Saturday, May 13, 2017

With and Without You on May Day




Last night’s rain inspires the brook
to gush in marbled undertones
alien to its milder moods.
I wish you were with me to cross
the gap freshly opened between
the path and the wooden footbridge
where excess water has sprawled
like a nineteenth-century nude.

You exert more hydraulic force
than this falling water but
sometimes in the presence of birds
and the early spring flowers
you draw yourself like a shade
and crouch in that wordless dark
as if natural gestures frightened you.

As the sum or summaries of all
the books you’ve read, you feel obliged
to culture, inclined to parse
the language of birds, flowers, brooks
as so much eloquence spent
on air, on the empty space
where no one significant cares.

Having safely crossed the brook
I shuffle up the trail to greet
the dead tree that for many years
has presented the gaping look
of a face contorted in screams.
Sometimes we see each other
in that face, sometimes we glimpse
that tree in each other’s expression.                      

The dripping forest exhales
the purest oxygen in colors
that would flatter your complexion.
The brook grumbles downhill
to snuff itself in larger colors
in which one day we’ll acquiesce
with many snuffles of oxygen
we’ll gladly, for a moment, share.

Sunday, April 30, 2017

A Shadow Crucifix







Botticelli’s crucifix,
two slats of painted, varnished wood,
casts a shadow crucifix
darker than a threat. Despite
the agony, the figure looks

caught in the rictus of dance.
The tattered locks dangle like moss,
the loincloth’s tourniquet-tight,
the downcast expression has shut
against this world and the next.

How much distance do we need
to impose on the Renaissance
to escape it? The varnish gleams
with confidence. Surely it’s not
the original finish the artist

applied with quiet satisfaction.
Surely some atheist intervention
polished this object to appear
rich enough to deny itself.
But the shadow doesn’t lie.

Guided by naked intuition,
the curator placed this crucifix
so the light would cast this comment
in deep exclamatory mode.
Even doubters like me can’t doubt

the extra dimension imposed
by the gray border of this ultra
black shadow. Although this painted
Jesus can’t look behind him
to note the bottomless dark,

he must feel slightly comforted
by confounding the illusion
of two-dimensional painting
from which in the secular world
no vital essence escapes.