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                    <text>Of the poems I like “On the Playground” best. The snowball is fully realized.; the soot
removes it instantly from Robert Frost country. I can never keep it straight which
is Bierstadt and which is Thomas Moran, although I like both. A couple of Bierstadts-or Morans--are in the Timkin Museum in San Diego. The landscape is Yosemite, in a
golden light I never saw there, but tourist posters must be allowed license. In the poem
“purple marbled meat” is so startling it should perhaps come toward the end, so as not
to make what follows anti-climactic. In what sense ‘fare’ in cloud-fare? Croquet and
Oakland Cemetery seem to me so much of the same period I would make more of the
game and less of the other details. Wickets as “little headstones of air” is wonderful,
although perhaps too ingenious for most readers. In Noah’s flood I would replace
or omit the fencepost, as too un-Middle Eastern. If you are going to include a parrot
I think you should also include the dove. One might work up and interesting contrast.
This afternoon I am off to see the new Bruce Willis movie, “Sin City”, said to be
based on a graphic novel, I.e. comic book, produced, I.e. the comic book, as a tribute
to film noir. Talk about aesthetic distance…

�</text>
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                    <text>Soldiers Three in the Big Easy
Suspended during World War II, the Mardi Gras
Resumes in 1947. Will it be
Unrecognizable, as we ourselves may be,
Or so unchanged as to embarrass by its stance:
Its careful unawareness that a Feast of Fools
Has just concluded overseas. To reassure,
Parades are calendared as they have always been.
On Monday night is Momus, noon on Tuesday Rex,
And in the evening, champagne saucer in his hand
Instead of scepter, Comus. In a sleet of beads,
Infrequent hail of favors (none too new; one notes
“Made in Japan”) in parsimonious largesse
The floats press on, cell phones and crowd control unknown.
Most uniforms one sees, however, are, like ours,
Not costumes. Navy whites are Argentines in port.
In chilly March as out of place as halter tops,
Not that they do not make the statement they intend.
Before the Boston Club’s festooned reviewing stand
The Lord of Carnival Misrule will toast his Queen,
And his parade push forward, pressuring the crowd
Into the bars and restaurants. “It’s hopeless, Men,”
Our leader says. “We’ll never find a table free.“
“Let’s go across the River,” someone says, “Algiers
Is bound to be less crowded.” So, wise veterans
Of harbor cities, well aware another side
Is always there, a parallel reality,
We take the empty outbound ferry.
We return
Too late for Comus, having learned Algiers gears up
For Lent in its own way, as we for entering
Civilian life, the grim costume, the utter drag,
The forty days of 8 to 5 that never end.
So many decades on, my channel surfing done,
Sometimes, at midnight on Fat Tuesday, when the Courts
Of Rex and Comus meet at Comus Ball--TV
Is barred--I turn the TV off and think of Time
As sceptered, saucered god upon a float. A float
Papier-mache, but fully Juggernaut enough
To grind down all who hope for favors, leap for beads.
Momus who mocks us, Rex who rules, and Comus, quick
To toast who wait the ferry with his empty cup.
The Pfc. who rhumbaed with the Argentine
Before he punched him out died long ago of drink;
The Corporal who ripped a passing halter off
Re-upped and vanished in Korea. I survive,
Rise early on Ash Wednesday, and do not repent.

�</text>
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                    <text>Russian America
Unkillable as Elvis or as Shiva,
Underneath the frozen Neva
Out to open sea Rasputin swims,
Arriving, after certain days, in Sitka,
Via Murmansk nd Kamchatka,
There to re-indulge his many whims
On wives of Eskimos and Tucson widows
Off of cruise ships. Can what shadows
Now be private eye, not KGB?
Or has the FBI become Okhrana?
Edgar Hoover, prima donna
That he was, would have been first to see
A kindred spirit in the monk, and worry
Lest he come someday to curry
Favor in the White House. After all,
Is there much difference between Onassis
Toppling Camelot and crises
Whose sexy scandals were the Empire’s fall?
If Sitka is St. Petersburg in little-Its logo samovar, not kettle-So, as once the spider was Arachne,
He the starets, drunken orgy over,
May yet be body in the river:
Seward’s Folly’s Mary Jo Kopechne?

�</text>
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                    <text>Running the Gauntlet
On Polk Street at its straighter other end,
Beggars keep bankers’ hours. The poor you have with you
Always, if only after ten. I condescend
In my way. Errands that I have to do…
I try to do them early. Do I need
Calcutta on my way to Walgreen’s? To this stretch
Of curb the dying drunk will come; and on that bleed
The young self-perforated. All will retch.
Early to bed and surly (sic) to rise
Is not the route that made me wealthy; tell me whom
Health ever made unsanctimonious, if wise.
Such will, though, in a world of little room
Create a space. The pristine morning drips;
Its dregs have yet to surface. Pray do not suppose
This poem is some condemnation on my lips.
It’s my safe conduct, so far as it goes.

�</text>
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                    <text>Robinson Crusoe to Capt. Dreyfus
All islands are the Devil’s in a sense:
The forcing ground of idleness, their threat
Of limits, of the inescapable.
Alluring at the first, they prison one
In solitude or make one realize
That in close confines two can be a crowd
And Friday seem a cellmate. Continents
At least have more than one landform to cross
And more than one time zone. And we who tally
Time by marks in sand or on a wall
Are proof ourselves that without mark or hope
It is a seamless sentence. Pardoned, you
Can think of this as some failed guillotine.
I, waiting rescue always, circle beach
To beach in hope of finding not the bare
Footprint of the unsought indigenous
But any trace of an invasion shod.

�</text>
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                    <text>Rites of Vikings
Because of iron in the cargoes and in the rocks on shore,
Compasses in the ore boats were undependable.
Duluth, Missabe, and Northern R.R.

Enormous trestles to the ore docks have a look
Of some arrangement made to onload Noah’s Ark;
Evacuate the planet onto spacecraft. SCurve ramps, an easy grade to nowhere, in the lake
Of Hiawatha they are shape of things to come.
Itself magnetic north, itself its funeral,
Some lodestone boat moves out to locks and fire: St. Lawrence,
Open sea. Smokestack America is one
With Tyre and Nineveh and with the small wigwam
Beside the shining Big-Sea Water. If you say
To mountains “Be ye moved,” yes, they will come to you,
If they are iron and you are Rockefeller. For
Mohammed it’s a different scenario:
Ships of the desert in a portage of the self.
And, as is known to any schoolchild, Arab dhows
Sailed into Hudson Bay and left Islamic runes
Upon a Minnesota Kaaba. Ark, kayak,
Or rescue rocket loading by the high steel truss,
Whomever they must leave behind, even as we,
Partake of Vinland. If the myth is, it was good,
Then why was it abandoned? Let our rune stone say,
But let the tale be flattering. Omit Japan.

�</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>Rebuilding
A city with an altered skyline finds itself
Much less itself: an alphabet with verticals
Left out and low rise vowels keening endlessly.
As if expert professionals had brought it down,
In July, 1902, in Un-Venetian tact,
The Campanile fell exactly on its base,
Frightening pigeons and the travel agencies,
But killing no one. Futurism, Beaux-Arts pomp,
The Art Nouveau are at their height. There is some thought
Replacement ought not replicate the Renaissance.
Designs come forth that can have only been conceived
As a revenge on Canaletto. One might live
With Trajan’s Column opposite San Marco, or,
If need be, lighthouse, but a Cairo minaret?
“Reconstitute the devil that you know” is code
As sound, as plausible for city planning boards
As for the least imaginative Satanist.
Ask not for whom a Campanile is put up.
It’s put up as a framing structure for the bells,
On principles that ought to be acoustical ,
But seldom are. If simply filling out the scene
Serves, what was there before will firmly close the wound.
But in the echo of the confidence that fell
The bell is tolling for the island no man is
That every man fragments by his self-centeredness.

�</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>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,

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