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                    <text>GOWNS BY ADRIAN
Ignoring “period” as dress design by rote,
I made of shopgirls stately royals, gowns remote
From authenticity but so begemmed and stayed
As to allow the plainest actress to persuade.
No one would ever think my Mata Hari Dutch,
Or France’s Queen on Viennese whipped cream too much.
The padded shoulder narrows hips; a trim of furs
Distracts attention from where body structure errs.
All through the 30s, frugal in their white and black,
Celluloid cried for color. I supplied the lack,
Or, if you like, finessed it, putting on the glitz:
Chain, bugle beads, lame. So far as plot permits,
Egrets and ear drops. Mediaeval was my forte,
And wisely, Metro being first a feudal court.
I populated cunningly the Land of Oz,
Yacht clubs, ski lodges, back lot Riviera spas.
And at the end, defecting to the Broadway stage,
I made of Camelot a modern Middle Age:
Adultery and spectacle, pride ripe for fall,
A land of Munchkins growing arrogant and tall.

�</text>
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                    <text>Good Money after Bad
The unemployed young man, arms strong and torso tapered,
Has had his front teeth capped and acne scars sandpapered.
Extravagance or wisdom, only time will tell,
But it was that or join the Job Corps. Parallel
Careers in modeling and auto racing, say,
Are what he'd like, but aftershave close-ups? No way.
And, too, he's serving out a one year D.U.I.
The odds are, self-employment is his better try.
There will be competition. "Man, the street's been fierce."
But one can weight-train, buy another earring, pierce.
This world's extreme injustice pains us, keeps, amazes.
How few trust funds around; how many trust fund cases.

�</text>
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                    <text>Financial pages and the Internet announce
That gold is seven hundred thirty five an ounce.
As gnomes in Zurich contemplate their balance sheets
No doubt Johannesburg is dancing in the streets.
The relic barbarous is rising once again,
To hint it's paper currency we should disdain.
Among us walks always DeSoto's "Golden Man,"
His El Dorado: person now a place, a span
From myth to myth, as are exchange rates. In or out
Of favor, filling in a tooth or last redoubt
Of classic capital--ore, standard, ornament.
How wise we are to worship it! Not to invent-Serve--any plastic Mammon. Golddust is itself
Its alchemy, its transmutations. Stolen pelf
Tomorrow may be trash insurance at Fort Knox
Dig up, Philosopher, or re-inter, math blocks
Your stone from functioning, by futures well ahead.
Turn lead to gold, gold's value will be that of lead.
.

�</text>
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                    <text>God Is Not Mocked, But One Can try
And easily the most effective way
Is to condemn Him out of His own mouth.
"No other gods before me." Is that sign
Of insecurity? "Or likeness of…"
But was the Prophet's serpent made of brass
No graven image, or were seraphim
Upon the Ark not sanctioned idols? How,
Not being listed in Leviticus,
Might manna have been kosher? Genius-It so admits it--is details; so too,
Eternally to his discredit, God
Is: picayune. And we, as institutions
On his model, grimly pick the nits.
Excoriate it by the name of schism,
Call it creed, it still is splitting hairs.

�</text>
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                    <text>Geometry in the Tenderloin
It is possible to describe a circle around any point.
--Euclid

Clockwise or counter, or in opposition,
The circles are described with great precision
By the tassel dancer, pasties whirring:
Epicycles, orbits. Live, unerring
Proof the postulate applies to strippers,
Especially who dance before high-tippers.
Unsecured, the tassels might fly off
On tangents, as might implants that buy off
Insurance settlements. Here, on balance,
Is one more parable of using talents,
Geometric or gymnastic. G-string brocade,
High heels rhinestone, pompadour pomade…
As encore, volunteers put up a tripod
At sternum level for a turned-on Ipod
And lighted candles. To a final splaying
Of the hemispheres, the air, obeying
Microburst and cross draft, as to shout
A "Q.E.D.", cheer, sign-off, blows them out

�</text>
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                    <text>The Garden of Yellow Jack
The tiger lily has a tiger’s colors;
Something, maybe, of a feline’s sharpness.
Its small sharp leaves are its bamboo, its Asia.
It lets us see in us a bit of sahib.
It is as if the smell of Easter lilies
Made one Palestinian a little,
Or in the hardening rosin of the pine tree
Already were the rosined bow, the measures.
Heat lightning, summer shower, steaming pavement;
And through the rising heat the rippling amber.
Rain, rain forest each are where you find them.
Asphalt and the sidewalk may be venue
Natural as any. Tiger, Tiger,
Burning bright, striated as if lightning
Striped a night, in changing to a lily
Sallow still, in quarantine’s own color
Febrile on the vision, grace our fevers.

�</text>
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                    <text>Free Trade in Mitteleuropa
As ceremonial as Roman rostral columns,
Trieste’s two high flagpoles front the empty sea,
The city’s abstract fleur-de-lis their latest crest,
A dark, heroic statuary as their base.
It is as if the Iwo Jima photograph
Had in a retroactive time warp straightened up
To be the 20s Fascist model. In the haze
That lifts the shining Adriatic out of time,
Makes it one surface with the spaces facing it,
One era with republics, communes gone before,
As plausible as empty shipping palaces,
Their architecture of Vienna-by-the Sea,
There might arrive that skiff from Island of the Dead,
An unmanned Flying Dutchman of the stormless Gulf,
Or second Raft of the Medusa, skeletons
On board as well as sprawling Second Empire nudes;
As in a bloodied operetta uniform
Franz Ferdinand was ferried north, as once
An Emperor of Mexico was floated home.
Tourism shows decline can be an industry
Like any other. Venice does not live on glass,
Vienna on the OPEC meetings. So Triest
Continues as Trieste, having just escaped
Becoming Trst. Outliving Yugoslavia,
Its lost “side door to Europe” waits the open door.

�</text>
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                    <text>Disclosed Locations
Arlington Cemetery really is too chaste.
The Valley of the Fallen, Franco's as it were
Big Dig, might be, allowing for the likely course
Of U.S. future wars, a more appropriate
Departure point; the somehow Celtic Cross
Above the cavern of the mostly empty crypts
Be a rebuke to Jews, or shameless flattery
Of Boston Irish, who will agitate at length
To re-inter the corpse of any Kennedy.
Financing could be difficult, although the Cross
Might double as the Reagan Airport's conning tower,
Or Dulles's theme restaurant; its tag logo.
The difference between a funeral cortege
And Mardi Gras parade grows ever narrower.
Our obsequies for Albert Gore were in effect
A Tournament of Roses of Ecology.
Gore is not dead? No; he's a Beltway effigy.
If nothing else, a symbol and a sepulcher,
However hollow, demonstrate the force of myth,
(As do small town Confederate memorials,
Re-issues of the Beatle hits, cures, grassy knolls).
And, being hollow, when the Jehad's A-bomb comes,
As back-up Greenbriar, shelter the Establishment.

�</text>
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                    <text>Forbidden Stitches
What Congolese thumb-chopping was to missionaries,
Female circumcision is to luminaries
Such as Alice Walker, although as now reckoned
The blame cannot be placed on Leopold II.
But neither can the amputations, being mere
Continuance of folk tradition in Zaire.
De-digitation was the tribal punishment;
And if the Free State rubber shipments were not sent
Its agents had reprisal, so to say, at hand.
The King was at Cap Ferrat, head not stuck in sand
But not concerned with method either. Since before
Nabokov’s Humbert none was more obsessed with, more
Adept in the pursuit of nymphets than the Coburg,
Be they at La Monnaie, or, speaking Vlaams, the Schouwburg.
The Audrey Hepburn of her time, Cleo de Merode,
Enabled him as pervert to out-Herod Herod.
He clearly never would have sanctioned tucks and stitches,
Unless, of course, they added to his riches.
You have to take the avalanches with the Alp;
The basket weaver may appropriate the scalp,
The lace purveyor let the tatting nuns go blind,
A silk exporter, early, put into a bind
The girl-child foot. Le Roi at least did not pretend
To knowledge of Ituri carvings, or defend
Their worth as anything but so much ivory.
The knife that cut them may have cut some “joy” away.
Tiens, Alice. If you want the hands of butchers stayed,
You’ll have to be prepared to call a blade a blade.

�</text>
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                    <text>For Subway Alumni
Before it was a giant tuning fork
A football goalpost was the letter H.
The tuning fork, resistant to the torque
Of crowds who would uproot it, by its nature
Ordering, now stands as less a gate
To post-game revelry than some rebuke
For off-key band selections. At this late
Date hardly a reminder ukulele,
Prayer, raccoon coat, and flask meant, once,
God's Big Game Day. It sounds its massive A
As soundless visual, and any dunce
Can see it fans the Yuppie crowd's impatience
To get back to the parking lot first out.
Do roofs and domes--the Astro- Thunder- Super-Betray the cult of Rockne and the Grouper
(Gipper?} and the locker room cursed out
At halftime in a phony Irish brogue
That was the cult's whitewashing in advance
Of priests molesting and of Church finance,
And jocks who can, like elephants, be rogue?

�</text>
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