Poems 1962-2012 (16 page)

fixed like telescopes on some

enlargement of yourselves—

Why would I make you if I meant

to limit myself

to the ascendant sign,

the star, the fire, the fury?

VESPERS

Once I believed in you; I planted a fig tree.

Here, in Vermont, country

of no summer. It was a test: if the tree lived,

it would mean you existed.

By this logic, you do not exist. Or you exist

exclusively in warmer climates,

in fervent Sicily and Mexico and California,

where are grown the unimaginable

apricot and fragile peach. Perhaps

they see your face in Sicily; here, we barely see

the hem of your garment. I have to discipline myself

to share with John and Noah the tomato crop.

If there is justice in some other world, those

like myself, whom nature forces

into lives of abstinence, should get

the lion's share of all things, all

objects of hunger, greed being

praise of you. And no one praises

more intensely than I, with more

painfully checked desire, or more deserves

to sit at your right hand, if it exists, partaking

of the perishable, the immortal fig,

which does not travel.

VESPERS

In your extended absence, you permit me

use of earth, anticipating

some return on investment. I must report

failure in my assignment, principally

regarding the tomato plants.

I think I should not be encouraged to grow

tomatoes. Or, if I am, you should withhold

the heavy rains, the cold nights that come

so often here, while other regions get

twelve weeks of summer. All this

belongs to you: on the other hand,

I planted the seeds, I watched the first shoots

like wings tearing the soil, and it was my heart

broken by the blight, the black spot so quickly

multiplying in the rows. I doubt

you have a heart, in our understanding of

that term. You who do not discriminate

between the dead and the living, who are, in consequence,

immune to foreshadowing, you may not know

how much terror we bear, the spotted leaf,

the red leaves of the maple falling

even in August, in early darkness: I am responsible

for these vines.

VESPERS

More than you love me, very possibly

you love the beasts of the field, even,

possibly, the field itself, in August dotted

with wild chicory and aster:

I know. I have compared myself

to those flowers, their range of feeling

so much smaller and without issue; also to white sheep,

actually gray: I am uniquely

suited to praise you. Then why

torment me? I study the hawkweed,

the buttercup protected from the grazing herd

by being poisonous: is pain

your gift to make me

conscious in my need of you, as though

I must need you to worship you,

or have you abandoned me

in favor of the field, the stoic lambs turning

silver in twilight; waves of wild aster and chicory shining

pale blue and deep blue, since you already know

how like your raiment it is.

DAISIES

Go ahead: say what you're thinking. The garden

is not the real world. Machines

are the real world. Say frankly what any fool

could read in your face: it makes sense

to avoid us, to resist

nostalgia. It is

not modern enough, the sound the wind makes

stirring a meadow of daisies: the mind

cannot shine following it. And the mind

wants to shine, plainly, as

machines shine, and not

grow deep, as, for example, roots. It is very touching,

all the same, to see you cautiously

approaching the meadow's border in early morning,

when no one could possibly

be watching you. The longer you stand at the edge,

the more nervous you seem. No one wants to hear

impressions of the natural world: you will be

laughed at again; scorn will be piled on you.

As for what you're actually

hearing this morning: think twice

before you tell anyone what was said in this field

and by whom.

END OF SUMMER

After all things occurred to me,

the void occurred to me.

There is a limit

to the pleasure I had in form—

I am not like you in this,

I have no release in another body,

I have no need

of shelter outside myself—

My poor inspired

creation, you are

distractions, finally,

mere curtailment; you are

too little like me in the end

to please me.

And so adamant—

you want to be paid off

for your disappearance,

all paid in some part of the earth,

some souvenir, as you were once

rewarded for labor,

the scribe being paid

in silver, the shepherd in barley

although it is not earth

that is lasting, not

these small chips of matter—

If you would open your eyes

you would see me, you would see

the emptiness of heaven

mirrored on earth, the fields

vacant again, lifeless, covered with snow—

then white light

no longer disguised as matter.

VESPERS

I don't wonder where you are anymore.

You're in the garden; you're where John is,

in the dirt, abstracted, holding his green trowel.

This is how he gardens: fifteen minutes of intense effort,

fifteen minutes of ecstatic contemplation. Sometimes

I work beside him, doing the shade chores,

weeding, thinning the lettuces; sometimes I watch

from the porch near the upper garden until twilight makes

lamps of the first lilies: all this time,

peace never leaves him. But it rushes through me,

not as sustenance the flower holds

but like bright light through the bare tree.

VESPERS

Even as you appeared to Moses, because

I need you, you appear to me, not

often, however. I live essentially

in darkness. You are perhaps training me to be

responsive to the slightest brightening. Or, like the poets,

are you stimulated by despair, does grief

move you to reveal your nature? This afternoon,

in the physical world to which you commonly

contribute your silence, I climbed

the small hill above the wild blueberries, metaphysically

descending, as on all my walks: did I go deep enough

for you to pity me, as you have sometimes pitied

others who suffer, favoring those

with theological gifts? As you anticipated,

I did not look up. So you came down to me:

at my feet, not the wax

leaves of the wild blueberry but your fiery self, a whole

pasture of fire, and beyond, the red sun neither falling nor rising—

I was not a child; I could take advantage of illusions.

VESPERS

You thought we didn't know. But we knew once,

children know these things. Don't turn away now—we inhabited

a lie to appease you. I remember

sunlight of early spring, embankments

netted with dark vinca. I remember

lying in a field, touching my brother's body.

Don't turn away now; we denied

memory to console you. We mimicked you, reciting

the terms of our punishment. I remember

some of it, not all of it: deceit

begins as forgetting. I remember small things, flowers

growing under the hawthorn tree, bells

of the wild scilla. Not all, but enough

to know you exist: who else had reason to create

mistrust between a brother and sister but the one

who profited, to whom we turned in solitude? Who else

would so envy the bond we had then

as to tell us it was not earth

but heaven we were losing?

EARLY DARKNESS

How can you say

earth should give me joy? Each thing

born is my burden; I cannot succeed

with all of you.

And you would like to dictate to me,

you would like to tell me

who among you is most valuable,

who most resembles me.

And you hold up as an example

the pure life, the detachment

you struggle to achieve—

How can you understand me

when you cannot understand yourselves?

Your memory is not

powerful enough, it will not

reach back far enough—

Never forget you are my children.

You are not suffering because you touched each other

but because you were born,

because you required life

separate from me.

HARVEST

It grieves me to think of you in the past—

Look at you, blindly clinging to earth

as though it were the vineyards of heaven

while the fields go up in flames around you—

Ah, little ones, how unsubtle you are:

it is at once the gift and the torment.

If what you fear in death

is punishment beyond this, you need not

fear death:

how many times must I destroy my own creation

to teach you

this is your punishment:

with one gesture I established you

in time and in paradise.

THE WHITE ROSE

This is the earth? Then

I don't belong here.

Who are you in the lighted window,

shadowed now by the flickering leaves

of the wayfarer tree?

Can you survive where I won't last

beyond the first summer?

All night the slender branches of the tree

shift and rustle at the bright window.

Explain my life to me, you who make no sign,

though I call out to you in the night:

I am not like you, I have only

my body for a voice; I can't

disappear into silence—

And in the cold morning

over the dark surface of the earth

echoes of my voice drift,

whiteness steadily absorbed into darkness

as though you were making a sign after all

to convince me you too couldn't survive here

or to show me you are not the light I called to

but the blackness behind it.

IPOMOEA

What was my crime in another life,

as in this life my crime

is sorrow, that I am not to be

permitted to ascend ever again,

never in any sense

permitted to repeat my life,

wound in the hawthorn, all

earthly beauty my punishment

as it is yours—

Source of my suffering, why

have you drawn from me

these flowers like the sky, except

to mark me as a part

of my master: I am

his cloak's color, my flesh giveth

form to his glory.

PRESQUE ISLE

In every life, there's a moment or two.

In every life, a room somewhere, by the sea or in the mountains.

On the table, a dish of apricots. Pits in a white ashtray.

Like all images, these were the conditions of a pact:

on your cheek, tremor of sunlight,

my finger pressing your lips.

The walls blue-white; paint from the low bureau flaking a little.

That room must still exist, on the fourth floor,

with a small balcony overlooking the ocean.

A square white room, the top sheet pulled back over the edge of the bed.

It hasn't dissolved back into nothing, into reality.

Through the open window, sea air, smelling of iodine.

Early morning: a man calling a small boy back from the water.

That small boy—he would be twenty now.

Around your face, rushes of damp hair, streaked with auburn.

Muslin, flicker of silver. Heavy jar filled with white peonies.

RETREATING LIGHT

You were like very young children,

always waiting for a story.

And I'd been through it all too many times;

I was tired of telling stories.

So I gave you the pencil and paper.

I gave you pens made of reeds

I had gathered myself, afternoons in the dense meadows.

I told you, write your own story.

After all those years of listening

I thought you'd know

what a story was.

All you could do was weep.

You wanted everything told to you

and nothing thought through yourselves.

Then I realized you couldn't think

with any real boldness or passion;

you hadn't had your own lives yet,

your own tragedies.

So I gave you lives, I gave you tragedies,

because apparently tools alone weren't enough.

You will never know how deeply

it pleases me to see you sitting there

like independent beings,

to see you dreaming by the open window,

holding the pencils I gave you

until the summer morning disappears into writing.

Creation has brought you

great excitement, as I knew it would,

as it does in the beginning.

And I am free to do as I please now,

to attend to other things, in confidence

you have no need of me anymore.

VESPERS

I know what you planned, what you meant to do, teaching me

to love the world, making it impossible

to turn away completely, to shut it out completely ever again—

it is everywhere; when I close my eyes,

birdsong, scent of lilac in early spring, scent of summer roses: