with the seven branches, but the simple one,
the good one, which didn’t fail even on winter nights,
and the table, a domestic animal that stands on four legs and keeps
silent. . . .
And they are brought into the arena to fight with wild beasts
and they see the heads of the spectators in the stadium
and their courage is like the crying of their children,
persistent, persistent and ineffectual.
And in their back pocket, letters are rustling,
and the victors put the words into their mouths
and if they sing, it is not their own song,
and the victors set large yearnings inside them
like loaves of dough
and they bake these in their love
and the victors will eat the warm bread and they won’t.
But a bit of their love remains on them
like the primitive decorations on ancient urns:
the first, modest line of emotion all around
and then the swirl of dreams
and then two parallel lines,
mutual love,
or a pattern of small flowers, a memory of childhood, high-stalked
and thin-legged.
Threading
Loving each other began this way: threading
loneliness into loneliness
patiently, our hands trembling and precise.
Longing for the past gave our eyes
the double security of what won’t change
and of what can’t be returned to.
But the heart must kill one of us
on one of its forays,
if not you—me,
when it comes back empty-handed,
like Cain, a boomerang from the field.
Now in the Storm
Now in the storm before the calm
I can tell you what
in the calm before the storm I didn’t say
because they would have heard us and discovered our hiding-place.
That we were just neighbors in the fierce wind,
brought together in the ancient hamsin from Mesopotamia.
And the Latter Prophets of my veins’ kingdom
prophesied into the firmament of your flesh.
And the weather was good for us and for the heart,
and the sun’s muscles were flexed inside us and golden
in the Olympiad of emotions, on the faces of thousands of spectators,
so that we would know, and remain, and there would again be clouds.
Look, we met in a protected place, in the angle
where history began to arise, quiet
and safe from all the hasty events.
And the voice began to tell stories in the evening, by the children’s bed.
And now it’s too early for archaeology
and too late to repair what has been done.
Summer will arrive, and the clop, clop of the hard sandals
will sink in the soft sand, forever.
Travels of the Last Benjamin of Tudela
You ate and were filled, you came
in your twelfth year, in the Thirties
of the world, with short pants that reached down to your knees,
tassels dangling from your undershawl
sticky between your legs in the sweltering land.
Your skin still smooth, without protective hair.
The brown, round eyes you had, according
to the pattern of ripe cherries, will get used to
oranges. Orange scents. Innocence.
Clocks were set, according
to the beats of the round heart, train tracks
according to the capacity of children’s feet.
And silently, like a doctor and mother, the days bent over me
and started to whisper to one another, while the grass
already was laid flat by the bitter wind
on the slope of hills I will never walk on again.
Moon and stars and ancient deeds of grownups
were placed on a high shelf beyond
my arm’s reach;
and I stood in vain underneath the forbidden bookshelves.
But even then I was marked for annihilation like an orange scored
for peeling, like chocolate, like a hand-grenade for explosion and death.
The hand of fate held me, aimed. My skies were the
inside of the soft palm wrapped around me, and on the outside:
rough skin, hard stars, protruding veins,
airplane routes, black hairs, mortar-shell trajectories
in silence or in wailing, in black or in radiant flares.
And before I was real and lingering here
the heart’s shoulders carried an anguish not mine
and from somewhere else ideas entered, slowed-down
and with a deep rumble, like a train
into the hollow, listening
Brett Halliday
J. Kathleen Cheney
Joshua Winning
Frances Watts
Artist Arthur
Bruno Bouchet
Leanne Crabtree
Ingrid Hahn
Dick Gear
Judge Sam Amirante