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                    <text>Dance
In every dancer is a spastic trying to get out,
And getting out. The Martha Graham repertory brings,
Unseen as such, St. Vitus’s life story twitch for twitch.
Outside the Rose Adagio, the classic ballet seems
The reject of a dervish or a clean-and-jerk in tights.
A dance is footwork or is nothing, as the tango knows,
And hoofing. Get real, Martha. Ancient Greeks in brilliantine
Or Appalachians in taps each mock the origin.
To sound the forty whacks that shook Fall River hire Rockettes.

�</text>
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                    <text>Crystal But Not Crystal Ball
Upon the sapphire is the light a star?
Who is to say it is not compass points,
Or non-Euclidean geometry
Upon the rounded blue? As sign a star,
The shining asterisk is star but less;
Is radiance without the consequence-Astrology without prediction: twelve
In one, one fate and one mortality.
If you would have your charting different,
Examine then star rubies. Theirs is truth
Extrapolated from the blood, the flash
Of heat across the chill of mineral.
The East and West and North and South of love;
Its novel proofs, its parallels that meet.

�</text>
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                    <text>Cruise Ship Buffet
Ice carvings seem to be confined to swans.
The certainty of melt too much distorts
A form too little fluid. Eagle, say,
Or upright Buddha. In a fountain’s jet
Neptune does not dissolve, nor will his guard
Of dolphins be reduced to bladder shapes.
Transparent dampened plastic can seem ice
If you want Triton in the lobster tails.
Into what form unrecognizable
Will time melt down the glaciers of our fjords?
Some names already do not quite apply.
The "Snowbird" is without one wing; the "Troll"
Might have been brought from Easter Island, scooped
Out nose and all. But then, a dying swan
Need not be ballerina. See it drip
Back into ugly duckling as the shrimp
Warm toward ptomaine. The cocktail parasols
Left over from last night bring Cio-Cio-San
Beside the sushi; hint that next year's cruise
Will be the old predictables: Cancun,
Aruba; will not warn the clientele
How, by its modeling of climate change,
Its little dioramas on the trays,
The late buffet rings in the midnight hour,
As Greenpeace hopes it's half a minute till.
After how many droplets dies a swan?

�</text>
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                    <text>Cover Up
To have a brand or have a birthmark, which is worse?
A brand bespeaks the human, cruelly perverse,
But is a birthmark less so, being God-assigned?
Each in its way identifies, assists to find.
For thief, for slave, one’s fatal as the other. Flight
Cannot lose either. Plastic surgeons may set right
Or merely drive the blemish deeper in. In style
The branding iron is quick; a scalpel takes a while.
To smell flesh burn, to feel the chill of tissue-freeze…
Does either, given the seduction and the ease
Of self-deception much impact the deeper self,
Or do no more than prick its continental shelf?
Appearances are Rorschach blots of what we do.
The thief wears sleeves; marks rout imposters; we tattoo.

�</text>
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                    <text>A Course in Sax Education
Created decades after all the rest,
Rogue instrument and uninvited guest,
The saxophone, as in the lyric, has
"A right to sing the blues," and not in jazz
Alone. It is the last low tech new sound.
The cutting edge today is to be found
In synthesizers. Woodwind in design
But more a sounding brass, an androgyne
Allowed in symphonies on sufferance,
A solo sound in any circumstance,
Inflection paralleling human speech
As if the verbal were itself in reach.
So, just as electronic music skips
All intervention of the reed and lips,
And, although digital, of fingers, just
As jazz has no notation, all the dust
Of previous tradition Adolphe Sax
Blew quite away, and what his patent lacks
In subtlety is gains as prototype
Of music presently more Pan than pipe,
Always betokening its origin,
The Tenderloin it was created in.
Alderman Story, Earl and Blaze, poor street
Musician playing daily on your feet,
The sax for you is eminent domain
Between Parnassus and Lake Pontchartrain.

�</text>
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                    <text>Coping at the Cape
Awkwardly inching from the launching pad
Back to its distant hangar for repairs,
Space shuttle Challenger? Columbia?
Atlantis? has the look of Sunnyvale
Endeavoring to bring the Macon in,
Except that 1933 had sense
Enough to keep the airship out of hail.
By Zeppelin to outer space? Why not.
The stratosphere was reached first by balloon
And there is helium upon the sun.
On Earth, meanwhile, the weather keeps its hold,
On NASA as on gliders or on kites.
To have designed a roof retractable
Might have exceeded JFK's mandate?
In Akron in the Goodyear Airship Dock,
In secrecy as at Los Alamos,
Takes shape the next expendable spacecraft,
Its look between a Tex-Mex serpent-god
And a projectile tarted out with fins.
Its crew, in more than one sense space cadets,
Complete their training for its padded cells
And zero gravity, the swords and stones
Of other worlds. Emerging finally
(And horizontally), Lemuria
Lifts off in flashing lightning. Time capsule
Unwittingly, itself our naïve guess
That we'll find minerals, inscriptions, life.
Is Eden's snake mascot or stowaway?

�</text>
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                    <text>Convertible in a Maxfield Parrish Landscape
Top down, heat on in the absurd blue chill
That is the world’s desire, the heure exquise
Of California, we head for hours
Of “Frisco.” How to set its teeth on edge:
Only the polyestered call it that.
You have been punctual, as always. Not
To keep me waiting you delay your nails.
For some time now you’ve kept a buffer, file,
And choice of colors in my glove compartment.
Out the brush comes as I pick up speed.
It’s Bayshore Freeway in its wildest days
As “Bloody Bayshore,”and in fact, ahead,
There is a six-car smash. I, in a show
Of male bravado--what the Fifties had
For their machismo--pointedly and proud
Do not slow down. The crews have brought in jacks,
And crowbars; “jaws of life” are decades on,
As too are body bags. Some bodies freed,
One sees, were servicemen--Air Force, Marines.
More uniforms: carhops or majorettes,
All quickly far behind, among the lights
Of gawkers and the Redwood City finest.
I am twenty-two and you nineteen.
Your hand is steady and the lacquer smooth.

�</text>
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                    <text>POEMS FOR ISOBEL
Do Not Gamble in the Service Club
Cavalier Is What You Make It
By a Wide Margin
Good Money after Bad
End of the Trail
Exercise in Twelve Tones
Incidental Music
The Good Samaritan
Off the Nollendorfplatz
He Decides not to Play House
The P.O. in the Castro
Maximizing the Minimal
The Albino on Castro Street
A-Plus in Minus Values
The Imp of the Perverse
A Panel for the AIDS Quilt
Grimm, Grimmer, Grimmest
Saving Penn Station
Sing a Song of Squalor, Pocket Full

�</text>
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                    <text>"I wonder who began this treating of people
as fellow creatures," said Charlotte. "It is
never a success."
--I. Compton Burnett, Manservant and Maidservant

�</text>
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                    <text>Had circles with degrees enough
To institute a whole New Math.
Do crossword puzzles often bring
Out premonitions? Mine would have,
Had I not thought that 8 Across-"Bird of mixed omen"--came from Poe.
The metaphor around our necks
Was hinted at us all too clear
Off Capri, at the pool buffet,
When--Who? The under pastry chef?-In an access of pride, held up
For him we called the Circle Jerk
To see, a 12 inch pizza, one
Slice missing. Bounding over trays,
Steam tables, juice dispenser, Tums,
He slapped into the hired help's face
Salami, cheese, ripe olives, all.
Those Keystone Cops and custard pies
Outdone. A melted cheese will stick.
He then leaps off the fantail ropes,
To be rescued by bus boys, me,
And some Long Island gigolo
(If you prefer, "dance host"). At once
Reversing to assist rescue,
Our port propeller threw a blade.
Jerk, when I disembarked at Nice,
Was still deep under lithium
In Sick Bay, with the pastry chef
Beside him. For heroic acts
I have been offered ten per cent
Discounts on future passages.
One does not have to be at sea
To trap shoot. I at Hilton Head
Sometime let fly. Once, in the Club,
Upon the dart board, unrepaired,
I noticed an omitted arc
Of thirty-odd degrees. And back
From all the years since 8 Across
Came "Albatross."
I leave, if not
A sadder, wiser man, one sure
Of albatross as archetype,
And certain of how sound advice
Is "Let the circle be unbroken."

��</text>
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