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                    <text>The Pleasures of Slave Owning
Raw imposition of the will;
Enjoyment of another’s ill.
Of being rich enough to buy;
Of knowing what you bought will die
And need no upkeep. Once they breed
Replacements, they repay one’s greed
With interest. The distant threat
Of insurrection you forget,
Or think of as a cheap frisson.
To mention it is not bon ton.
Of what one may indulge or waive…
Between a sex-slave and a slave
Is there distinction? I am white
And they are black. Chaos? Old Night?.
But one can learn from negatives.
It is by opposites one lives.
A tin automaton could do
The most of what slaves do, but who
Would trade a toy, a tinker’s trash,
In place of laying on the lash.
And by and by--one knows the look-They give up hope and learn to cook.

�</text>
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                    <text>The Pleasures of Slave Owning
Raw imposition of the will;
Enjoyment of another’s ill.
Of being rich enough to buy,
Of knowing what you bought will die
And need no upkeep. Once they breed
Replacements, they repay one’s greed
With interest. The distant threat
Of insurrection you forget,
Or think of as a cheap frisson.
To mention it is not bon ton.
Of what one may indulge or waive…
Between a sex slave and a slave
Is there distinction? I am white
And they are black (Chaos? Old Night?)
But one can learn from negatives.
It is by opposites one lives.
A tin automaton could do
The most of what slaves do, but who
Would choose a toy, a tinker’s trash,
In place of laying on the lash.
And by and by--one knows the look-They give up hope and learn to cook.

�</text>
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                    <text>Pinocchio for Grownups
Palermo
The puppet master being nearly eighty,
Uncertainty bedevils his appearance.
On time, however, rubicund and gouty,
He takes the stage. The drama he is steering
Is Ariosto. He does all the voices:
Angelica, Orlando, Carlo Magno.
With Paladins and Saracens the choices,
A violinist, hammering col legno,
Accompanies the fights. A spring and trigger
Let fly spectacular broadsword beheadings.
Not figures jiggling on their strings whose rigger
Operates them from above, whose threading
Always are on the verge of fatal tangling,
Stick puppets make their puppeteers their charges;
They are their alter egos. Each is angling
To have some last advantage. Flesh that ages
But that commands, and wood forever youthful,
Though ordered back into its casket nightly.
It is the curtain call that’s wholly truthful;
The old man limps; his puppet’s dancing sprightly.

�</text>
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                    <text>Piltdown Man
Discussions with Dr. Louis S.B. Leakey came around to Piltdown
and his conclusion that Teilhard de Chardin had been the forger.
Spencer, Frank. Piltdown: a Scientific Forgery

Jaw of an ape, skull of a man.
I seem to have no master plan.
But then, in all who walk erect
There seems to be some disconnect
Between the tongue and brain.
Do not, therefore, at once disdain
An ad hoc fossil's lack of speech
(Hard palate too far out of reach
Even for Xhosan clicking sounds)
As lack of meaning, or as grounds
For thinking language too cannot
Be counterfeit, an inbred plot
Of Ionesco and of Joyce.
Or, speaking in their coded voice,
Teilhard de Chardin, who may be
That very forger who did me.
But all the past is construct, I
No more than any other try
At fleshing out its unlike bones.
The recent past is all unknowns,
And has its own false artifacts:
Foucault and other vaudeville acts.
If most that rises must converge,
What's left behind has no such urge.
It may be Beckett, Java Man,
The Cardiff Giant, Ossian.

�</text>
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                    <text>Pillars of Society
Commemorating being spared the Plague,
Or, possibly, recovery therefrom,
The white Pestsaule dominates the square,
A cautionary tale in florid stone
For adolescents well aware of risk
Who, as if they were themselves the Priest
And Levite, pass by on the other side,
To be also a coming test of will
For straight Samaritans, whose empathy
May end with those who have themselves to blame
If fallen in with thieves. For HIV
Pestsaule might well be a tall retort
Displaying pharmaceuticals, festooned
In contraceptives. Plagues have each their ploys,
Their trademark: Yellow Jack's insecticides,
Mosquito nets; the bell of leprosy.
Vectors are sure; unclean is as the world
Defines it. Molokai? It's everywhere
Around us. Cross the pavement, Feckless Youth,
And touch the column. Touching it confers,
If not immunity, some distant link
With Passion Plays, indulgences, or luck.
Do not look back. A pillar warns of salt.

�</text>
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                    <text>Pilate Project
I do not trust the evidence of fingerprints,
Or think unique each crystal any snowstorm mints.
Who in the first place has examined every flake?
The patterns may in fact redouble, give or take
Infinity. Perhaps their repetition mimes
That rumored ever-wider spacing of the primes.
Mathematicians whose promotion hangs on fractals
May at last derive the odds (when pterodactyls
Yield Poppaea asses’ milk and donkeys fly).
No tale an old wife tells can presently out-vie
Pure science. Does the maddest one of us believe
Statistics is not prejudice worn on the sleeve?
Or particle uncertainties not just a phase
Of Heisenberg’s desire to have a thing both ways?
Infinitesimals, as Bishop Berkeley knew,
Are how the calculus keeps problems out of view.
If we succeed in focusing our telescope
Upon the deepest reach of space how can we hope
To know it? What is it supposed to look like? Light
Beyond the trembling cross-hairs of a rifle sight?
Corpses autopsied for the teleported tar
Of smoke at second hand showed nothing, insofar
As all had died of something else. If ozone goes
We’ll get along on less, as the Tibetan does.
The Procurator’s “What is truth?” was more than wit.
There is a god of lies, and science may be it.

�</text>
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                    <text>Piece in the Shape of a Pear Shape
The value of the diamond
Is artificially kept up.
If it had thoughts of suicide
DeBeers could open up its vaults.
The beauty of the stones, however,
Would be neither more nor less.
So how to value rarity
That is not rare? The commonplace
Is not that common, though to tell
Would undermine democracy.
So much admired is “in the rough”
We more or less repress the noun
That it applies to. Value, then,
Is neither mineral nor cut
Nor polish, but the hope: the word
Forever. Crowns and crowned heads fall;
Tiaras hit the auction block;
That fairest neck a choker chokes
Some revolution’s noose will find.
Hubristic, that a solitaire
Should foretell union, marriage.
The word’s root meaning is alone.

�</text>
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                    <text>Pick Your Pyramid
Egypt was so obsessed with death
Because it loved its life so well:
Its leisure in the weeks of flood
When even peasants need not work.
Raft trips, the fishing and the hunt;
Court dwarfs and dancing animals;
Street-corner gambling, weddings, feasts…
At Luxor in the anterooms
And in the halls of death itself
The tombs’ bright paints show us ourselves.
What is it Aztecs thought of life
Except as reservoir for blood?
Tongue-piercing, notching of the ears;
Nose plugs; uniquely knotted whips
To dredge the scarlet channels. PreColumbian Punk Rock, the rack
Of Torquemada as a rite
Of Spain’s colonials-to-be,
And gory mirror in which we
Are shown perforce our other selves,
If, latterly, at some remove
In cleaned-up Art Folklorico
Or MTV. Punk Rocker, Priesthood
Preening in your clotted hair,
Tattooed in skulls and pierced ornately,
Mount to fifteen minute fame
Or to some damp auto-da-fe.
The Pharaoh fronts eternity,
In company of gold, games, pets.

�</text>
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                    <text>Paying the Rent in Key West
Dark ingots stacked inside the warehouse door
In full view from the sidewalk, document
The salvagers’ success. A queue has formed
Already to invest in further search.
Over the years small finds--a dated coin,
Earrings in a contemporary style,
A Monte Carlo Method, as it were,
To do a random sample of the ship’s
Surviving cargo manifest--built up
Anticipation, also bringing in
Sufficient capital, risk capital,
To keep the divers going, as did film,
The awful souvenirs, a tourist cruise.
What one would like to know is, was the site,
Now proved invidiously genuine,
First seeded with an antique coin or two?
Or items common on a manifest?
Prize scholars, known for intrepidity
(Famed, how courageous academics are),
Who for a State historical property
Would have all treasures legally impounded…
You will not check a galleon small change
Brought up--or taken down; it is the same,
The danger--by those unpaid divers dead.
If I should write The Glass Menagerie
Would it occur my early one-act plays
May well have been discreetly plagiarized?

�</text>
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                    <text>Pax Vienna
The urge to Empire finds strange vehicles.
Peanuts financed a certain president;
The revenue from highway billboards built
Ted Turner's fortune. OCLC gave
New meaning to the phrase "House of cards."
The most improbable empire, however,
Stretches from Odessa in the East
To Hamburg in the West. It takes in Graz,
Fiume, Zagreb, Budapest, Berlin,
And thirty other cities. It consists
Of theatres, the Fellner-Helmer firm
Designed and built from 1880 on:
A phantom as the opera. As much
Alike, and too, as unidentical
As in the U.S. state capitols
Are not and are, the buildings graft on form
To function as the 80s thought of them.
From high stagehouses under Mansard roofs
The block exteriors take one step down
To meet the auditorium, and step
Once more to be the lobby areas,
A rule of three applied as rigidly
As quartering in Habsburg marriages,
But bringing forth profiles more fortunate.
Odessa's semi-circular foyer,
The shameless back to front design the site
Forced on Wiesbaden only prove the rule.
Outlasting revolution, war, Bauhaus,
The twelve-tone scale, and traffic engineers,
No doubt the oeuvre will outlast Folk Art too.
Fire, without loss of life, destroyed some parts,
But in the presence of so many stairs
One has to work to burn. No theatre
That duo built has any wrecking ball
Crashed into. Poor sight lines, indifferent
Sound, potted ferns, undemocratic tiers,
Gas lighting none too well converted… still
Their publics flock. It is the theory,
Endemic in a proletariat,
That if one makes it to the ballroom late
Then one by definition cannot be
An ugly sister. It will not explain
That haste in which a hearth went monarchist.
Out of the ashes, though, may be the one
Most European thing. And fitly there,
Two-headed Phoenixes too fake to blaze,

�The inaccessible imperial Emblems,
Too high to chip away, look down
Without comment and without remorse.
On any given evening, at least four
State companies will be performing, say,
The Count of Luxemburg--the first great work
Of social realism?--While it lasts
Who hear it are in fact a polity;
That is, are more alike than different.
At intermission hallmarks vanish. Sekt
In hand and democratic sausages
Cascading off our plates, we bring to Pop
Baroque a kind of living tractor art,
Ourselves the peanut vendors of our tiers,
A newsreel colorized by CNN,
Recatalog us under Empire, World,
And make cross references from local names.
Conquest is partial or is absolute.
Happily, at the time, no one knows which.

�</text>
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