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                    <text>Endemic in a proletariat,
That if one makes it to the ballroom late
Then one by definition cannot be
An ugly sister. It will not explain
That haste in which a hearth went monarchist.
Out-of-the-ashes, though, may be the one
Most European thing. And fitly there,
Two-headed phoenixes too fake to blaze,
The inaccessible imperial
Emblems, too high to chip away, look down
Without comment and without remorse.
On any given evening, at least four
State companies will be performing, say,
The Count of Luxemburg--the first great work
Of social realism?--While it lasts
Who hear it are in fact a polity;
That is, are more alike than different.
At intermission, hallmarks vanish. Sekt
In hand and democratic sausages
Cascading off our plates, we bring to Pop
Baroque a kind of living tractor art,
Ourselves the peanut vendors of our tiers,
A newsreel colorized by CNN.
Recatalog us under Empire, World,
And make cross references from local names.
Conquest is partial or is absolute.
Happily, at the time, no one knows which.

�</text>
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                    <text>Pax Vienna
The urge to Empire finds strange vehicles.
Peanuts financed a certain president;
The revenue from highway billboards built
Ted Turner's fortune. OCLC gave
New meaning to the phrase "House of cards."
The most improbable empire, however,
Stretches from Odessa in the East
To Hamburg in the West. It takes in Graz,
Fiume, Zagreb, Budapest, Berlin,
And thirty other cities. It consists
Of theatres, the Fellner-Helmer firm
Designed and built from 1880 on:
A phantom as the opera. As much
Alike, and too, as unidentical
As in the U.S. state capitols
Are not and are, the buildings graft on form
To function as the 80s thought of them.
From high stagehouses under Mansard roofs
The block exteriors take one step down
To meet the auditorium, and step
Once more to be the lobby areas,
A rule of three applied as rigidly
As quartering in Habsburg marriages,
But bringing forth profiles more fortunate.
Odessa's semi-circular foyer,
The shameless back to front design the site
Forced on Wiesbaden only prove the rule.
Outlasting revolution, war, Bauhaus,
The twelve-tone scale, and traffic engineers,
No doubt the oeuvre will outlast Folk Art too.
Fire, without loss of life, destroyed some parts,
But in the presence of so many stairs
One has to work to burn. No theatre
That duo built has any wrecking ball
Crashed into. Poor sight lines, indifferent
Sound, potted ferns, undemocratic tiers,
Gas lighting none too well converted… still
Their publics flock. It is the theory,
Endemic in a proletariat,
That if one makes it to the ballroom late
Then one by definition cannot be
An ugly sister. It will not explain
That haste in which a hearth went monarchist.
Out of the ashes, though, may be the one
Most European thing. And fitly there,
Two-headed Phoenixes too fake to blaze,

�The inaccessible imperial Emblems,
Too high to chip away, look down
Without comment and without remorse.
On any given evening, at least four
State companies will be performing, say,
The Count of Luxemburg--the first great work
Of social realism?--While it lasts
Who hear it are in fact a polity;
That is, are more alike than different.
At intermission hallmarks vanish. Sekt
In hand and democratic sausages
Cascading off our plates, we bring to Pop
Baroque a kind of living tractor art,
Ourselves the peanut vendors of our tiers,
A newsreel colorized by CNN,
Recatalog us under Empire, World,
And make cross references from local names.
Conquest is partial or is absolute.
Happily, at the time, no one knows which.

�</text>
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                    <text>Production Values
What is it we accept as real?
The gaslight decades found no fault
In canvas flats or painted waves;
The 1930s did not cringe
At back projections as the world
In which screen heroes moved. For now,
Computer imaging persuades.
Tomorrow its spaced dots may seem
Virtual unreality,
Or living actors virtual.
There is a test. The actual
Shows up the act for what it is:
Impersonation. Oedipus
No actor not a lunatic
Would take on in Vienna. Couch
One-ups the built-up boot, the throne,
As Ptolemaic marriage
Makes blinding oneself seem de trop.
No actress into middle age
Enjoys a scene with ingénues.
One cannot pass for young if youth
Itself is present., any more
Than a Kabuki heroine
Would be mistaken on the street
For woman. Did castrati
Sing convincing lullabies? The Globe’s
Pubescent Rosalinds prolong
Careers by trained falsetto? Or,
At so to say the first crack out,
Give up? If blackface power passed
For true Black Power, minstrel shows
Might still be on the boards. Ahead,
If they join Actors Equity,
One must decide if clones have less,
Or have the same seniority
As those who gave the DNA.
Eternal understudies they,
Reality denies them role.
But Jekyll knows that Hyde is there,
And Hyde knows it is not make-up
By which in him we see ourselves.
.

�</text>
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                    <text>Religion for Robinson Crusoe
Superheroes have their minions:
Native servants, boy companions.
Would exchanging of those backups
Create crushing mental crackups?
Batman crumble lacking Robin?
Kemo Sabe blow his top in
Absence of his batman Tonto?
Saddle sores arriving pronto,
Robin, riding with the Ranger,
Know a salt lick from a manger?
Tonto, apprentice at Wayne Manor,
Make the grade as new retainer?
From each other disencumbered,
Would Lolita, Humbert Humbert
Have their fame? Alone, Man Friday
Cloy, like Shirley Temple’s Heidi?
Adam be than Onan stronger
Were his rib cage one rib longer?
Man may be at base a dyad.
God, however, is a triad.

�</text>
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                    <text>Roots
Exhumed as fossil after eons--just how many
Science wrangles--Peking Man, no ape bad penny,
Vanishes again, and has not yet turned up:
Research’s overflowing, under flowing cup;
In evolution’s argued, time-extended frame
A temporary fossil’s fifteen-minute fame.
Ancestor of the terracotta soldiers? Not.
Proto-Red Guard, perhaps, from that much dug up spot
Gray matter being sorely missing. Since the bones
Are on French leave from Sino-Japanese war zones
We know Sinanthropos from photos and from casts.
The film and plaster, violence, confirm our pasts
As intimate, embarrassingly. If the find
Is found again, we’ll have to value it in kind.
We’ll recognize ourselves: Old Adam, Chairman Mao,
Che, Pol Pot. Kin so much less than angel, Ciao.

�</text>
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                    <text>The View from the Prompter’s Box
Stage miracles are preferable to none,
And Little Eva on piano wire
Ascending into Heaven would have been,
In septic worlds where children died a lot,
Assurance of a sort. Bright wounds that bleed
And weeping, weeping virgins; body parts
Of useful saints that spring on cue to life,
Before the footlights as behind, betray,
As any objects of credulity
Betray by simple objectivity
Seen close enough in lighting strong enough.
It does not take a Marxist fantasy
Of murdered pregnant nuns to create doubt,
And if today the stage is more inclined
To credit Uncle Tom with sanctity
Than Eva, all that means is, guilt is in
And golden curls are out. But who can say
That Black is not blackface a bit whitewashed,
False pregnancies not prevalent in nuns?

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                    <text>Wrecking the Trekkies
More rapidly, somehow, than time-warp would account for,
The look of Star Trek ages. Is there not a fount for-Fountain of youth for--Captain Kirk in ski pajamas,
Or Bones in all that mousse? Wigs; TV dioramas
Depicting on the cheap the cosmic outer reaches
Where none has gone before? As retrograde as leeches
Are to health care are the settings now to science
The Enterprise? A bakelite household appliance.
Low tech solutions for the actors: add a gusset;
If there is hernia, in action scenes just truss it.
Nor do the plot lines hold up well. They shilly-shally.
Why can’t we have, they always say, peace in the valley.
An ethnic quota system seems to haunt the casting.
The 60s in pursuit of Feelgood everlasting.
One China, Scotland, Ex-USSR, Sri Lanka…
How did that Flight Deck function? Had it lingua franca?
And down below decks have we what? Matsu and Quemoy?
(It is the 60s, mind). Not even Leonard Nimoy
In Spock’s neat syllogisms could on Earth keep up with
Tribes and Mandates. Who’s a diplomat to sup with?
Alas, Star Ship, your good intentions did not do it,
And “Beam us up” from wrack must rescue. Look you to it.

�</text>
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                    <text>That’s All, Folks
The endless rolling of the credits
Outdoes suspense created by the film.
One waits with bated breath to see who edits,
Who is gaffer, grip; whose is the realm
Of post-production, who supplies
The crew with coffee, who provides the wigs
And who the contact lenses. No surprise
The biggest bold-face type is Mr. Big’s,
The Head Producer’s. Still, one sees
No indication of that offstage Best Boy
His trusty dope supplier. (O.J., please
Keep mum on Cato, your convenient guest boy;
There might be domino effect).
The credits grow obscurer toward The End:
A lot of acronyms. Only connect,
As has been said. Keep looking and append
Those letters to their proper guild.
ASCAP is music, BMI also.
Note that non-union stuntmen are not billed.
Check logos. Mountain, Lion, RKO.
A Matterhorn of second birth;
A senile feline overfed on lox;
The tall antenna on the turning Earth;
The searchlit letters of Art Deco Fox.

�</text>
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