through
in â83.
Songs in Planck Time
I rank first among all things
the new pine board
 Â
my father and I nailed
into the half-collapsing dock
 Â
that lurched out back then
when I was young
 Â
into the brackish end of the Mattaponi.
I seem to recall something obvious
 Â
about the way that one board
was devoid of natural qualities, was
 Â
out of place and undeveloped in time, was
as yet unweathered as was I, the reverse
 Â
of which is mere endurance, an impotent
going on; so add it to the list
 Â
of things that I am not, if something must
be done with it:
 Â
not the prince of any
even minor island. Not
 Â
and wonât be the hero of anybodyâs story
but my own, if that. Not
 Â
the ripple moving outward, not
the flat of the oar that slapped the water,
 Â
not the sound it made that drove
every bird from every branch at once, not
 Â
the sky they darkened with
their flight. Not
 Â
my memory of you still on that long
walk to the end of the dock,
 Â
jumping over every missing timber
as if it might make a bit of difference when
 Â
you spread out your arms and paused, then
finally fell into the water. Not
 Â
even briefly any fatherâs son, not any
song we havenât heard before.
The Abhorrence of Coincidence
Look, out there
that goddamn lame horse
kicks up just the most recent of
the newly dusted snow,
 Â
which forms into a pattern,
a small ellipsis underneath
the lightning-split dogwood tree
you tried to mend
with wood glue, bandages,
and a spool of rusty bailing wire,
 Â
the end result of which
was nothing more than a dead tree
adorned with the trappings
of some god-awful human injury.
 Â
You are out back by the barn now,
hammering nails into
eighty dollarsâ worth of shoes
for that damn horse
you said we shouldnât kill,
 Â
and I tap my finger on the window,
and see myself mirrored in
the nails you drove already,
and in the manner of the impertinent roan
who ran in circles in the snow
this afternoon and made
the dirt turn up, who turned
the snow a little brown, the one
you always lectured me about
never trying to ride.
 Â
I remember when we had
no horse, no pasture
in which it could trample earth
into a name, or if not a name
something that would instigate
my thinking on the time
I said your name
 Â
over and over again
as if it might be made
into a kind of destiny,
a destiny of saying, and being
said, and by me, as if
a pale ellipsis could of its own accord
resist its being covered
by a lame horse turning up
the dirt a little more,
 Â
and so I write your name now
in the breath Iâve left against
the glass, the need for tapping
gone, the surprise long passed
from your saying in the night
not names but something else,
not destiny but, Hell, if I was anywhere
but here Iâd be just as much in love
with someone else,
 Â
and so I breathe again
and cover up
your name,
for I am not anywhere,
and I am not else.
While Trying to Make an Arrowhead in the Fashion of the Mattaponi Indians
We are born to be makers of crude tools.
And our speech is full of cruel
signifiers: you, me, them, us. I
am sure we will not survive.
 Â
No. I am only certain that the
pine trees that ring this lake in Virginia
are occasional, that I sit between them
at the waterâs edge,
 Â
cast two stones against
each other and rest.
For we go down
through these
terrible hours
together.
The Locks of the James
History isnât over, in spite of our desire
for it to be. Even now, one can see
the windfall of leaves gathering
like lost baggage on the dirty pathways
paralleling the old canal, itself resurrected
in an attempt to reproduce a minor economic miracle
that had taken place in a similarly middling city
halfway across this continent. I