future comes | |
| moment to moment, | |
| complete. | |
| For this, salmon swim | |
| their river, elephants | |
| remember, wild geese | |
| call out at dusk. | |
| I fought and risked, | |
| trusted and betrayed. | |
| How can you find another | |
| before you find yourself, | |
| traveling the heart's way, | |
| alone, unsure, knowing only | |
| that you must? | |
| Rage's Place | |
| Put your forehead | |
| on the ground and | |
| pound your fists. | |
| Curl on your side, | |
| close your eyes, | |
| scream silently. | |
| You will not be | |
| answered. No. | |
| But your cries-- | |
| your cries will be | |
| clothes and flowers, | |
| honor | |
| for the journey. | |
| for David and Louisa | |
| The Purkinje Shift | |
| All day, snow, | |
| now turning gray, | |
| trees darker | |
| in the fading light, | |
| violet peace | |
| before the night, | |
| slowly drifting | |
| toward the solstice. | |
| December | |
| Bee Fantasy | |
| Reaching, high on | |
| the shoulders | |
| of thinner air, | |
| rising with the Queen, | |
| the view! the view! mating | |
| falling and falling | |
| back to meadow, | |
| the warm dark, | |
| first light, | |
| dancing out the maps. | |
| The American Way | |
| F18's screaming down | |
| wing tip to wing tip, | |
| brave, lethal, steady nerve. | |
| Johnny Copeland's lead guitar | |
| ripping through the air, | |
| taking us faster, inverting, 6 G's, | |
| dark forehead, sweat, hot and loose. | |
| Face at the bar, arched eyebrows, | |
| black hair back, wide mouth, | |
| brooding, sensual, slightly battered. | |
| Fighters, blues man, beauty, | |
| power at the edge, | |
| the American way. | |
| Maine | |
| The Sculptor's Trade | |
| On white stands: | |
| azure/turquoise branches, | |
| flow and knuckle taken | |
| by poured bronze-- | |
| bent, welded, gripped, | |
| held, colored-- | |
| artifacts, works in progress, | |
| ship's ribs, basketry, | |
| child's play. | |
| Hands dream as they fashion, | |
| remember what they feel | |
| (her thin shoulder, | |
| a 9/16 inch wrench). | |
| Let go. Follow | |
| the sculptor's trade. | |
| Find and shape | |
| what is not known | |
| until it's made. | |
| For John von Bergen | |
| Elegy For Simenon | |
| Fresh air, faintly salty, | |
| smell of bark and fallen apples, | |
| small pond, lily pads, | |
| dark water. White blossoms | |
| tinged with ruby, floating, | |
| heavy with light. | |
| You enter one, still searching. | |
| Slowly, | |
| petals fold around you. | |
| Deer Isle, Maine | |
| Unfinished | |
| Your hands | |
| for clothes. | |
| Your legs, | |
| home. | |
| We | |
| For w.cat | |
| Married twice, | |
| once in a church, | |
| once in City Hall, | |
| each good in its way. | |
| Now I choose the shade | |
| of a live oak tree, veils | |
| of Spanish moss, | |
| a hundred cicadas | |
| singing in the branches. | |
| You are in the north, | |
| but still we join | |
| beneath this green | |
| and raucous dome | |
| Mated. Complete. | |
| Mindful | |
| of those | |
| alone. | |
| New Smyrna Beach, | |
| Florida | |