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                    <text>Green Card
It always comes, the time to stay or go;
Cash out the winnings or go with the flow.
Become a permanent expatriate
Or go back to an un-exotic fate;
Walk out on any half-acknowledged vow;
Beyond its life span keep alive somehow
Your early search. Go on and sign the lease
Or let the rent deposit lapse. Let cease
The tensions of nostalgia, and admit
You'll never get a second language right.
The cheap plane ticket with the open date
Turn in; you'll never make it to the gate.
Your passport in the safe deposit box
Can be discarded, with the useless stocks.
However, it could mean a good long stay
Till perfect strangers you meet every day
No longer have that startling look of sleaze
You drank with years ago. Unwelcome, these,
Or welcome souvenirs to indicate
Your long term memory's not failing yet?
Is it at hand, the bitter time to go,
And to a home that you no longer know?
Stay, having made the choice to end your past.
Live out the loss with which your lot is cast.

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                    <text>Exercise for Twelve Tones
"I'll bet that you've got ribs."
"Of course I have;
Who hasn't?"
"No I mean I'll bet they show."
"They show unless I put a lot of starch
In all my shirts."
"Who starches that stiff neck
You've got?"
"Ribs turn you on?"
"On you they do."
"Some places call it play-the-xylophone."
"I call it out the bad air goes and in
The good air goes. Or what."
"Well, some for hooks
And some for ladders. Me, I bruise."
"You won't."
"I won't if I can float my kidneys first."
"Two Buds, Bartender."
"How'd you get hung up
On bones instead of muscles?"
"Like you said,
It's some for ivory and some for gut."
"Or celluloid. Accordion's our thing,
Wouldn't you say?"
"Depends, Starch. Straps or squeeze?"

�</text>
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                    <text>Ex-Tarzan Dies At Age 100
Herman Brix (a.k.a. Bruce Bennett), 1906-2007

At any rate beyond the average age
For apes
And world enough and time for lots of Janes.
Time, too, to see the look of savages
Improve,
High hair give way to dreadlocks, Bwana learn
Some social conscience, ears of pachyderms
Make clear
That they are African, not Indian;
Gorillas, since Ms. Goodall, wholly real,
Not geeks
In King Kong suits, or animated clay.
Chimpanzees sign in language of the deaf;
A swamp
Becomes a wetland; its malarias,
However, keep the quinine in the gin.
The phrase
"Rain forest" makes a jungle no less that.
The ex-White Hunters guide at game reserves;
Guard; poach.
In leopard prints, and tightly unionized,
Line-dancers on the TV nature shows,
Queue up
Safari bearers stripped of ivory
To bear their viral load of HIV.
Alone
The White Man as the Ape Man does not change.
A male Ayesha, age to age buffed up,
If not
He who must be obeyed, who must be hailed
As paper triumph of the primitive:
Not link,
Not missing. Adam present in the trees.

�</text>
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                    <text>Everything Today
Makes Yesterday Slow,
or,
Thoroughly Modern Milieu

The architects whose look defines the 20s
Were not, strictly speaking, architects.
To put it kindly, stage designers all.
In New York Joseph Urban; Hollywood
At Metro Cedric Gibbons; in Palm Beach
Addison Mizener, and not one of whom
Could read a blueprint. On the street their work,
In three dimensions, turns a cityscape
To Rio Rita Spanish, future shock
(Formica paneling and space ship chic)
Or Ziegfeld Follies without stairs. Outside
Their still implied fourth wall, their undeclared
Debt to the past as their proscenium,
We honor their conventions or do not,
Aware what supersedes them may be worse:
Block after block of spiral Guggenheim,
Or Windex drought on Philip Johnson glass.
Each decade is a theme park, or at length
Becomes one. Is Orlando now more strict,
More self-consistent than haphazard Spain
In Palm Beach on the Via Mizener?
Wars,
Assassinations… We shall never lack
Such unplanned act-drops as dividing lines,
Though at the time we treat them as a scrim.
Revivals are too late a curtain call,
Impersonations; worse, remakes of what
Were copies in the first place. Strike the set
And bare the structure? No. Put on the Ritz.
Become a Stage Door Johnnie. Grease; queue up.
A little brilliantine will turn back time.

�</text>
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                    <text>Crowning the Kingfish
Out of the grave to reconstruct the Crescent City
Comes the Kingfish. Going for the nitty-gritty,
Huey blocks the bridges, bans evacuations
(Looking toward forced labor); on the corners stations
Highway Troopers to keep Black police in order;
Sets up Jackson Avenue as sealed-off border
Cordoning the Garden District from the riots;
Places snipers on the Hiltons and the Hyatts;
Bans broadcasts; expropriates the banks; fires bankers;
From the Royal Dutch Shell tanker where it anchors
Pours out gasoline. Upon the inundated
Precincts puts the torch. Also incinerated
Are the deeds and titles, meaning that the owners
Cannot prove their ownership, and must be donors
Toward consolidated housing raised on pilings
Where the engineers with terra cotta tilings
Face the levees, paid for by the instant issue,
Forced, of bonds as worthless as a Kleenex tissue.
Gulf Atlantis countersunk, poor city bloodied
By the methods of Trujillo understudied
(Hurricanes of 1930 were enabling
Acts of martial law decade by decade labeling
Tyranny as Pan-America's salvation).
Paupered by All State, the Hartford Life, or Aetna,
Must the city end as East Bank Greater Gretna,
LSU defeat be coup d'etat occasion,
Long the Governor come back as Long the Nation?

�</text>
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                    <text>Euclid Disproven
"Some of his proofs depend on how the diagram is drawn;
He makes assumptions of which he is wholly unaware."
So much for certainty. Is there some reason we should care,
Except that demonstration and conviction, once they're gone,
Abandon us to divinations of the fortune-tellers,
Flat Earth faddists, intellectual indulgence sellers.
Diviners and dividers, unmarked straightedge, and a sand
That serves alike geometers and chance, or in a glass
Can measure time, and in a wind can say as well as grass
What all flesh is. Exactitude rejected out of hand,
Our futures shifting grain by grain, our search for truth is left with
Approximations we are either awkward with or deft with.
The theorem and proof sandstorm or gesture sweeps away;
As time itself reverses when its strangling glass is turned.
Coincidence confirms prediction: prophecy unearned
That turns to truth a charlatan's good guess on some good day.
As ignorant of probity as of arcs, chords, ellipses,
Tracing lines on palms, not sand, Euclideans or Gypsies?

�</text>
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                    <text>Escoffier Meditates on the Shroud of Turin
As if a giant knife had boned a fish
Itself man-sized, the image on the Shroud,
Its two filets of stain laid end to end,
Awaits authentication. Failing that,
Sauce veronique. Inept Veronica,
Securer of the partial image, proud
Familiar of the veil, how you are mocked
By this excess of relic. Every nail,
Each station of the iconography
In place--an eager, linen manual
On how to crucify--it trips itself
By leaving nothing out. Who, least of all
A guard mount, has a forger’s care? High noon,
And up the rusted slope of Golgotha
Already climbs the unaccounted dark.
Inertly, on their arbitrary space
Where all is random, fall and roll and stop
The knucklebones., invested with the prints
Of those who cast them, in the first hot damp
Of storm to follow. There, then, is the sweat
That would convince, but who would worship it?
Embarrassed by the garment duly won,
No forger, replicating for all time
The little hour of nakedness and greed,
Would fail to give us loaded, perfect dice;
No future fail to turn mere fingerprints
To stigmata. Among the odd, intent
Procession of the Passion, where the saints
Jostle to impede the Cross’s way,
To have the glory of a Station, there,
Indifference and chance will play no part.
The lightning breaks between the cross and cross,
And if one splinter, can it matter which?
Whatever thunder lays the sanctum bare,
It is a sound that closes from us Cross,
Empire, province. Exile upon the Shroud
Tall in your immortality of spice,
If I filet the sole, have front and back
Your own clear tale of wounds? The grape I peel
You say you are; are too the bread. The fish,
How many years before the Shroud, revealed,
Encoded. It can be the Cross again.

�</text>
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                    <text>Escaping Liberation
Gays marry now because they can.
Recruit (Don't ask). Enlist (Don't tell).
Enjoy a thin charade they sell
As civil right. No family man,
And I once loved one, lives such lies.
Forget brand names, fine wines, that crap.
He'd not know Gucci from The Gap,
Or care. Not trademark that one buys,
Machismo's not your under pars
Or sports statistics by the book.
It is the clinging truth, the look
Of the responsible: the tars
A real man's brushed with. Let's just say
That Uncle Remus blew the case.
Tar Baby's that which we embrace
Not eager much to get away.
So, Babe, we each have had our luck.
If I were straight I might be you;
As me you'd hang in like I do,
Asphalt does not become unstuck.

�</text>
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                    <text>Erich Wolfgang Korngold
1897-1957
The perfect hero, perfect plot,
I did not live to score.
That would have meant, as like as not,
Techniques I used before,
But barer. Fewer upward sweeps
Among the strings; no harps;
Fanfares, but diatonic; leaps
Of key from flat to sharps
Avoided, save where, as with change
Of focus, they explain.
You cannot treat the Texas Range
And sound stage Spanish Main
In one tonality. But who
For hero, what the script?
A costumed Jud in derring-do
Or Zarathustra stripped?
I am not Richard Strauss, alas,
Enjoying it both ways.
I am not sure it's greener grass
Or topiary maze
Or Herod's cistern I am in,
With Bette Davis soap.
And underscoring Errol Flynn
Needs certain skills to cope
Or one's own head is on the plate.
Not quite Jokanaan,
Contract renewed and up to date,
I notate on and on,
Who am an exile exiled thrice:
From city, era, tongue.
Of course, Vienna has its price.
I am no bard unsung.
Ex-prodigy I, you ex-star,
For our time left to be
We are in real life what we are.
The hero may be me.

�</text>
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                    <text>Energy Crises
Corpses of bats have been found on windmills
at the power plant in Altamont Pass.
-- Oakland Tribune
Indifferent to, or unaware of harm,
Migrating bats dive bomb the windmill farm,
Against a non-polluting power source
A kamikaze strike to reinforce
Suspicion fossil fuels may be best.
Strip mine and drills belatedly contest
The loss of species with the newest trend
In solar heating, or--Midwestern blend-Methane from cows or ethanol from corn.
To seek the flame the lovelorn moth is born,
Meaning he may attack selenium
On rooftops. And will revenuers come
To fuel pumps as to a whisky still?
Dung beetles to exhaust pipes? Boding ill
For spotted owls and such, as well it should,
The obvious renewable is wood
(Of course you have to wait a hundred years)
As too is whale oil. Once the mounting fears,
Threats, economic ups and downs grow thick
It’s back to Ahab and to Moby Dick.
And do you, little bat upon the blade,
Further to make your point, bio-degrade?
Or as the trust fund cases hug the trees,
Hang in until the global warming-freeze? .

�</text>
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