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                    <text>Assyrian Bull
Five legs and human head,
Luckily not alive:
The only quintiped.
Not symbol, legs not five
(Insects incline to six)
A queen bee sites the hive:
Her sexless workers’ sex,
A flying Nineveh.
The excavators’ picks
Evoke Iraq’s “Oi! Weh!”
That British haul took out
Their patrimony, eh?
Incestuous as Lot,
Diverse gene pool of one,
Variety and not,
Food for the proverb-prone,
A swarm dwells in a skull.
Skull of a lion. Stone
Inoculates the bull.
The bull has wings, not flight;
Sexist in her rule,
The queen has eggs, not might.
And are they vengeance, these?
Islamic acts of spite
Of former colonies?
Attacks of killer bees?
A Bull’s mad cow disease?
.

�</text>
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                <text>Cassity, Turner.</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>Augmented Adages
Burning your bridges all behind you
Assures that ferry boats will find you.
Counting your chickens as a batch
Means counts before and after match.
It is a form of forward-looking,
As in a strike threat double-booking
Airline tickets also is,
And calling unknown females “Ms.”
The bridges’ piers remain to mock you;
The claw mocks of a cockfight pock you.
Charon waits at every ferry;
A Ms. is cipher; widow merry.
The past is what it was, and more.
The flight you miss, you’ve missed before.

�</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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        <name>Particulars_of_Hell</name>
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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>Banana Republic Baroque
Elaborate high portals blazing up
Against a wide plain wall: from Mexico
To panama the architects' cliché,
Yet one that never fails of its effect.
The living flame will always catch the eye;
Its background always will recede. Who sees
Behind the fire the sooted-over wall?
It is the fire that makes the fireplace, door
That makes a doorway. But is there façade
Not equally the art of mass and void,
Poem not what it says and does not say?
Is not the operative word façade?

�</text>
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                    <text>BARGAINS ARE BY DEFINITION FAUSTIAN
These are the years for mending what can still be mended.
Too many breaks already are not healed but ended.
As, when the equation’s other half is gone
There can be no solution, and the one on one
That was the balance is a tipping of the scale
Toward being found forever wanting, horseshoe nail
Of battles lost, the gallows trapdoor sprung,
The weight of doom. I dangle on a too sharp tongue
And too precise. The dust of gold, the empty pan,
The younger self strung up now tell me what they can:
Be civil to your former lovers, Kindly Poet.
If they have botched their lives there is no sign they know it.
If you have parlayed yours into a sort of Gounod
Kermesse you have paid a price. That much they do know.
But who’s to say Mephisto’s not seducible-Where but on his own ground?--or that the crucible
All our bargains, not just this, return us to
Is not congenial, or at least will do.
Having required more of our time, and shaped our ends,
Old enemies may mean more now than do old friends,
As if a bony finger, pressing down behind us,
Distorted values on the scales that so remind us.

�</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>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.

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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>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>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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