This isn't a story I want to tell, or need to. I've shoveled the night's hard snowfall from the drive and heaped it, mailbox-high, for the neighbor kids to stomp over. I've fed the squirrels and put out black sunflower and wild weed seed for the birds— the female cardinal rose and dusky and black…
I must train myself to no longer exist but as a stone lifted and thrown to wherever I land, a new place, a new odor to it and new sound and action surrounding me, all this without the thought of loss, despair, or hope, a preparation for loss. Such a life would be god's, if…
No word I huffed when Stradling urged the squire to throw my eulogy on the fire. The fiddlers laughed. I, snow-silent, proud, did not melt. But I'm spitless now, my pearl, my buttercup, my bread-fruit. I rattle their silver in my pocket. I have other stanzas for harp and lute, other gullible lords to flatter….
Just finished reading Matthews’ Blues If You Want. And Carruth's essay on Thoreau, where he gives a good, swift kick to all that rich-boy mystical-Utopian stuff. Yesterday, I took a break, and in the 90-degree afternoon heat, with a good wind blowing and a cold Miller's sweating on a stump, sawed down the two small…
I live with my contradictions intact, seeking transcendence but loving bread. I shrug at both and from behind the summer screen I look out upon the dark, knowing death as one form of transcendence, but so is life.
The shift from Eugenio Montale's first three books—high modernist poetry, lyrically intense, elaborately wrought, musically intricate, elliptical—to his last four (Satura, the two Diaries of 1971 and 1972, and the Quaderno di quattro anni) for the translator poses obvious problems, above all of tone and continuity. The late poetry, for instance, is no less dense…
In my most recent book, City Life, I used interlocking dramatic monologues to develop a plot and subplot. Finishing it gave me the impetus to experiment with shaping a musical structure out of inter- locking sequences, each sequence resonating with the others. To the Storm's End is one of the sequences I'm working on in…
Up there my father marches off into Guadalcanal, Guam, his face numb from lying in the green tub to break the 105-degree malarial fever. My brother is there, too, Mae Westing over Okinawa until they gather him up and place him in the nineteenth bunk, tenth floor of the Albany Veterans' Hospital. Behind them a…
I pull the bed slowly open, I open the lips of the bed, get the stack of fresh underpants out of the suitcase—peach, white, cherry, quince, pussy willow, I choose a color and put them on, I travel with the stack for the stack's caress, dry and soft. I enter the soft birth-lips of the…
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