1982
[1982]
Monolithos means single stone, and refers to the small hill behind our house which gave the place we lived its name. It is the tip of a non-igneous stone island buried in debris when most of Thíra blew apart 3,500 years ago.
—J.G.
ONE—1962
BETWEEN POEMS
A lady asked me
what poets do
between poems.
Between passions
and visions. I said
that between poems
I provided for death.
She meant as to jobs
and commonly.
Commonly, I provide
against my death,
which comes on.
And give thanks
for the women I have
been privileged to
in extreme.
THE PLUNDERING OF CIRCE
Circe had no pleasure in pigs.
Pigs, wolves, nor fawning
lions. She sang in our language
and, beautiful, waited for quality.
Every month they came
struggling up from the cove.
The great sea-light behind them.
Each time maybe a world.
Season after season.
Dinner after dinner.
And always at the first measures
of lust became themselves.
Odysseus? A known liar.
A resort darling. Untouchable.
ISLANDS AND FIGS
The sky
on and on,
stone.
The Mediterranean
down the cliff,
stone.
These fields,
rock.
Dead weeds
everywhere.
And the weight
of sun.
In the weeds
an old woman
lifting off
snails.
Near
two trees
of ripe figs.
The heart
never fits
the journey.
Always
one ends
first.
POETRY IS A KIND OF LYING
Poetry is a kind of lying,
necessarily. To profit the poet
or beauty. But also in
that truth may be told only so.
Those who, admirably, refuse
to falsify (as those who will not
risk pretensions) are excluded
from saying even so much.
Degas said he didn’t paint
what he saw, but what
would enable them to see
the thing he had.
FOR EXAMPLE
For example, that fragment of entablature
in the Museo delle Terme. It continues
giant forever. Without seasons.
Ambergris of the Latin whale.
For years he dealt with it, month by month
in his white room above Perugia
while thousands of swifts turned
in the structures of sun with a sound like glass.
Strained to accommodate it
in the empty streets of Rome. Singing
according to whether bells preempted the dark
or rain ordered the earth. And even now,
like Kurtz, he crawls toward the lethal merit.
THE SIRENS AGAIN
What are we to do about loveliness? We get past
that singing early and reach an honest severity.
We all were part of the Children’s Crusade: trusted,
were sold bad boats, and went under. But we still
dream of the voices. Not to go back. Thinking
to go on even into the confusion of pleasure.
We hear them carol at night and do not mind the lies,
intending to come on those women from inland.
ALBA
After a summer with happy people,
I rush back, scared, gulping
down pain wherever I can get it.
OSTINATO RIGORE
As slowly as possible, I said,
and we went into paradise.
Rushes alternate with floating islands
of tomatoes. Stretches of lily pads
and then lotus. The kingfishers
flash and go into the lake,
making a sound in the silence.
After, I can hear her breathing.
The Japanese built gardens eight
hundred years ago as a picture
of the Pure Land, because people
could not imagine a happy life.
My friend lives on the Delaware River
and fashions Eden out of burned
buildings that were the Automats
of his youth in New York.
Another designs a country
with justice for everyone.
I know a woman who makes heaven
out of her body. I lie in the smell
of water, with the sun going down,
trying to figure out this painful
model I have carpentered together.
A BIRD SINGS TO ESTABLISH FRONTIERS
Perhaps if we could begin some definite way.
At a country inn of the old Russian novels,
maybe. A contrived place to establish manner.
With roles of traditional limit for distance.
I might be going back, and there would be a pause.
Late at night, while they changed the horses on your sled.
Or prepared my room. An occasion to begin.
Though not on false terms. I am not looking for love.
I have what I can manage, and too many claims.
Just a formal