bars in a dream of escape
those who moved round the dials of imaginary clocks
those who fell asleep and never woke
who never slept and so dropped dead
those who attacked the casual eyes of children and were led away
and those who faced corners for ever
those who exposed themselves and were led away
those who pretended broken limbs, epilepsy,
who managed to electrocute themselves on wire
those who felt their skin was on fire and screamed
and were led away
There are ways of going
physically mad, physically
mad when you perfect the mind
where you sacrifice yourself for the race
when you are the representative when you allow
yourself to be paraded in the cages
celebrity a razor in the body
These small birds so precise
frail as morning neon
they are royalty melted down
they are the glass core at the heart of kings
yet 15-year-old boys could enter the cage
and break them in minutes
as easily as a long fingernail
RAT JELLY
See the rat in the jelly
steaming dirty hair
frozen, bring it out on a glass tray
split the pie four ways and eat
I took great care cooking this treat for you
and tho it looks good
and tho it smells of the Westinghouse still
and tastes of exotic fish or
maybe the expensive arse of a cow
I want you to know it’s rat
steaming dirty hair and still alive
(caught him last Sunday
thinking of the fridge, thinking of you.)
KING KONG MEETS WALLACE STEVENS
Take two photographs—
Wallace Stevens and King Kong
(Is it significant that I eat bananas as I write this?)
Stevens is portly, benign, a white brush cut
striped tie. Businessman but
for the dark thick hands, the naked brain
the thought in him.
Kong is staggering
lost in New York streets again
a spawn of annoyed cars at his toes.
The mind is nowhere.
Fingers are plastic, electric under the skin.
He’s at the call of Metro-Goldwyn-Mayer.
Meanwhile W. S. in his suit
is thinking chaos is thinking fences.
In his head – the seeds of fresh pain
his exorcising,
the bellow of locked blood.
The hands drain from his jacket,
pose in the murderer’s shadow.
‘THE GATE IN HIS HEAD’
for Victor Coleman
Victor, the shy mind
revealing the faint scars
coloured strata of the brain,
not clarity but the sense of shift
a few lines, the tracks of thought
Landscape of busted trees
the melted tires in the sun
Stan’s fishbowl
with a book inside
turning its pages
like some sea animal
camouflaging itself
the typeface clarity
going slow blonde in the sun full water
My mind is pouring chaos
in nets onto the page.
A blind lover, dont know
what I love till I write it out.
And then from Gibson’s your letter
with a blurred photograph of a gull.
Caught vision. The stunning white bird
an unclear stir.
And that is all this writing should be then.
The beautiful formed things caught at the wrong moment
so they are shapeless, awkward
moving to the clear.
TAKING
It is the formal need
to suck blossoms out of the flesh
in those we admire
planting them private in the brain
and cause fruit in lonely gardens.
To learn to pour the exact arc
of steel still soft and crazy
before it hits the page.
I have stroked the mood and tone
of hundred year dead men and women
Emily Dickinson’s large dog, Conrad’s beard
and, for myself,
removed them from historical traffic.
Having tasted their brain. Or heard
the wet sound of a death cough.
Their idea of the immaculate moment is now.
The rumours pass on
the rumours pass on
are planted
till they become a spine.
BURNING HILLS
for Kris and Fred
So he came to write again
in the burnt hill region
north of Kingston. A cabin
with mildew spreading down walls.
Bullfrogs on either side of him.
Hanging his lantern of Shell Vapona Strip
on a hook in the centre of the room
he waited a long time. Opened
the Hilroy writing pad, yellow Bic pen.
Every