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                    <text>A Cult of Nag
A Zodiac of one, Medusa’s shrunken head,
The field’s most subtle beast at his most obvious,
The serpent Satan's other spreads his flaring hood,
And in his weaving shadow, evil, good, and we
Must see it out. Advantage is to which can tempt,
Or never question, or can blow the reed and charm.
Facing the Gorgon’s glance, discouraging to know,
So late among the signs, the universal mix
Of myth, that any mongoose has it easier.
The ruse of Perseus, the mirror, was, at last,
An act of cowardice. Stone would, for all he knew,
Have been the more informative experience,
And possibly the more erotic. Andromeda
Chained on a rock is any bondage fantasy.
It was our Mother Eve and Rikki-Tikki-Tavi
Who resolutely looked upon the Ding an sich
And lived to tell the tale, although made famous each
By someone else’s telling. We who wet the reed,
Brave understudies of the serpent’s subtleties,
Invent of combinations ours and stars not used
New birth, new beasts, a horoscope of selves left out.
Vast Reptile of the Garden all about, false tongue
Of knowledge flawed, draw in your venom and submit.
No constellation is more clear than the one we name,
No antitoxin strong as one that we believe.

�</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>A Panel for the AIDS Quilt
The face-off of the homosexuals
Is that they cannot find a paradigm.
Domestic is not it. Have not we all
Thrown up, or near, at isometricists
In kitchen aprons? Nor is some platoon
Of lover-warriors improvement. Who
Wants to re-up beside an opposite
Unable to decide (it shows in bed)
On active or on passive? Platonists
At least perceive the awkwardness. Plato,
However, over-furnished and sealed off
Pure closet, from which Alcibiades
Had common sense enough to "out" himself.
Discipleship is worse than playing house.
And human self-deception does not go
Beyond a sex-change, measured next to which
Transvestites seem intelligent. Drag queens
Do, necessarily, know budgeting .
How else afford their double wardrobes? Gay-And in the word, more self-deception breeds,
But here concede the usage--activists
Have done more harm than good, or if they've not
Are sewing circles more or less manqué,
Although that quilt… As in the taste of game,
Edwardians could teach us much, first off
That sex is in the doing, not the talking.
Lock the door and keep your mouth shut. Bellhops
Have pass keys, but it's bound to be your word
Against theirs. Blab yourself, the balance shifts.
The integrated personality?
It's an invention of psychiatrists.
The double life is what comes naturally.
For all we know, prince Albert may have seen
Balmoral gillies and their legs and kilts
More intimately than Victoria.
All you who demonstrate at City Hall
For Spousal Benefits and Bangle Rights,
The only benefit you reall need,
That of the doubt, your openness denies.

�</text>
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                    <text>A Song without Words, or with
The Singing River (the Pascagoula) produces a mysterious music.
Legend says that the sound is connected with the mysterious disappearance of the Pascagoula tribe of Indians. It is said that,
lifting a song, they entered the water rather than submit to
oppression.
Federal Writers Project. Mississippi; a guide

By water too indifferent to part,
A fateful exodus is set to start.
As stiff as gods processing down a stair
The Nation meet the river, well aware
Their Promised Land is here and not ahead.
And so they raise a chant. Of hope? Of dread?
As ethnocentric as a music is,
We cannot know. Its alien mysteries
Become the simple program we infer,
In which the tribe may not or may concur.
What was the sound of one side of the split
Waves of the Red Sea slapping? Did it fit
Pronouncements of the prophets or conform
To some unknown tsunamic sonic norm?
A legend is just that. It meets a need
Most truth does not, and on it comes to feed
Such expiation or such urge to guilt
As can be gathered from a singing silt.
So unto whom the tribe’s forced end ascribe?
De Soto? No, another local tribe,
Which is the truth of it, if not the song:
The tone deaf fact our mythic programs wrong.

�</text>
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                    <text>A Tale of Three Cities
Gold…the barbarous relic.

--John Maynard Keynes
Johannesburg, Baku, Manaus: boom towns all,
All with a boom town’s mercenary siren call
From gold, petroleum, or rubber in the wild.
Exact contemporaries, where frauds self-exiled,
Crooks, second sons of third rate nobles, trust to luck
Or finding wide loopholes in any bargains struck.
Attracted always to the newest venues, sets
Up shop the old profession. And though Europe frets
It also funds White Slavers. Taking anthracite
To new Newcastles, but the crucial word is ’White’.
The most a “civilizing mission” can provide
May be low tech: mosquito nets, insecticide.
Teatro Amazonas and the Rand Club, ranks
Of derricks in the Caspian, now brighten blanks
On surveys past and stay to say the worst of times
May be the best if it can overlook the crimes.
John Maynard Keynes, Ploesti, and Malaya dawn;
The tight gold standard, tight monopolies are gone.
Now, fossil fuel is our relic barbarous,
And gold a source financing windmill farms for us.
In furthering safe sex synthetic rubber works;
In far rain forests its frail counterpart still lurks.
Cities that have the shortest past have unique roles:
Prove history is bunk, and nature full of holes.

�</text>
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                    <text>A Visit to the Cigar Factory,
And Pin-Ups There Encountered
It has been suggested that Cuban troops returning from Angola
Introduced the AIDS virus into the Western Hemisphere.
--AP

Havana late in 1951.
The ground tobacco and the tan flat leaf
To be the panatela fill the table,
As a reader whom the workers hire,
Between the morning news and Don Quixote
Reads aloud to them from Blood and Sand.
Will Dona Sol seduce her matador?
(Did Rudolph Valentino slick his hair?)
Joan Collins, born to play the villainess,
Is eighteen, they who hire much older. “Menace”
Means for them not even Rita Hayworth.
It is Nita Naldi. In his chair-High chair--at break becoming his own man,
The reader reads from Hemingway. His lips
Form silently ingles. To stick the leaf
And seal it, sweating Papa look-alikes
Are rolling sweepingly across bare chests
Each proto-smoke. Angola, AIDS, sweat, Joan
Now menace down the line. I think of all,
And how the end at Ketcham shadows too.
I bite the end and spit it. But I smoke.

�</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 it 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>A-Plus in Minus Values
Authority and servant; cynosure,
Or pro of low profile, bartenders--most-Strike soon the balance their physique suggests.
This one did not. At under four foot eight,
No one was less a Munchkin, more full scale.
We are not talking Boys' Department here.
You would not proposition that had you
Not balls enough to take on Captain Blood.
A grim comparison. He's dead of AIDS.
"If you'd just polish up that buckle, Cowboy,
I could comb my hair in it." Or, "Down
Here I see the first sign of double chins."
That presence, it is borne upon us now,
Was kept up at some cost. For height, the slats
And bricks behind the bar; the low-rise slacks
Re-tailored so the pockets do not meet
Behind. A little of a midget's rasp
Was in the studied voice from time to time:
Control can only carry one so far,
And not, perhaps, to where he cares to be.
For that, choice enters, and to have a choice
Is measure of how far Hang Loose succeeds.
One afternoon, to hang in place a pin
Spotlight, I saw him climb a ladder. Rung
By rung he rose to more and more himself.
Staircases, Freud assures us, equal sex.
That ladder, then… And when the swung light raked
A whistling, actually applauding crowd…
What is the sound of Patient Zero clapping?
Was it not invidious, Zero,
To pick on someone so near your own size?

�</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 it 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>Abdul Hamid
Before the Jewish murders I was that Great Beast
You Christians seem always to need. Armenia,
Land no one ever heard of, I made a Crusade
No one took up. As long as I was Caliph, Rhodes
And Crete were not a threat to Suez or Toulon;
The Hijaz and that other Holy Land were safe,
Which hardly can be said for Ataturk. Grant me
That I thought up the bank accounts in Switzerland
Accessible by number only, which is how
Alone of many I contrived to die in bed,
If after years of a palatial house arrest.
Gallipoli, the holocaust of "Greater Greece,"
Freeing the eunuchs, opening the harem walls,
The works of German architects in Ankara,
I'd have enjoyed, their evocations of a siege-Vienna--or some parody of Herod's Temple.
Sick Man I may have been; remember that I lingered.

�</text>
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                    <text>Absolute Pitch
It is genetic, obviously, as not all
Possess it.
Does it require our Western scales to find it out,
Express it?
Do Chinese have it? Do their pentatonic modes
Confuse it?
Does raising standard pitch above four-forty-two
Abuse it?
A puzzling heritage of some ancestral need
Now useless,
The sensitivity endures as might disease:
Deep, traceless,
Until new science spots it. Oboes sound their A,
As nearly
On the pitch as lip and reed and wood permit,
A merely
Brute approximation. In the ear itself,
In what is
Probably the only evidence--and that
Is gratis-Arguing in favor of platonic forms,
Exactly
Waits the abstract tuning fork, the pure ideal.
Correctly
Tempered intervals, meanwhile, a compromise,
But habit,
Serve. Such music as we need is not the spheres’
In orbit.

�</text>
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