after Rene Char

Let's agree that the night is a blank canvas, a station
break, a bridge of a song.

Let's agree further that activities at night—movies,
campfires, reading by a lamp—are all
basically an homage to the day.

I have come to regard these two statements as
contradictory. Let me explain.

First, set aside that one could see a movie, torch a fire,
and read with the sun blazing over us.

The in-between aspect of night need not spark a flurry of
activity, is all I'm saying.

I bend to the ground
to catch
something whispered,
urgent, drifting
across the ditches.
The heaviness of
flies stuttering
in orbit, dirt
ripening, the sweat
of eggs.
There are
small streams
the width ofa thumb
running in the villages
of sheaves, whole
eras of grain
wakening on
the stalks, a roof
that breathes over
my head.
Behind me
the tracks creaking
like a harness,
an abandoned bicycle
that cries and cries,
a bottle of common

Do not travel over vast distances.
Stay home and contemplate your neighbor,
the old woman who roams up and down the street.
She can never remember who you are
or who she is, for that matter.
This way, you will protect
your precarious sense of self.

Ruin your appetite before dinner.
This will ensure that you'll never feel hunger.
Play the same tune over and over,
driving everyone else crazy.
This protects you from unpredictability.

Find large articles of clothing
and wrap them around the trees,

My mother never heard of Freud
and she decided as a little girl
that she would call her husband Dick
no matter what his first name was
and did. He called her Ditty. They
called me Bud, and our generic names
amused my analyst. That must, she said,
explain the crazy times I had in bed
and quoted Freud: "Life is pain."
"What do women want?" and "My
prosthesis does not speak French."

Zut! it's two o'clock.
See! the lights are jumping.
Finish up your bock,
Time we all were humping.
Waiters stack the chairs,
Pile them on the tables;
Let us to our lairs
Underneath the gables.

Up the old Boul' Mich'
Climb with steps erratic.
Steady . . . how I wish
I was in my attic!
Full am I with cheer;
In my heart the joy stirs;
Couldn't be the beer,
Must have been the oysters.

In obscene array
Garbage cans spill over;
How I wish that they
Smelled as sweet as clover!
Charing women wait;

I could have sold him up because
His rent was long past due;
And Grimes, my lawyer, said it was
The proper thing to do:
But how could I be so inhuman?
And me a gentle-woman.

Yet I am poor as chapel mouse,
Pinching to make ends meet,
And have to let my little house
To buy enough to eat:
Why, even now to keep agoing
I have to take in sewing.

Sylvester is a widowed man,
Clerk in a hardware store;
I guess he does the best he can
To feed his kiddies four:

Beautiful face
That like a daisy opens its petals to the sun
So do you
Open your face to me as I turn the page.

Enchanting smile
Any man would be under your spell,
Oh, beauty of a magazine.

How many poems have been written to you?
How many Dantes have written to you, Beatrice?
To your obsessive illusion
To you manufacture fantasy.

But today I won't make one more Cliché
And write this poem to you.
No, no more clichés.

This poem is dedicated to those women
Whose beauty is in their charm,

A Load of brushes and baskets and cradles and chairs
Labours along the street in the rain:
With it a man, a woman, a pony with whiteybrown hairs. --
The man foots in front of the horse with a shambling sway
At a slower tread than a funeral train,
While to a dirge-like tune he chants his wares,
Swinging a Turk's-head brush (in a drum-major's way
When the bandsmen march and play).

A yard from the back of the man is the whiteybrown pony's nose:
He mirrors his master in every item of pace and pose:
He stops when the man stops, without being told,

You go up the long track
That will take a car, but is best walked
On slow foot, noting the lichen
That writes history on the page
Of the grey rock. Trees are about you
At first, but yield to the green bracken,
The nightjars house: you can hear it spin
On warm evenings; it is still now
In the noonday heat, only the lesser
Voices sound, blue-fly and gnat
And the stream's whisper. As the road climbs,
You will pause for breath and the far sea's
Signal will flash, till you turn again
To the steep track, buttressed with cloud.

Since you remember Nimmo, and arrive
At such a false and florid and far drawn
Confusion of odd nonsense, I connive
No longer, though I may have led you on.

So much is told and heard and told again,
So many with his legend are engrossed,
That I, more sorry now than I was then,
May live on to be sorry for his ghost.

You knew him, and you must have known his eyes,—
How deep they were, and what a velvet light
Came out of them when anger or surprise,
Or laughter, or Francesca, made them bright.