1.
It happens mainly in the chest
what tiny sleepers go to sleep in
is merely empty and whispered only
what only can be to dry gin.
Impossible Diogenes ends usually
looking over lawns, hands huge within
heartblended warbling he
can’t say
exactly what it means—
to live inside one’s abstractions,
to turn away from neighboring
for the sake of larger neighboring,
with
head clicking like sprinklers
chick chinking ice
rhyming in the crystal.
For one is married to the world too:
resurrection music, silence.
Having forgotten the names
and chucked his glasses except for driving,
he lived in constellation mostly
of shapes and sounds, a fuzziness that only
the dog that licked his face knew enough
to slice though, waken the man
and at this point that beautiful madman
laughter like, well, what was it like?
Nothing I can say with this pulse
between holds. Enough to hang
a church on, enough to unhook
a church. A beautiful television set
exploding across anonymous suburban landscape.
2.
Funny, he would say, comfort carrion
from the tub, beside him
the old good dog, gold dog
he could not be unkind to.
Through the window
truthtelling through the absence
of such words,
the loud, raucous, mewing cry,
the harsh kwup and rasping,
the fat stars like incandescent berries—
mind not that they are usually darker
blues and reds,
he could almost taste the night
like a thick jam he could scoop
with his fingers and with the boundless
certainty eroding, the appetites too
readjusting, he could travel almost
back to zero, save for the occasional
appearance at dinner, the looking over
of math homework, the trilogy
of dance recitals—but quickly, quickly
back to the tub, the gold dog, the snubbing.
3.
All this animal’s gathering
and still the prayer for stillness,
withdrawing from the names.
Impossible Diogenes could not make nice,
could not hover reasonably, or recover,
could not keep his hangover
to himself, could not end
an evening with grace after
so much had been gossiped gracelessly
across lawns and shrubs,
could not use forks or knives in a European
fashion, could not stop listing could nots,
could not embrace thread count
as a viable means of living—
having come so far from something
honest, something that did not wreak
manipulation, something that a small-minded man
would not abandon family for
fifty, sixty hours a week,
he stuck to his tub, planted among
the old bikes and lawnmowers,
the tire irons and board games,
the boxes that said Ancient Age
and Beefeater, he would not relent
and only paid taxes to avoid comparisons
with Thoreau, so tired he was
of the rampant need
(wired in our brains, he did not know)
to degrade by connecting, to downplay
or make graspable
grass and fire, love and love's
load of love
comprehensible
(which, in theory, was fine,
there’s nothing wrong with hitching a ride
onto, but in practice was not fine
because few, if any, felt a prevailing will
or could summon the necessary vigor
to go beyond comparison, similarity,
most simply let the case rest
once they felt a reasonable sense of control)
and this he could not stand knowing.
4.
His first speech, given outside a crowded
bagel shop, went: “the truth
is always beyond what is polite,
what seems similar, what is unruffled,
what is wrangled without even the
proper degree of altercation—that, at least,
would make a thing respectable—
into a context that might as well be
the top and bottom eyelids closing
yawningly, onto big sleep . . .
and you must not trust
the truth either.” When they threw
bagels at him like a dog
he thanked them in the way that any
gold dog would: marvelous arcs
of piss ending with spleen rupturing gas.
his first arrest.
5.
The prison letters
to Better Homes and Gardens (an early target)
under the guise of famous manners
columnist Jill Globule, read: “No creation
without creation. Destruction comes later
and if creative is creation named
anyway. Know before going further
that anyway is lazy. And if the eye
is flabby, then the I (and its
subordinates/coordinates) is flabbier.
Likes to be this way though
and therefore applauds an indiscriminate
looking, a half-looking a looking
that conspires with all the other looking.”
Later, in the garage again, his youngest
daughter asked, “What’s the matter, pop,
why are you doing this? It’s not that
I’m embarrassed, I just want to understand.”
He said “trial
by ordeal . . . poppa wants to know
if he can float.”
6.
Her simple acceptance of this response,
her quiet kiss on his rough cheek
ruined one quest for honesty
and started another. He would swallow
their poisonous cares
so that she would not have to.
But changing the world for daughter’s sake
meant scorning the world.
He would solve this problem later, he would save the momentous
times for when
small victories could buoy him
forth. You can only undo so much longing,
endless the aching heart, the swollen machine.
7.
He used the word unquenchable
at inappropriate times, raising the intensity
of otherwise paltry exchanges. In the dry goods
section of the grocery store, i.e., when
Roger asked him how he was doing, he would say,
“Like you, I live in unquenchable burnings,”
then he would grab his huge bag
of cat food and be gone. Quick exits
like this allowed others to quickly convert
the exchange into vapor via chuckle—
but later, it wormed up in him. He could not
masturbate. In fact, nobody in town
who had been in contact with Impossible Diogenes
could masturbate. Meanwhile, he swam in lakes
and rivers, ate perfectly good food
out of garbages,
and they could not masturbate; he smoked
without asking permission, slept
down among dogs he kept
bringing home, his breath
in perfect harmony with their snoring and harrumphing,
the days, the nights
softer now, more human
if such a thing can be uttered,
and still they could not masturbate.
At night, when he used to close windows
and lock doors to keep out what was wild
and promised harm, he altered the context
and values. That fear might sharpen
and disabuse privilege, for which he was
unworthy anyway. That fighting for one’s life
was a gift—either way you know what you are
capable of, you know how far you can go
without ceasing. When the uproar came,
therefore, he was not ready. Sleeping
the sleep of the honest man. They could not
pin a crime on him, only that he had
agitated them, only that he was somehow
bad for the neighborhood, for the property
values, for the children, there was even
one theory tying his behavior to the
failure of lawns to thrive. The was to be
a cautionary step. A precaution. The first
town murder in sixty years.
8.
Still they speak
of him in hushed
tones, a town's
silence
grown filthy as a gown. And what
lasts
through the lasting
is half song, half a heaven
of breathing.
Wednesday, August 27, 2008
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8 comments:
This is a new kind of poem for you, in case you didn't know.
It will take me a while to fully digest it, so look back to this comment box in a few days for a fuller response.
The domestic sublime.
It needs a good trimming, but I wanted to put it up in all its raggedness.
actually, i don't think it needs trimming. you'd probably find that out once you started cutting things and noticed how the other parts would then probably register the lack.
RESPONSE IN PARTS #1
The fourth section is flawless. Resonant through all parts. After a few more readings, the last section feels less confident.
RESPONSE IN PARTS #2
Section 3 is flawless. And the second section, too, which reads like an alley-oop. Some of the most energetic, most engrossing writing you've ever done is in the 3rd and 4th.
The last section, though, has begun to feel even more like a placeholder than a genuine conclusion. Cut it? What would it read like then. Let me see...
What if the last section were,
"Still they speak
of him in hushed
tones"
?
Didn't really know how to end this beast... so, yes, we have a kind of placeholder.
The beauty of writing big like this is that cutting won't feel so painful when I get around to it.
But that won't make the ending any easier.
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