of a baroque church, but one would
search in vain through this real, this empty sky,
for a saintâs apotheosis, accompanied by the
swish of wings from a troupe of cherubim.
A truck rolls across the intersection
trailing behind it a bluish plume
through the nine oâclock light.
Wandering in the cool and limpid air
we see movements bereft of meaning;
they might be splinters of space,
or shards of light tumbling from the roofs,
as if traced by a cubist painter
between those houses, had he painted
this street, at this time of day,
in the newness of a world restored
to the paradise of its first names.
Between the trees, over by the cinema, we catch
sight of the sun setting a slow fire whose gleam,
beyond the park, tinges the facing houses.
After having gazed at its metallic splendour
through the gap the expressway opens to the river
(stream of mercury, haze of copper, fume of bronze),
weâll find its embers once again on a cornice
in a street the daylight wonât have reached and
where it shows itself, furtively, only at noon.
For the moment weâre strolling an avenue of maples,
like the country setting for some hermitage,
all golden, and scuffing our feet in the leaves.
A whorl in the third windowpane is
bending the landscape. Move your head and
at once the roofâs edge pinches and folds,
at once the brick wall takes on
the pliancy of cloth, wrinkling and stretching.
And where does this game lead?
A simple bubble in a sheet of glass and
all you thought so solid is making a face.
To what serves mortal beauty? Hopkins asked,
and answered, too quickly, that it kindles
in manâs mind the desire for what exists.
But look: itâs nothing but a fold, or a knot.
A straight line between two fields of blue
is enough to make a seascape, minimalist,
but a seascape nonetheless if the observer,
whom one sees from behind as in Friedrich, adds
a little good will. Missing was the movement
of waves at the bottom, always the bottom, fringed
with the foam weâve just added. With that come the growl
of the undertow, the cold air, salty, seaweed-scented,
the wind blowing from offshore, the scumbling
of the light in the heaving prism of the swells,
and this pallor in the sky, not so blue after all
when filtered through the spray of spindrift in the air.
The sunâs taking pictures of the trees,
in black and white, on the sidewalk.
Projected on the ground and the walls
are copies of it all, swayed by the wind
and extinguished by the slightest cloud.
Thus thereâs a double lying beside you
whom you never glance at unless itâs his snaking
shadow while you climb a few steps,
or else when a melancholy mood
reminds you that soon youâll be laid out
between his insubstantial arms
in an unending clasp.
âThe bronze rain â¦â âNo, itâs a haze.â
âThe sunâs bronze haze is announcing
that soon weâll be plunged into cold darkness.â
âNot so fastâthereâs a choir of starlings
chirping in polyphony.â âHow can there be so many
of them (supposing there are) without our seeing them?â
âNever mind, we do hear them, and sometimes
too we hear the squeaking pully of a solo blue jay.â
Close to the sun-warmed brick of the wall,
one feels a philosophical well-being, not
really inexpressible but certainly very sweet.
âItâs not going to last, this artificial eternity.â
In spite of the cars, the rain can be heard
pattering on the leaves and the roadway
in this mere murmur, devoid of melody,
or rather as a silence made audible.
The rain has no beginning. It seems
all at once to have been there forever
in a hidden fold of time. The passer-by
whoâs taken refuge in the doorway of a store,
looks out and around into blurred space,
slowly, as if seeking a glimpse of himself,
shadow of a shadow, shadow amongst shadows,
in some existence other than this
Jim Marrs, Richard Dolan, Bryce Zabel