Seen from
outside creation
earth and sky
aren't worth
a box of matches.

-- Fuse Yajiro

The Woman Who Loved Worms
(from a Japanese legend)

Disdaining butterflies
as frivolous,
she puttered with caterpillars,
and wore a coarse kimono,
crinkled and loose at the neck.

Refused to tweeze her brows
to crescents,
and scowled beneath dark bands
of caterpillar fur.

Even the stationery
on which she scrawled
unkempt calligraphy,
startled the jade-inlaid
indolent ladies,
whom she despised
like the butterflies
wafting kimono sleeves
through senseless poems
about moonsets and peonies;
popular rot of the times.

No, she loved worms,
blackening the moon of her nails
with mud and slugs,
root gnawing grubs,
and the wing case of beetles.

And crouched in the garden,
tugging at her unpinned hair,
weevils queuing across her bare
and unbound feet.

Swift as wasps, the years.
Midge, tick and maggot words
crowded her haikus
and lines on her skin turned her old,
thin as a spinster cricket.

Noon in the snow pavilion,
gulping heated sake
she recalled Lord Unamuro,
preposterous toad
squatting by the teatray,
proposing with conditions
a suitable marriage.

Ha! She stoned imaginary butterflies,
and pinching dirt,
crawled to death’s cocoon
dragging a moth to inspect
in the long afternoon.

-- Colette Inez

Golden Retrievals

Fetch? Balls and sticks capture my attention
seconds at a time. Catch? I don’t think so.
Bunny, tumbling leaf, a squirrel who’s—oh
joy—actually scared. Sniff the wind, then

I’m off again: muck, pond, ditch, residue
of any thrillingly dead thing. And you?
Either you’re sunk in the past, half our walk,
thinking of what you never can bring back,

or else you’re off in some fog concerning
—tomorrow, is that what you call it? My work:
to unsnare time’s warp (and woof!), retrieving,
my haze-headed friend, you. This shining bark,

a Zen master’s bronzy gong, calls you here,
entirely, now: bow-wow, bow-wow, bow-wow.

-- Mark Doty

Selected Haiku by Issa

Don’t worry, spiders,
I keep house
casually.


New Year’s Day—
everything is in blossom!
I feel about average.


The snow is melting
and the village is flooded
with children.


Goes out,
comes back—
the love life of a cat.


Mosquito at my ear—
does he think
I’m deaf?


Under the evening moon
the snail
is stripped to the waist.


Even with insects—
some can sing,
some can’t.


All the time I pray to Buddha
I keep on
killing mosquitoes.


Napped half the day;
no one
punished me!

-- Robert Hass

What's Wrong

"What you are struggling with," said
the psychologist, "is
a continuous song, something like
a telephone's tone. Nebulous, noncommittal,
unrelenting, pretending
to give you messages it can't deliver.

Because the body is unattached. It is,"
he said, "like a valentine sent
out cold, beautiful, brittle as tomorrow's
deja-vu, but distortedly misaddressed.
These pills will help you
find yourself
somewhere where the lace ends up loose
and the paste is still humming
all about you.

-- Landis Everson

Scrabble with Matthews

Jerboa on a triple: I was in for it,
my zither on a double looking feeble

as a "promising" first book. Oedipal & reckless,
my scheme would fail: keep him a couple drinks

ahead, & perhaps the muse would smile
upon me with some ses or some blanks.

January, Vermont: snowflakes teased the windows
of the Burlington airport bar. The waitress

tallied tips & channel-surfed above the amber
stutter of the snowplow's light: it couldn't

keep up, either. Visibility to zero, nothing taking off
& his dulcimer before me (50 bonus points

for "bingos") like a cautionary tale. The night
before I'd been his warm up act,

the audience of expensive preppies
doubling to twenty when he shambled

to the podium to give them Martial
& his then-new poems. "Why do you write

something nobody reads anymore?" queried one
little trust fund in a blazer. "Because

I'm willing to be honestly confused
& honestly fearful." Il miglior fabbro,

a.k.a. Prez: sweet & fitting honorifics he has left
upon the living's lips. Sweet & fitting too

that I could know the poems much better than
the man, flawed as I am told he was. Connoisseur

of word-root & amphibrach, of Coltrane
solo & of California reds, of box score & Horatian loss,

his garrulousness formidable & masking
a shyness I could never penetrate, meeting him

would always find me tongue-tied,
minding my ps & qs, the latter of which

I could not play, failing three times to draw a u.
The dead care nothing for our eulogies:

he wrote this many times & well.
& yet I pray his rumpled daimonion

shall guide our letters forward
as they wend the snow-white notebook leaves,

the stanzas scrolling down the laptop screens.
Game after game & the snow labored on.

Phalanx, bourboned whiteout & the board aglow
as he'd best me again & again. Qintar

& prosody, the runway lights enshrouded
& the wind, endquote, shook the panes.

-- David Wojahn

The Adventures of a Turtle

The turtle carries his house on his back. He is both the house and the person of that house.

But actually, under the shell is a little room where the true turtle, wearing long underwear, sits at a little table. At one end of the room a series of levers sticks out of slots in the floor, like the controls of a steam shovel. It is with these that the turtle controls the legs of his house.

Most of the time the turtle sits under the sloping ceiling of his turtle room reading catalogues at the little table where a candle burns. He leans on one elbow, and then the other. He crosses one leg, and then the other. Finally he yawns and buries his head in his arms and sleeps.

If he feels a child picking up his house he quickly douses the candle and runs to the control levers and activates the legs of his house and tries to escape.

If he cannot escape he retracts the legs and withdraws the so-called head and waits. He knows that children are careless, and that there will come a time when he will be free to move his house to some secluded place, where he will relight his candle, take out his catalogues and read until at last he yawns. Then he’ll bury his head in his arms and sleep....That is, until another child picks up his house....

-- Russell Edson

Alone with the Goddess

The young men ride their horses fast
on the wet sand of Parangtritis.
Back and forth, with the water sliding
up to them and away.
This is the sea where the goddess lives,
angry, her lover taken away.
Don’t wear red, don’t wear green here,
the people say. Do not swim in the sea.
Give her an offering.
I give a coconut to protect
the man I love. The water pushes it back.
I wade out and throw it farther.
“The goddess does not accept your gift,”
an old woman says.
I say perhaps she likes me
and we are playing a game.
The old woman is silent,
the horses wear blinders of cloth,
the young men exalt in their bodies,
not seeing right or left, pretending
to be brave. Sliding on and off
their beautiful horses
on the wet beach at Parangtritis.

-- Linda Gregg

(because I'm reading her book, Viper Rum right now and I loved this one)



Beauty and the Shoe Sluts

Mother kneels at her closet of dancing shoes
to see which ones I fit -- sherbet-green
taffeta and crimson crocodile, pumps

in Easter pink, plus a dozen black heels
with bows or aglisten with rhinestones,
all wicked run down. Likewise,

she's gnarled as a tree root, her spine's
warped her shorter than me, over whom
she once towered with red hair

brushed back into flame points.
Seeing her handle those scarred leather hides, I quote
the maenads' sad lament from The Bacchae.

After they've chased down
the fleeing god, fucked him dead, sucked
all flesh from his bones, dawn spills light

on their blood-sticky mouths,
and it's like every party you ever stayed
too late at. In chorus they sing and grieve:

"Will they come to me ever again,
the long, long dances?"
And Mother holding a black-patent ankle strap

like a shackle on a spike heel
it must've been teetering hell to wear glances
sidewise from her cloudy hazel eyes and says, "No,

praise God and menopause, they won't."

-- Mary Karr

Part for the Whole

When others run to windows or out of doors
To catch the sunset whole, he is content
With any segment anywhere he sits.

From segment, fragment, he can reconstruct
The whole, prefers to reconstruct the whole,
As if to say, I see more seeing less.

A window to the east will serve as well
As window to the west, for eastern sky
Echoes the western sky. And even less—

A patch of light that picture-glass happens
To catch from window-glass, fragment of fragment,
Flawed, distorted, dulled, nevertheless

Gives something unglassed nature cannot give:
The old obliquity of art, and proves
Part may be more than whole, least may be best.

-- Robert Francis

The Bat

By day the bat is cousin to the mouse.
He likes the attic of an ageing house.

His fingers make a hat about his head.
His pulse beat is so slow we think him dead.

He loops in crazy figures half the night
Among the trees that face the corner light.

But when he brushes up against a screen,
We are afraid of what our eyes have seen:

For something is amiss or out of place
When mice with wings can wear a human face.

-- Theodore Roethke

Another Story with a Burning Barn in It

I was on the porch pinching back the lobelia
like trimming a great blue head of hair.

We’d just planted the near field, the far one
the day before. I’d never seen it so clear,

so gusty, so overcast, so clear, so calm.
They say pearls must be worn or they lose their luster,

and that morning I happened to remember,
so I put them on for milking, finding some

sympathy, I guess, between the two.
Usually I don’t sit down until much later in the day.

The lobelia was curling in the sun. One by one
birds flew off, and that should have been a sign.

Trust is made and broken. I hardly sit down
at all. It was the time of year for luna moths,

but we hadn’t had any yet settling on the porch
or hovering above the garden I’d let the wild rose take.

-- Lisa Olstein

'Early to bed'

Early to bed and early to rise:
If that would make me wealthy and wise
I’d rise at daybreak, cold or hot,
And go back to bed at once. Why not?

-- Mary Mapes Dodge

Disappointments of the Apocalypse

Once warring factions agreed upon the date
and final form the apocalypse would take,
and whether dogs and cats and certain trees
deserved to sail, and if the dead would come or be left
a forwarding address, then opposing soldiers
met on ravaged plains to shake hands
and postulate the exact shade
of the astral self—some said lavender,
others gray. And physicists rocketed
copies of the decree to paradise
in case God had anything to say,
the silence that followed being taken
for consent, and so citizens
readied for celestial ascent.

Those who hated the idea stayed indoors
till the appointed day. When the moon
clicked over the sun like a black lens
over a white eye, they stepped out
onto porches and balconies to see
the human shapes twist and rise
through violet sky and hear trees uproot
with a sound like enormous zippers
unfastening. And when the last grassblades
filled the air, the lonely vigilants fell
in empty fields to press their bodies
hard into dirt, hugging their own outlines.

Then the creator peered down from his perch,
as the wind of departing souls tore the hair
of those remaining into wild coronas,
and he mourned for them as a father
for defiant children, and he knew that each
small skull held, if not some vision
of his garden, then its aroma of basil
and tangerine washed over by the rotting sea.
They alone sensed what he’d wanted
as he first stuck his shovel into clay
and flung the planets over his shoulder,
or used his thumbnail to cut smiles and frowns
on the first blank faces. Even as the saints
arrived to line before his throne singing
and a wisteria poked its lank blossoms
through the cloudbank at his feet,
he trained his gaze on the deflating globe
where the last spreadeagled Xs clung like insects,
then vanished in puffs of luminous smoke,

which traveled a long way to sting his nostrils,
the journey lasting more than ten lifetimes.
A mauve vine corkscrewed up from the deep
oblivion, carrying the singed fume
of things beautiful, noble, and wrong.

-- Mary Karr

The End

Not every man knows what he shall sing at the end,
Watching the pier as he ship sails away, or what it will seem like
When he’s held by the sea’s roar, motionless, there at the end,
Or what he shall hope for once it is clear that he’ll never go back.

When the time has passed to prune the rose or caress the cat,
When the sunset torching the lawn and the full moon icing it down
No longer appear, not every man knows what he’ll discover instead.
When the weight of the past leans against nothing, and the sky

Is no more than remembered light, and the stories of cirrus
And cumulus come to a close, and all the birds are suspended in flight,
Not every man knows what is waiting for him, or what he shall sing
When the ship he is on slips into darkness, there at the end.

-- Mark Strand

A Pot of Tea

Loose leaves in a metal ball
Or men in a shark cage steeping,
Ideas stain the limpid mind
Even while it’s sleeping:

Ginseng or the scent of lymph
Or consequences queasing
Into wide awareness, whence,
Like an engine seizing

Society remits a shudder
Showing it has feeling,
And the divers all have shaving cuts
And the future’s in Darjeeling—

Blind, the brain stem bumps the bars
Of the shark cage, meanwhile, feeding,
And the tea ball’s cracked, its leaves cast
To catastrophic reading:

Ideas are too dangerous.
My love adjusts an earring.
I take her in my arms again
And think of Hermann Göring,

And all liquidities in which
A stain attracts an eating,
And of my country’s changing heart,
And hell, where the blood is sleeting.

-- Richard Kenney

The Laughter of Women

From over the wall I could hear the laughter of women
in a foreign tongue, in the sun-rinsed air of the city.
They sat (so I thought) perfumed in their hats and their silks,

in chairs on the grass amid flowers glowing and swaying.
One spoke and the others rang like bells, oh so witty,
like bells till the sound filled up the garden and lifted

like bubbles spilling over the bricks that enclosed them,
their happiness holding them, even if just for the moment.
Although I did not understand a word they were saying,

their sound surrounded me, fell on my shoulders and hair,
and burst on my cheeks like kisses, and continued to fall,
holding me there where I stood on the sidewalk listening.

As I could not move, I had to hear them grow silent,
and adjust myself to the clouds and the cooling air.
The mumble of thunder rumbled out of the wall
and the smacking of drops as the rain fell everywhere.

-- Mary-Sherman Willis

The Cat's Song

Mine, says the cat, putting out his paw of darkness.
My lover, my friend, my slave, my toy, says
the cat making on your chest his gesture of drawing
milk from his mother’s forgotten breasts.

Let us walk in the woods, says the cat.
I’ll teach you to read the tabloid of scents,
to fade into shadow, wait like a trap, to hunt.
Now I lay this plump warm mouse on your mat.

You feed me, I try to feed you, we are friends,
says the cat, although I am more equal than you.
Can you leap twenty times the height of your body?
Can you run up and down trees? Jump between roofs?

Let us rub our bodies together and talk of touch.
My emotions are pure as salt crystals and as hard.
My lusts glow like my eyes. I sing to you in the mornings
walking round and round your bed and into your face.

Come I will teach you to dance as naturally
as falling asleep and waking and stretching long, long.
I speak greed with my paws and fear with my whiskers.
Envy lashes my tail. Love speaks me entire, a word

of fur. I will teach you to be still as an egg
and to slip like the ghost of wind through the grass.

-- Marge Piercy

Monet: “Les Nymphéas”

The eyelids glowing, some chill morning.
O world half-known through opening, twilit lids
Before the vague face clenches into light;
O universal waters like a cloud,
Like those first clouds of half-created matter;
O all things rising, rising like the fumes
From waters falling, O forever falling;
Infinite, the skeletal shells that fall, relinquished,
The snowsoft sift of the diatoms, like selves
Downdrifting age upon age through milky oceans;
O slow downdrifting of the atoms;
O island nebulae and O the nebulous islands
Wandering these mists like falsefires, which are true,
Bobbing like milkweed, like warm lanterns bobbing
Through the snowfilled windless air, blinking and passing
As we pass into the memory of women
Who are passing. Within those depths
What ravening? What devouring rage?
How shall our living know its ends of yielding?
These things have taken me as the mouth an orange—
That acrid sweet juice entering every cell;
And I am shared out. I become these things:
These lilies, if these things are water lilies
Which are dancers growing dim across no floor;
These mayflies; whirled dust orbiting in the sun;
This blossoming diffused as rushlights; galactic vapors;
Fluorescence into which we pass and penetrate;
O soft as the thighs of women;
O radiance, into which I go on dying ...

-- W. D. Snodgrass

Waiting for the Barbarians

What are we waiting for, assembled in the forum?

The barbarians are due here today.


Why isn’t anything going on in the senate?
Why are the senators sitting there without legislating?

Because the barbarians are coming today.
What’s the point of senators making laws now?
Once the barbarians are here, they’ll do the legislating.


Why did our emperor get up so early,
and why is he sitting enthroned at the city’s main gate,
in state, wearing the crown?

Because the barbarians are coming today
and the emperor’s waiting to receive their leader.
He’s even got a scroll to give him,
loaded with titles, with imposing names.


Why have our two consuls and praetors come out today
wearing their embroidered, their scarlet togas?
Why have they put on bracelets with so many amethysts,
rings sparkling with magnificent emeralds?
Why are they carrying elegant canes
beautifully worked in silver and gold?

Because the barbarians are coming today
and things like that dazzle the barbarians.


Why don’t our distinguished orators turn up as usual
to make their speeches, say what they have to say?

Because the barbarians are coming today
and they’re bored by rhetoric and public speaking.


Why this sudden bewilderment, this confusion?
(How serious people’s faces have become.)
Why are the streets and squares emptying so rapidly,
everyone going home lost in thought?

Because night has fallen and the barbarians haven't come.
And some of our men just in from the border say
there are no barbarians any longer.


Now what’s going to happen to us without barbarians?
Those people were a kind of solution.

-- C.P. Cavafy
Translated by Edmund Keeley and Philip Sherrard