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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>Procession of the Seasons
Spectators camping out competed for space with the homeless…
Theme of the Parade was fairy tales. First-prize float depicted
A Russian legend, “The Golden Cockerel.”
--U.S.A Today

The avenue of golden gingkos bares itself in hours
And on the pavement leaves its rip-off of the golden hoard;
As if a massive rain of thumbnails followed after showers
Or wind and left its imprint. Wreck of a wind chime, silent chord
And a percussion visible, the crescent litter mutes:
Our footfall, brass, a later rain. On streets none of them Wall
Gold falls, to be itself a ticker tape of gilded scoops;
A Pasadena of a yellow, still processional.
The sky above, the indestructible October blue,
Must also topple, from its stint as Jacaranda bloom.
October’s color half a year away, the trees undo
High heaven and the course of time. The sky is falling, Scum;
Get off the sidewalk. You who have no home, am I Coq d’or
Whose co-co-co-ri-co above the gratings where you sleep
Is call to arms, or Chantecler complacent? Metaphor
For non-change and for change, I cry the Jacaranda’s deep
Sky threatening the pallid blue of noon and its defeat
By gravity. Up! Do, achieve, accomplish. Heaven’s down;
Here are your marching orders. Heave your carcass off the street
And kick aside the wreck of azure and the shattered crown
Whose gold leaf blinds you. Seasons are these times ablaze. Do what
You have to. Step, and unavoidably you step on rot,

�</text>
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                    <text>Precautions of the Undertaker
A bit excessive in its every feature,
Overlong, a silver time-of-year,
The Easter lily may belong to nature
Less than to Der Rosenkavalier.
But resurrection too is artificial,
Or at least in nature has no part.
Not as the symbol of a last reversal
But for scent so strong it will assert,
The strident calyx shares the open coffin.
Decades of the growing competence
Of the embalmer have not put back life in
Thoughts of Lent, or heavy floral scents,
Although their lily blooms again at Easter.
Think of it as of the silver rose:
The fragrance is a cover; is an ester
Whose whole truth none but the bearer knows.

�</text>
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                    <text>PR at Tuskegee
Aware of it? Of course he was.
How could he not have been, as small
A world as any campus is,
The sciences especially.
Could he have blown the whistle? Yes,
And put his own research at risk.
It would have been peanuts indeed
Without grant money. He was raised
By Whites, you know. Live-in or such.
A Hoosier missionary pair.
At least they educated him.
Too well, perhaps. He may have learned
Their missionary prudery.
“It” would have seemed for him payback-Sin paying out its wages still.
And, after all, the men were fed.
The mess of pottage may apply.
That being what the doctors thought,
One gathers. If they thought at all.
Even their phrase was not thought up.
“Bad blood” is how the Blacks themselves
Describe it. Let us both be frank:
All medicine is in a sense
Experiment on human subjects.
Do we Calvinists equate
The sins Omission and the sins
Commission? If we do not act
Our sins Omit will take the day,
They being easier. Somewhere
Between the silver and the salver
We scrub up. First do no harm?
Improving peanuts does no harm.

�</text>
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                    <text>Polly Wants a Cracker
However many sacred birds
Have spread across mythology
Great wings oracular, not one,
It would appear, has been a parrot.
Revelation, if it comes
Comes only through interpreters.
Is our own speech, its cry of want
Unleavened, at once too contained
And too predictable, too flat
For priesthoods to elaborate?
Reading the droppings in a cage
Is more the vatic way. But why,
In spite of these allowances,
Did not that savage who first heard
His very words come back at him
Raise up the bird as god? Hurt? Spite?
Or the perception from the first
That parroting is simply that,
And speech as speech does not reveal.
The wafer of divinity,
Pauline, will not be yours. In flight
Or in the cage, among the skull,
Wreck, bones--a grim familiar, you;
Echo of Long John Silver, or his cue?-For all your gift of piracy,
No tongue you learn can ease the want.

�</text>
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                    <text>The Pleasures of Slave Owning
Raw imposition of the will;
Enjoyment of another’s ill.
Of being rich enough to buy,
Of knowing what you bought will die
And need no upkeep. Once they breed
Replacements, they repay one’s greed
With interest. The distant threat
Of insurrection you forget,
Or think of as a cheap frisson.
To mention it is not bon ton.
Of what one may indulge or waive…
Between a sex slave and a slave
Is there distinction? I am white
And they are black (Chaos? Old Night?)
But one can learn from negatives.
It is by opposites one lives.
A tin automaton could do
The most of what slaves do, but who
Would choose a toy, a tinker’s trash,
In place of laying on the lash.
And by and by--one knows the look-They give up hope and learn to cook.

�</text>
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                    <text>Pinocchio for Grownups
Palermo
The puppet master being nearly eighty,
Uncertainty bedevils his appearance.
On time, however, rubicund and gouty,
He takes the stage. The drama he is steering
Is Ariosto. He does all the voices:
Angelica, Orlando, Carlo Magno.
With Paladins and Saracens the choices,
A violinist, hammering col legno,
Accompanies the fights. A spring and trigger
Let fly spectacular broadsword beheadings.
Not figures jiggling on their strings whose rigger
Operates them from above, whose threading
Always are on the verge of fatal tangling,
Stick puppets make their puppeteers their charges;
They are their alter egos. Each is angling
To have some last advantage. Flesh that ages
But that commands, and wood forever youthful,
Though ordered back into its casket nightly.
It is the curtain call that’s wholly truthful;
The old man limps; his puppet’s dancing sprightly.

�</text>
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                    <text>Piece in the Shape of a Pear Shape
The value of the diamond
Is artificially kept up.
If it had thoughts of suicide
DeBeers could open up its vaults.
The beauty of the stones, however,
Would be neither more nor less.
So how to value rarity
That is not rare? The commonplace
Is not that common, though to tell
Would undermine democracy.
So much admired is “in the rough”
We more or less repress the noun
That it applies to. Value, then,
Is neither mineral nor cut
Nor polish, but the hope: the word
Forever. Crowns and crowned heads fall;
Tiaras hit the auction block;
That fairest neck a choker chokes
Some revolution’s noose will find.
Hubristic, that a solitaire
Should foretell union, marriage.
The word’s root meaning is alone.

�</text>
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                    <text>Pick Your Pyramid
Egypt was so obsessed with death
Because it loved its life so well:
Its leisure in the weeks of flood
When even peasants need not work.
Raft trips, the fishing and the hunt;
Court dwarfs and dancing animals;
Street-corner gambling, weddings, feasts…
At Luxor in the anterooms
And in the halls of death itself
The tombs’ bright paints show us ourselves.
What is it Aztecs thought of life
Except as reservoir for blood?
Tongue-piercing, notching of the ears;
Nose plugs; uniquely knotted whips
To dredge the scarlet channels. PreColumbian Punk Rock, the rack
Of Torquemada as a rite
Of Spain’s colonials-to-be,
And gory mirror in which we
Are shown perforce our other selves,
If, latterly, at some remove
In cleaned-up Art Folklorico
Or MTV. Punk Rocker, Priesthood
Preening in your clotted hair,
Tattooed in skulls and pierced ornately,
Mount to fifteen minute fame
Or to some damp auto-da-fe.
The Pharaoh fronts eternity,
In company of gold, games, pets.

�</text>
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                    <text>Paying the Rent in Key West
Dark ingots stacked inside the warehouse door
In full view from the sidewalk, document
The salvagers’ success. A queue has formed
Already to invest in further search.
Over the years small finds--a dated coin,
Earrings in a contemporary style,
A Monte Carlo Method, as it were,
To do a random sample of the ship’s
Surviving cargo manifest--built up
Anticipation, also bringing in
Sufficient capital, risk capital,
To keep the divers going, as did film,
The awful souvenirs, a tourist cruise.
What one would like to know is, was the site,
Now proved invidiously genuine,
First seeded with an antique coin or two?
Or items common on a manifest?
Prize scholars, known for intrepidity
(Famed, how courageous academics are),
Who for a State historical property
Would have all treasures legally impounded…
You will not check a galleon small change
Brought up--or taken down; it is the same,
The danger--by those unpaid divers dead.
If I should write The Glass Menagerie
Would it occur my early one-act plays
May well have been discreetly plagiarized?

�</text>
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                <text>Cassity, Turner.</text>
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