Yeats said, once, that
those who love are sad—
how bad had he had it? Hardly.
We’re still drawing Jupiter
milk from the sapphire
mornings and hematite
mugginess clung around
smoldering stock pots,
tickling jelly bean peppers,
vidalia schmaltz, and carrots,
recalling those hoodoos plucked
from the bristling ribs of Vermilion Cliffs,
into velveteen soup sheen
gods are compelled to but cut
into seventy layers of big top
filigreed uchikake, sporting a
bridal train as
wide as the Nile’s
revered, and quintuply
ushering trees from the
chilblained sands we settle
our tenuous soles in—soles
now nearly seamless. Boko-
maru ’til the kittens come
home and the beckoning
moon’s honed into a pendant. How
there were squeaking accordion
toy hammer otters and dogs bent
baying abreast of the palisades, cheese
and olives and water-logged fingertips,
penitent glances gaily ingrained in the
old Marseilles King of Cups cocked
over a leaf-wracked plinth wrenched
up from the
crick—how
the tarot cards flipped there follow us
still—how
that caterpillar then
calmly expressed its
pins that moment
we kissed and that
rash on your neck
I was worried seemed
maybe the more to you
omen the more so than
nacreous auspice. Albeit,
auspice it was, and is, and—
Still, the Pagoda there shoulders our
dandier banner (in secret), the banter of
ground-score craft supplies that
Jesus (a man who went by
Jesus or Noah or Noah was
waiting for Jesus or Jesus had
bicycled off to find Noah) had
left lined up about benches trembling
still with that swell little Lennox song you’d
just swanned out over the shadows on, singing,
the language is leaving me evermore cleanly than
gilded gingkos summon the fluttering
full of the yellow brick road bent
into but tender eternity, dahlia-soft and
frolicking far past
palisades, (how
peaks, we
the Mucha-made eaves, had
the Chagall-styled stained glass known
welcome signs that in
garnet and opal the lives
sprawling acicular long
spines of the ever past
unwinding Emerald such
City’s vast, peace
cactus-fat, with
fly’s-eyed the
skyscrap tsetse
-ers, tap fly
-ering and
off in the
the un-
wake fet
of our tered
giggling sun
wordplay. rise)
How you once
read to me Harpo Speaks,
as Harpo couldn’t, bid ever
devoutly the muted magician who
speaks in strictly illumining
music—So, we too must speak in music,
music, Vonnegut’s almost inviolate
proof of God—and, so
my proof of God then, too,
is the two of us speaking
in lucid and luminous
music.
i could go on for
unraveling hours on how
our soles should seem so
seamless, now; though
you, of course, already drew it
in crystallized chalk rooted
deep in the rock of that
coffee shop, still tucked
like an opal
perennial:
you and me
seesawing
over the creamiest
sea in a teacup,
summoning something,
something akin to the
verve of a cream-stirred
Jupiter nervously
hoping it just,
if it should just smirk
a bit broader than smirks
should allow or simply insist,
live up to
what’s
meant by being
a good Jupiterian, simply
a good Jupiterian,
ever and always, almost
secretly simpering sole
to sole and nose to nose and
Zeus only knows just where we’re split.