Shitao/poetry

A Dream of Foxes

fox

who
can blame her for hunkering
into the doorwells at night,
the only blaze in the dark
the brush of her hopeful tail,
the only starlight
her little bared teeth?

and when she is not satisfied
who can blame her for refusing to leave,
Master Of The Hunt, why am i
not feeding, not being fed?

the coming of fox

one evening i return
to a red fox
haunched by my door.

i am afraid
although she knows
no enemy comes here.

next night again
then next then next
she sits in her safe shadow

silent as my skin bleeds
into long bright flags
of fur.

dear fox

it is not my habit
to squat in the hungry desert
fingering stones, begging them
to heal, not me but the dry morninngs
and bitter nights.
it is not your habit
to watch, none of this
is ourrs, sister fox.
tell yourself that anytime now
we will rise and walk away
from somebody else's life.
any time.

leaving fox

so many fuckless days and nights
only the solitary fox
watching my window light
barks her compassion.
i move away from her eyes.
from the pitying brush
of her tail
to a new place and check
for signs. so far
i am the only animal.
i will keep the door unlocked
until something human comes.

one year later

what if,
then,
entering my room,
brushing against the shadows,
lapping them into rust,
her soft paw extended,
she had called me out?
what if,
then,
i had reared up baying,
and followed her off
into vixen country?
what then of the moon,
the room, the bed, the poetry
of regret?

a dream of foxes

in the dream of foxes
there is a field
and a procession of women
clean as good children
no hollow in the world
surrounded by dogs
no fur clumped bloody
on the ground
only a lovely time
of honest women stepping
without fear or guilt or shame
safe through the generous fields.

--LUCILLE CLIFTON

Uriah has risen from the table
At which they have been talking.
He is beginning to walk away.

His right hand is laid across his breast
The way a Diva might take a bow.
Or the President salute the flag
His left hand clasps his belt,
A soldier's grip.

Like everything else in Rembrandt
It is the moving moment he conveys,
The motif of motion: happening action.
And this, the moment, is fissile.

`I was this morning early at your door
While sleep still held you unawares...'

But now he knows his heart
Has been inundated, his dreams
Are couriers to nightmare.

The moment is turning hard,
And the moment slowly
Astonishes his heart,
Slowly, inexorably, as coral.

--David Broadbridge

Ah, Silly Pug, wert thou so Sore Afraid

by Queen Elizabeth I
Ah, silly Pug, wert thou so sore afraid?
Mourn not, my Wat, nor be thou so dismayed.
It passeth fickle Fortune's power and skill
To force my heart to think thee any ill.
No Fortune base, thou sayest, shall alter thee?
And may so blind a witch so conquer me?
No, no, my Pug, though Fortune were not blind,
Assure thyself she could not rule my mind.
Fortune, I know, sometimes doth conquer kings,
And rules and reigns on earth and earthly things,
But never think Fortune can bear the sway
If virtue watch, and will her not obey.
Ne chose I thee by fickle Fortune's rede,
Ne she shall force me alter with such speed
But if to try this mistress' jest with thee.
Pull up thy heart, suppress thy brackish tears,
Torment thee not, but put away thy fears.
Dead to all joys and living unto woe,
Slain quite by her that ne'er gave wise men blow,
Revive again and live without all dread,
The less afraid, the better thou shalt speed.

parable for our time

On a small lake off
the map of the world, two
swans lived. As swans,
they spent eighty percent of the day studying
themselves in the attentive water and
twenty percent ministering to the beloved
other. Thus
their fame as lovers stems
chiefly from narcissism, which leaves
so little leisure for
more general cruising. But
fate had other plans: after ten years, they hit
slimy water; whatever the filth was, it
clung to the male's plumage, which turned
instantly gray; simultaneously,
the true purpose of his neck's
flexible design revealed itself. So much
action on the flat lake, so much
he's missed! Sooner or later in a long
life together, every couple encounters
some emergency like this, some
drama which results
in harm. This
occurs for a reason: to test
love and to demand
fresh articulation of its complex terms.
So it came to light that the male and female
flew under different banners: whereas
the male believed that love
was what one felt in one's heart
the female believed
love was what one did. But this is not
a little story about the male's
inherent corruption, using as evidence the swan's
sleazy definition of purity. It is
a story of guile and innocence. For ten years
the female studied the male; she dallied
when he slept or when he was
conveniently absorbed in the water,
while the spontaneous male
acted casually, on
the whim of the moment. On the muddy water
they bickered awhile, in the fading light,
until the bickering grew
slowly abstract, becoming
part of their song
after a little longer.

"Parable of the Swans" by Louise Gl�ck, from Meadowlands. Copyright � 1996 by Louise Gl�ck. Used by permission of HarperCollins Publishers, harpercollins.com [harpercollins.com] .

Source: Meadowlands (The Ecco Press, 1996)

The Garden of Love

I laid me down upon a bank,
Where Love lay sleeping;
I heard among the rushes dank
Weeping, weeping.

Then I went to the heath and the wild,
To the thistles and thorns of the waste;
And they told me how they were beguiled,
Driven out, and compelled to the chaste.

I went to the Garden of Love,
And saw what I never had seen;
A Chapel was built in the midst,
Where I used to play on the green.

And the gates of this Chapel were shut
And 'Thou shalt not,' writ over the door;
So I turned to the Garden of Love
That so many sweet flowers bore.

And I saw it was filled with graves,
And tombstones where flowers should be;
And priests in black gowns were walking their rounds,
And binding with briars my joys and desires.

--William Blake

Amy Gerstler makes this clear in �oeFor My Niece Sidney, Age Six,” the first poem in her delightful new collection, �oeDearest Creature.” Like good aunts the world over, she dispenses the info that moms and dads are too squeamish to traffic in, beginning with a factoid that would delight any red-blooded child: the death by boiling of one Margaret Davy in 1542 for poisoning her employer. This is the kind of thing you can discover in any encyclopedia, though no reference book ever breathes

a word about the fact that this humming,
aromatic, acid-flashback, pungent, tingly
fingered world is acted out differently
for each one of us by the puppet theater
of our senses. Some of us grow up doing
credible impressions of model citizens
(though sooner or later hairline
cracks appear in our facades). The rest
get dubbed eccentrics, unnerved and undone
by other people�s company, for which we
nevertheless pine. Curses, outbursts,
and distracting chants simmer all day
long in the Crock-Pots of our heads.