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                    <text>Clausewitz of the Drawing Board
Is it significant that War and Peace
Are housed in buildings equally inept?
The Pentagon, the League of Nations morgue,
The UN in its Babel of the T-square?
Geometry, Geneva, Hope's "one world"
High Mannerism, all of them too trite
To serve as logos. Chateau Frontenac
Is where Defense Department ought to be,
A pseudo-citadel with lots of thralls.
Contemporary with the League Palais
At least three buildings on the Shanghai Bund,
That is, the "International" Settlement,
Could more appropriately have housed the corpse
Than who defeated Le Corbusier
In the design contest. Predestination?
Not for nothing Calvin's capital.
Having designed an opera house (the Met),
Is Wallace Harrison to be forgiven
Building earlier our East Side house
For diplomatic comic opera ?
His Follies stage? Developed World or Third,
We really should do better. Working by
Whatever measure--cubits, inches, feet,
Pyramid inches--raise a folly that
Of many styles and none can say it all:
By other means continued, Peace is War.

�</text>
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                <text>Compaq Presario SR1222NX (Born digital materials), Turner Cassity papers, Manuscript, Archives, and Rare Book Library, Emory University.</text>
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                    <text>Christ of the Deep
Key Largo
Green copper underneath a green lagoon,
The inundated Savior turns his face
Up toward a flaring sun, turns out his hands
In supplication to the snorkelers.
God who might say unto the waters, “Part,”
Does not, and so the salt goes in the wounds,
The patina roughens on the thorns. To rise
Immortal, deep to earth to parting sky,
Immortally upon the high Right Hand
In memory of metal there to judge,
Endures for now the stoic on the reef.
The torrent strikes? It strikes, and still I stand.
Our Tempter comes? To barter oxygen
For pirate treasures drifting at our feet?
Get thee behind me, Satan. Breath can wait.
Before the mask a skull and crossbones was;
Was for Golgotha house-flag, flag, and seal.
The beaten copper has its form from hammers?
So the Cross has, and upon it I.
Time, tide erode? They add to what I am.

�</text>
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                    <text>Checking Birth Certificates
Into the fire that will renew
Or will destroy, Ayesha goes.
Her age, if she herself once knew,
Now only ageless Kronos knows.
Fast forward: L.A. '38,
And actresses have found the lie
To be, in slowing down the rate
Of aging, as worthwhile a try
As entering the flame. Born when?
Well, 1904 will keep one still
This side of forty, and has been
The choice of those for whom the will
Is, aided by the lens, the way.
A Juliet of thirty-six;
An Ondine anything but fey;
St. Joan a long way toward the Styx.
She-Who-Must-Be-Obeyed may be,
Except by simple Time: the Wrath
Of God emerging by degree.
A menopausal Joan? Just do the math..

�</text>
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                    <text>Carlota in the Congo
By marriage a Habsburg, I by birth
Am Belgian: Coburg, sister to the late
King Leopold, of whose Congo Free State
"L'etat c'est moi" was literally true.
That being so, his secreting me here
Was well within his rights. And I have mine.
Nuns, anonymity, court etiquette.
The old woman in the Mons chateau
May be the legend but she is not I.
I have a villa where the River sweeps
Out from the heart of darkness toward a sun
That is in Mexico a god. If hands
Are missing here it is the hearts torn out
Juarez inherits, boasting all the while
Of being Indian. Chapultapec
When I was there at least was more Triest
Than Teotihuacan, as my rooms here
Contain one sacrifice alone: myself.
Napoleon the Little, Pio Nono,
U.S. Grant, more blood is on your hands
Than ever any Coburg let. Omit,
Of course, descendants of Victoria.
A little steam launch brings the fortnight's mail;
One day a launch will dock for me. My kin,
Where will you bury me? Among the tribes
Upstream who will devour the evidence,
Or in Vienna, where archduchesses
Are so thick on the ground I'd disappear?
No proper Habsburg ever abdicates.
My husband's brother, centuries along,
Was titled still "King of Jerusalem."
You ex-and-future cannibals who crew,
Commit me to the water. Floating far,
An old Ophelia too little mad
To get me to a nunnery, or see
A Feathered Serpent in the green python
That hangs aslant above the mile-wide stream,
I see in him the brazen talisman
Of forty years spent in a wilderness,
Who, if I credenced him, would say to me
"Charlotte, beware the Canaan promised you."

�</text>
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                    <text>Cavalier Is What You Make It
From sheer perversity, or need, I drive a street
Where you, from sheerest greed, are hustling in fine sleet.
The ice is pinging on the windshield, your thick glasses.
You take them off and hurriedly run down your prices.
The heater in the car unfogs you. On the way
It fills the frequent gaps of our not much to say.
“I’m only hustling for the money to buy contacts.”
I only pick up hustlers to improve my syntax.
No yield is either worse, or better, than who sow it.
Our bed is warm, however, and how well you know it.
“Can I stay?”
“Not if it means another ten“
Toward noon I drive you back to earn a contact lens.
Now, I need contacts too. And if I chance to hear
Celestas in ACT II of Rosenkavalier,
Their softly sleeting motif of the silver rose,
I think of you, of that real sleet, and curl my toes.

�</text>
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                    <text>Eye of the Storm, or Where
The intervening decades drop away
And I and you are young. But are young where?
Youth has its venues; age is anywhere:
The clinic, supermarket, shopping mall.
In adolescence place was Hotel Row
Along the Gulf. The Mafia's discreet
Broadwater Beach; the local favorite
The Buena Vista; Budget Alamo,
Our base. Sunburn and rum drinks, roulette, slots.
Courtyards with artificial Spanish Moss.
Named hurricanes have altered all of that,
And from the smart, good-looking teen you were
Their wake has seen you turn to what is known,
For lack of better term, as "family man."
(Not that we'd have you any other way)
I? Let's just say I do not gather moss.
But as the ebbing tide quits step by step
The seawall, and on Highway 90 cross
Unstoppably the drunk pedestrians,
It's once again Spring 1948,
Our so to say high school Fort Lauderdale,
Or rite of passage still on hold. The sea,
As has been said, is everywhere the sea;
A beach is sand fee simple, and for me
Is time-specific. Always you that year.

�</text>
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                    <text>Carlota in the Congo
By marriage a Habsburg, I by birth
Am Belgian: Coburg, sister to the late
King Leopold, of whose Congo Free State
“L’etat c’est moi “ was literally true.
That being so, his secreting me here
Was well within his rights. And I have mine.
Nuns, anonymity, court etiquette.
The old madwoman in the Mons chateau
May be the legend but she is not I.
I have a villa where the River sweeps
Out from the heart of darkness toward a sun
That is in Mexico a god. If hands
Are missing here it is the hearts torn out
Juarez inherits, boasting all the while
Of being Indian. Chapultapec
When I was there at least was more Triest
Than Teotihuacan, as my rooms here
Contain one sacrifice alone: myself.
Napoleon the Little, Pio Nono,
U.S. Grant, more blood is on your hands
Than ever any Coburg let. Omit,
Of course, descendants of Victoria.
A little steam-launch brings the fortnight’s mail;
One day a launch will dock for me. My kin,
Where will you bury me? Among the tribes
Upstream who will devour the evidence,
Or in Vienna, where archduchesses
Are so thick on the ground I’d disappear?
No proper Habsburg ever abdicates.
My husband’s brother, centuries along,
Was titled still “King of Jerusalem.”
You ex-and-future cannibals who crew,
Commit me to the water. Floating far,
An old Ophelia too little mad
To get me to a nunnery, or see
A Feathered Serpent in the green python
That hangs aslant above the mile-wide stream,
I see in him the brazen talisman
Of forty years spent in a wilderness,
Who, if I credenced him, would say to me
“Charlotte, beware the Canaan promised you.”

�</text>
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                    <text>Cardiac Arrest
The heart of the old French Quarter
has stopped beating.
Lyle Saxon, Fabulous New Orleans

If it was heart, the old French Opera,
And in that fire of 1919 ceased,
It may be listing of its repertoire-Cardiogram, as one might think of it,
Or coroner's report--will do as much
To keep it in the memory as does,
Upon the site at Bourbon and Toulouse,
The Opera Bar. American premieres
Of Esclarmonde, Herodiade, and what
More fitting sound track for a Sazerac?
A vision not fugitive but fled
And not rebuilt Just as a theatre
Inferior to first-run cinemas
(Intolerance is silent Meyerbeer)
It is no more the distant past than, now,
Echoes of Storyville on life support:
Jazz bars--the Famous Door, Café Lafitte,
Café Lafitte in Exile--if not heart,
Heart transplants. All too frankly designated,
Preservation Hall. New Orleans
Survives on pumps, mechanical heart pumps
Among its others. Barkeep, who remembers
What the Famous Door was famous for?

�</text>
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                    <text>Around the Gulf of Mexico--Campeche, Vera Cruz,
South Padre--it is Hemingway hotels that one should choose.
Hotels, that is, where deep sea fishing types predominate.
They will be out at sea in chartered boats all day, a state
Of grace for who remain on shore, as we shall have the bar,
The pool, the poolside luncheon to ourselves, and the guitar
Quartet will spare us La Paloma, finding us too few
For so much effort. Nothing if not willing to let you
Be Hemingway, the waterfront photographer has scales
In metric length and weight, so in his photos numerals
Will, being higher, more impress the good old boys back home.
In blazing lack of color, blinding as if off polished chrome,
The sun goes down. The Papa clones return; the crew string up
Their catch before the camera. Too tired and too sunburned to sup,
But not too beery to be belting margaritas down,
Tomorrow they‘ll enrich a taxidermist in the town.
Above the Gulf the moon is neither chrome nor polished. Pearl,
If you must have it, shadowed from inside. And, skirts atwirl,
Come ladies of the evening to the torchlit terrace tile.
Hooking implies too much focus. Wide net is more their style.

�</text>
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                    <text>Call Me When the Cross Turns Over
In letters of a failed Cyrillic alphabet
The jet trails message-board the sky,
Their message being, we have overpaid the debt
To tribes who watch the stars go by
And think up constellations. Pictographs can mean
But cannot change. Orion change
Into the Dipper, or the Southern Cross be seen
As Maltese? Be Lorraine's? Too strange
To join the Zodiac, jet vectors are not signs,
Cannot predict. Born under these
We shall be outcome only of our own designs.
Myth ties us to its beasts; Line frees.

�</text>
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