and we push past him
up onto the outer ledge
fresh air at an eerie height
I dare not look at those ants
on the streets, plus I feel again
that urge only satisfied by falling
so I follow the steps back in
past the stone curve untouched
for centuries, its power intact
on gangplanks, we enter the dome
greeted by giant frescoes of hell
devilsâ red mouths roughly painted
but so high above the worshippersâ floor
they cohere, reminders that thousands
for hundreds of years
feared, turning quickly to find
faces, robes, clouds
of their sunlit saints
tour guide . . .
holds high a wand or staff
tufted with yellow ribbon
so followers can spy her flag
each group an ectoplasm
that forms and bubbles around
nuclear leader who directs all
to see what cannot be seen:
underlay of history burnt off
by sun and sea breeze, her
rapid-fire iteration of details
they canât find on their own
eyes blurred by overload
I watch always for the one
who strays away, pulled toward
sea or street ephemera as if
he can only connect
when silence surrounds him
not mob hubbub pierced by
shrill voice in charge
I want to walk beside this
wanderer, tell him to plunge
down narrow streets, go blank
in plazas, feel panic rising
to be so alone, without
a language and without a sign
except for dog-peed corners
church bells, gathering
crones and a few old men
familiars he grows fond of
when he sits on a quiet bench
as one who wears the momentary
mantle of local garb, his hands
though, still holding pamphlets
and does he remember then
the guideâs arm, how it must ache
in the evening, and how her voice
croaks when she speaks to
her lover of her clever phrases
intended to inspire but flattened
made dull by day-after-day delivery
that erodes pride of place and
hollows out where breath comes from?
Albrecht Dürer and me
at the Albertina Museum
his entire life he thought
of death approaching
it was the century syphilis arrived
1500 meant the end of time
one self-portrait an imitation
of Christ
for me, itâs his rabbit
each ear bent differently, every
whisker visible
its mood pensive
another sort of portrait
and his monogram â
ad , 1502 (same year
his medieval father died) â
floats beneath the brown foot
as I float
back to rodents I snared
in a winter garden
frozen next day
and still the fur soft
(or back to fuzzy lucky
charms on key rings
among coins in pockets
of the slightly odd)
from him almost all
German art springs, begins
from me up pops this poem
when here I stand
(wanting to touch the painting
and feel the fur again)
one of many awed viewers
this young hare has seen
in five centuries
even as he draws into
the calm before trembling
to ponder his animal thought
and from my departing train
I see him once more
a tall buck alert in rows
of early corn, escaped, free of
any frame â though red dots
of waving wild poppies
defining the farmerâs field
draw my eye to his readiness
for leaping
Self-Portrait Nude
I stand in front of a tortured portrait
completed in 1910 by Egon Schiele:
skin reddish and raw, a scraped skeletal self
tilting, electrified by jagged outline of light
eyes closed, hair livid red blue
elsewhere in this museum
hang works of his other distortions
in legs and torso, some kink of the inner
made visible, along with the more famous
Gustav Klimts though they
failed to hold me as did these hysterical shapes
which perhaps foreshadow the artistâs death by
Spanish flu, 1918, thousands dying contorted
and now I recall my father also suffered that
influenza in Detroit where he went to work
in car factories, he and his brother for days
sick in their room, young men â and
did he know they might be dying, waiting
and praying, no doubt they were praying, and
though he believed in the strength of that power
he could not deny the virus, illness eating
in him so he coughed himself up â and
Reshonda Tate Billingsley