That Charley Horse the Self
in 0's tissues knotted, bound by wants
and spinning words, soi-disant, collapses
like blue jay by own wings hurled this after
almost-wintry noon into a window picturing
up against low-westering sun. So this
rendition is this round's: 1 more sketchy
me. From sit I lift
flame-skewered knee
—ah,
royal ease—and recall last summer's Guan Yin,
5 centuries of years beyond enfleshment
as grand log. 6 past tree's arising. Now year's
end looms, a shadow-skein afar
from June, its incense, and my bows before
that statue. The gesso flaked, old skins, away
where dry grain emerged to split
her face. I then out on dawn's half-moon
driveway paced to morning's counterpoint
of birds. Eyes harvested, below her throne,
the rocks and pinecones others laid.
Thought rose: This 1 eye distinct. Till clogged
ears caught sutras. But December come,
night's doubled. Practice falters. Leg cramps
breed and tighten. Effort eludes. Why make,
I inward ask, these snarled gāthās, fancy tales
of individual life. Why sit. Why decode,
why knead the cipher-swollen fibres,
why, why bear the meat and juice, its
social gypsum plastered.
Why?
The bell,
the winter-summer dark-light-naught-form-
filled bell of waking rings within the aching
calcium. Cage, knot, gilt, doubt, dolor not-
withstanding. No elsewhere sounds.
You Could Well
Be in Worse Shape
than you
know, friend,
my inner worry-
wart announces. Poems about the traceless?
Can
this be a
serious plan? Better to stare
out the
window.
I wring my paws. My bunny-
brain starts to twitch. A great gourd plunks
to the desktop. It might be oak [the desk, I
mean] but I'll tell us both, Formica, and
If you're
wandering, open
a book. Zhi-men's 10th-century
poem soothes me: I've always lived in a forest
hut. [The history-geek
within points out he lied.]
That master spoke of rabbits getting [happily]
knocked-up by the full moon. Which [to all
intents] is true. They open to its platinum
spill, unwavering, ears alert. Simply trust and the furry
babies come, no sweat.
Me?
Here's what I keep
typing: tear
1 tendon and the whole deal's
blown. How, then, dare make
poems? [Yep, language
is the body's. You too exhale. But that thick-ish
stumblebum fails.] The subject
of
subject matter makes
me duck. [Zhi-men whisk-whacked a discursive
student across the yapper.] You wanna hear
about my sex life? The time I screwed some guy
who screwed the pooch? My childhood's cocktail
hours? [How I
listened, brow tight, from the shadowy
top stair?] Thought
not.
Sure, words are a con. A flim-
[Zhi-men knew] flam hall o' flashy mirrors. 3
walnut shells, no pea. And metaphor's a
labyrinth.
Inside it? Dangerous
bull! [Which is…you
noticed.] None of this
solves the problem. [I shake
my noisy head and wrists.] Zhi-men's highly
verbal
commentator Yuan-wu: The single [pre-babble]
thread
before us—perpetual.
So here, friend, is what
it is: some breaths,
a
desk, a window, the fickle
rising moon. And outside, [I swear] a pair
of rabbits on the wing.
Jeanne Larsen's latest book is Why We Make Gardens (& Other Poems). Her first, James Cook in Search of Terra Incognita: A Book of Poems, won the Associated Writing Programs Poetry Series Award. She has since published three print novels (Silk Road, Bronze Mirror, and Manchu Palaces) and an e-novel (Sally Paradiso), as well as two books of translations, Willow, Wine, Mirror, Moon: Women's Poems from Tang China and Brocade River Poems: Selected Work of the Tang Dynasty Courtesan Xue Tao. She teaches at Hollins University, where she is currently Director of the Jackson Center for Creative Writing.
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