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                    <text>Accepting a Commission
As opera it virtually writes itself:
Funeral march for Norma's monkey; tango scene;
A trio at the tailor; card game as quartet;
A bit of organ passacaglia for Max
And big orchestral coming-down-the-staircase theme.
The body in the pool can have a barcarolle.
That ingenue may trip us up. High notes and trills
Our younger audience will not accept. A plain
Pop tune, perhaps. It need not surface more than once.
We cannot quote from Salome--firm copyrights-But we can quote the repertoire Strauss quoted from.
The Queen of Sheba. Parsifal Act II. Himself.
DeMille can be a gospel hymn. Or spoken role.
The score will be no problem. Trust me. Warner does.
If Hollywood is not Die tote Stadt, what is?

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                    <text>Ape and Essence
His animators readily admit
The scale of King Kong changes. On the Empire State
He’s taller than at tete-a-tete with Wray,
Though shorter than attacking elevated trains.
The actual pursuit planes shoot the model down;
The heroine adjusts to human scale.
We have to traffic with the monster that we see.
If it’s a robot than the primate must be we.

�</text>
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                    <text>Blue Angels
The one shows off her celebrated thighs;
The others cross and uncross in the skies.
And who, if the attractions were reversed,
Would storm the exits to be reimbursed?
The same voyeurs see Lola-Lola soar,
And Air Force jumpsuits dropping to the floor,
Cadet leg muscles on a kitchen chair,
A lady baritone high in the air.
If role reversal shows sex acts the same,
How know who is the moth and who the flame?
Spaced F-16s collide; no skill can bar it.
And if their wings burn, well, there’s nothing for it

�</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>Die heil'ge deutsche Kunst
San Francisco

An early curtain at the War Memorial,
And as the lights go down two well-dressed gentlemen
In boots and leather occupy their center box.
It makes a certain sense. We do incline to wear
Our most expensive outfit to the opera;
And white tie surely costs no more than naugahyde.
Are motorcycles frowned on at the porte-cochere?
If, just a little bit, our flesh begins to crawl,
It's not because the boots seem inappropriate.
If anything the opposite is true: the hint
Of scars and duels; of a cult of practiced pain.
Even the late night leather bars at last must close;
Triumph des Willens costume parties also fold.
We've uncut Wagner. It will end too late to change.

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                    <text>Draw Your Own Comic Strip
One cannot fancy Terry (of the Pirates) in the Peace Corps,
Except, perhaps, as Space Cadet on loan from some Lend-Lease Corps.
Good works are not adventure, Third World not the same as China:
Adventuresses foreign as Victoria Regina
To feminists becoming more or less the Dragon Lady.
The Zeitgeist is as anti-action as the Gun Law's Brady.
One might attack it, were he snide enough, and crudely canny,
As FDR was set upon by Little Orphan Annie.
For hero, a Lt. Brugge, Belgian, but a Fleming.
No spinoff of Detective Poirot. Old scar tissue, stemming
From knife fights, lends him aspect of a fencing-student Junker.
Employee of the Congo Free State, he's a strong debunker
Of missionaries. Further, he can blackmail Roger Casement
By way of photographs safe in an Antwerp basement.
The Consul planned to have those diaries fully illustrated;
His model, tortured, told; the Free State had them confiscated.
Our hero fought the Congo Arabs, ending Moslem slaving.
Two slaves he has himself. One spies for him; one does his shaving.
Love interest? At home on leave the dangerous enjoyment
Of Leopold's young mistress. She secured him his employment.
On station his enjoyments are quite other: killing tuskers
For ivory, or trapping coastal tribes to sell as lascars.
Watussi, pygmies, cannibals, Ubangi. Presto-Change-O,
And they are cartoon minstrels strumming on an inked-in banjo.
Fans, send to the above address one chopped-off native digit,
And we'll send back Lt. Brugge's brand-a-native widget.

�</text>
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                    <text>East of Stockholm
The great oil fields at Baku were developed
by the brother of Alfred Nobel, and along
with explosives, the source of much of
his wealth.
--A History of the Prize

Imams and pipelines, mosques in petrol smells.
If it's a khanate, it's the two Nobels'.
If dynamite sent Alfred into guilt,
Oil lubricated any pang he felt
Investing in his brother's drilling rigs.
The Prizes are increased as each reneges
On options to investors, Swede or Rus.
Islam and Marx, White Russians on the loose,
And still the deep wells pump, if deeper now
Below the Caspian. How rescue, how
Preserve beluga from the taste of crude?
Or from the charge of too much attitude
Such banqueters as scorn a caviar.
Mandela, Carter, you are what you are
By virtue of a trio you deplore:
Exxon, BP, and Shell, the firm offshore
Supports of peace and poets, science, war;
Depositors of a La Brea tar
From Azerbaijan: a pit of bones and names
To mock the founding father's lofty aims,
As Ibsen, Conrad, Tolstoy are not there.
And Nelson, Jimmy, with whom do you share?
The less than populist Sadat (Anwar)?
Menachem Begin, Stern Gang superstar?

�</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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                    <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>GUIDELINES FOR A COVER ILLUSTRATION
‘Adventuress’ is, as a term, this side of ‘slut’,
If only just. A sexist term and nothing but.
‘Adventurer’ touts heroism, if a sort
Whose purposes, in light of later ends, fall short
Of what Correctness calls for. As of now no one
Might be adventurer unless with knife and gun
And armor of the ethnocentric. Doubt, good works,
Children disqualify. The old way had its perks:
A native servant; chance to strike it rich; wear, more
Convenience than symbol, what the White Hard Core
Wear: jodhpurs and a real pith helmet. Low-rise jeans
On Peace Corps hips define what anti-hero means.
Nor does one quite see Vassar’s Summer-In-Brazil
To-Count-Endangered-Insects grist for Marvel’s mill,
Or Hanoi Jane as Earhart. What screen type today
Would not appear ridiculous if forced to play
Above a score by Korngold? Astronauts are backed;
Adventure is the free-form, unsupported act
Outside group think, and envied by the orthodox
As the ability “to think outside the box.”
It asks, of the society that it excites,
Exemption. Heroes do not haggle for their rights,
Which are the summit set upon, the banner placed,
The tiger in the sights, enchantresses embraced.

�</text>
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