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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>Amazonas.com
Outside Manaus, not to disappoint the tours,
A number of the locals have obligingly
Gone native, hunter-gatherers in those locales
Not being numerous before the rubber boom
Annihilated all of them. The derelicts
In urban jungles stateside lack so safe a choice.
Feathers and piercings, body paint on them would seem
Survivals of the 60s, and increase dislike
Which they incur, already great. Earrings are threats?
A naked savage is a homeless person, nude?
Curare is a savage’s designer drug,
His head shop all too unequivocally that,
And any medicine of his, Alternative.
Head hunter, herbalist, ex-hippie growing old,
Have you as tourist trap, asylum, dead end street
A jungle placable as this? All of your past
Tamed? Going native in its time was not PC.
It was admitting failure, just as, now, it’s seen
As saving wildlife with a nose flute. Music puts
Also its spin on histories of peonage
In rubber gathering, an expiation based
On the offending firms’ elitist theory
Goodyear will always be what makes the world go round,
And no town with an opera house can be all bad.

�</text>
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                    <text>Badmouthing Thomas Mann
Admit: What K2 most resembles is,
The Paramount logo. Well, that’s show biz.
Mount Everest, in spite of its great height,
Is more and more an upscale tourist site.
McKinley, or, to be PC, Denali,
Affords to climbers a domestic folly.
Whitney, in the lower forty-eight,
Exists primarily to calibrate
Death Valley as the opposite extreme,
As does the Matterhorn exist to seem
Plato’s idea of a mountain. Yes,
Olympus rears, but it’s too much a mess:
No profile. Aconcagua, on the line
Dividing Chile from the Argentine,
As an example must be disallowed.
It is eternally obscured in cloud,
Unlike that playing to the gallery
Displayed in death by George Leigh Mallory.
The concept of Achttausender, outside
A metric system, does not so divide
Peaks thought to be worth climbing from the not.
Our Scripture mountains, Sinai, Ararat,
Exceed in myth a documented myth,
That matchless Mallory-without-or with
Un-There, the highest mountain wannabe,
The Fly Boys’ Burma barroom fantasy,
Their World War II non-urban urban legend,
A thirty thousand foot Mount Amne Machen,
An ultimate one-upping, to prevail
Henceforth as mountaineering’s Holy Grail,
And how Hump-flying prairie pilots got their lick
At Magic Mountains which find any flat land hick.

�</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>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>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>Eiffel without the Tower

Unrealized contracts in Panama;
Low bridges over rivers in Saigon;
Enlightening the world with strong spine hid,
The one-armed skeleton of Liberty;
Advanced enough to awe the Viennese
A railway terminal in Budapest;
Prefabricated chapels floated off
To Baja California, and, low
Tech folly--although not the engineer’s,
His client’s--in Iquitos in Peru
A metal mansion insects cannot eat
But which in tropic sun, predictably,
Defines unlivable. A century ahead,
With air-conditioning in force,
It’s a casino. As an unforeseen
Advantage, management can magnetize
The iron and subtly bias all the wheels.
If Liberty is biased--and she is,
In favor both of huddled masses, and,
Perversely, open spaces--how astute
True metal of her structure is not shown,
As neither iron nor copper, it is gold.
Without it no enlightenment can shine.
If Liberty defies consistency
The Tower stands defying gravity.
Unlike those hidden frameworks in New York
It puts its every stratagem on view.
They may or may not reassure. The lift,
Pre-Otis, is a pleas for confidence.
But, seen or hidden, physics has its laws.
One may interpret as a client asks.
However much it may confuse the tongues,
A tower is what language says it is,
And Liberty is what one makes of it.

�</text>
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                    <text>The First Fabulous Four
Above Antigua in a cloudless sky
The mute volcano Agua lifts its peace,
Its look of flooded terraces for rice
Without the fact of either. Passion vines,
Small holdings--squatters’--thick with maize (a land
Reform in place at forty-five degrees).
On red horizons farther, thunder loud
As other thunders, lightning shaft for shaft
And cloud created darkly of itself,
The live volcano Fuego burns in storm.
Distrust peace. Agua is the killer. How?
In centuries of dormancy, a lake
Formed in the crater; rains and hurricane
Collapsed the crater wall. It was a cold
Fast-forward of a lava flow, a bit
Pompeii and a bit Atlantis, end
Of world and falling sky, as if reversal
Showed the elements for what they are.
They are a broad continuum of death,
And each can call another to its aid.
The gravity of Earth arms all the air;
Add fire to water to corrupt a tribe.
When God created Man out of the clay
He gave him allies: arson, whisky, flight…

�</text>
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                    <text>Fishers of Men
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,
Who 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
Of 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 off polished chrome,
The sun goes down. The Papa clones return; the crew string up
Their catch to photograph. Too tired and too sunburned to sup
Tonight, tomorrow they'll be belting margaritas down
And seeking metric system taxidermists 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 narrow focus. Wide net is their style.

�</text>
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