Snake Dance, Ghost Dance
Young braves training for
lacrosse,
sublimated warfare, ritual of
passage,
courage confirmed by tattoos
and scars,
shaman and elders at a peyote
ceremony,
chief wearing silver ear and
nose rings,
the missionaries thought the
anthropologists
were almost totally
deplorable.
Girls picking berries on a
hillside,
sublimated wifehood, ritual
of fertility,
their charms exposed by the
fluttering breeze,
tip of a woman's nose cut off
for adultery,
female infant's brow bound to
flatten it for allure,
the missionaries—thought the
anthropologists—
were almost totally
deplorable.
Of Knowledge, Its Apparatus
(qualia: a technical term in philosophy for subjective
qualities that exceed scientific
measurability)
Here among the qualia,
nuances of the rooms,
mantras of the scenes,
innuendos of the
events,
brazen intuition probes the
implicit,
histories of the faces,
ruses
of the clamors,
hazards
of the truths,
anyhow speculation is
aroused,
ironies out of the
genome,
unfinished business of a statue,
crawl space beneath the city,
rumors out of the
undermind,
phonemes of
silence,
an exile who has never left home.
Intimations of the Census Taker
Observes himself at the next
citizen doorway,
reassuming his semiofficial
persona,
a mannerly agent of the
commonweal.
Observes himself deliberately
attentive to task,
to signals of hostility to
this probing,
occasionally apologizing for
the tedium,
giving assurances that the
data is confidential
and of great value to the
government,
his undermind meanwhile
receiving impressions
of the dwelling, the familial
atmosphere,
the personalities of the
occupants,
their contents, their
discontents.
Observes himself outside the
doorway again,
departing into the late
afternoon,
his anima anthropological,
liberated
to take his own census of the
streets,
the perils of the era,
its enigmas,
its delusions,
a demography of the ironies,
the fantasies,
the mores,
the allegories in the news,
the nuances of the fables,
the litter of discarded
moments.
Deep in the Night, the Macroculture
They have left the
streetlamps,
just bright and forlorn
enough to darken the shadows,
patient and uncomprehending
as the avid reader's collie,
to watch that the world does
not escape,
that trespassers do not
assault their hibernation,
this population of
microcultures,
who sleep without remorse,
abandoning the mores, reason,
each other,
submitting to oblivion or,
entranced,
to the cinematics of the
subconscious.
Meanwhile the library is
catalogued,
the law is codified,
the morning waits for the
collective will to reengage.
Deserts, Silent Drums
If it is true that Bellow
thought his reader
might be waiting in "the
quiet zone,"
could that mean a state of
passive,
that is to imply vivid, attention?
Oblivious to continental
drift,
with one's genogram in his
pocket
and no lesser person having a
hold on him?
Or susceptible, afloat on the
thin air
between theses and antitheses?
Or merely propped up with
pillows in bed?
Thirty-nine, a Parent, a Stockholder
He idles at the stoplight,
broods on the scene
about which he has fantasized
for years,
in which he has it out with
his father.
Passes a moving van from out
of state,
cringes at the image
of the notebooks in the old
briefcase,
a diary of the raw stuff,
telling events on the right
hand pages—
attitudes, atmospheres,
silences,
talk, real and imagined—
and sometimes on a facing
page
an attempt to explain, to
justify his father.
Turns right off the boulevard
to drive home through the old
neighborhood.
Oliver Rice's poems appear
widely in journals and anthologies in the United States and abroad. Creekwalker released an interview with him in
January 2010. His book of poems, On
Consenting To Be a Man, is published by Cyberwit and available on Amazon.
His online chapbook, Afterthoughts, Siestas,
and his recording of his Institute
for Higher Study appeared in Mudlark in December 2010.
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