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Phillis Gershator




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POETRY
SAMPLER

* * * * * *

HONG KONG: reflections on Fortune and Fate


HANDICAPPERS
Wong Tai Sin: Temple named in
honor of a popular Hong Kong deity
known for healing the sick,
predicting the future,
and providing useful horse racing tips
I
Kneeling on small mats
before the double altar
men women children
burn joss sticks
in offerings of fruit and drink
and shake fortune sticks
in bamboo cups
 as if they were rhythmical
musical instruments

One stick works its way out
ahead of the others
shake rattle rattle shake
and flips to the ground
Heads touch the ground
Hands clasp in prayer
Offerings are made
Multi-colored cut-out papers
end up in plastic garbage bags
I don’t understand every ritual
but recognize the hope
that our efforts will impress the gods—
including the edible offerings
taken home afterwards
to be consumed
like the pretty papers
left behind for the fire

II

This is serious
The concentration is intense
the way an eight year old
picks a card
throws pick-up-sticks
rolls jacks
The motions may be the same
but this game is for adults,
and the outcome—
success
failure
life or death—
a cure
a child
a job
a promotion
a jackpot to pay the bills
a horse
for once
a winning race

III

I doubt the temple’s fortune tellers
in their concrete fluorescent-lit booths
know the odds better than anyone else
but their piles of cards
books of reference
and diagrams framed like diplomas
give off a reassuring aura
at odds with the fluorescent lights

IV

I watch
and I’m watched
patiently tolerated
even when I dip my hand
into the garbage bag
to extract a bunch of pretty papers
thinking they’ve been discarded
I am set right, corrected gently
on the path to enlightenment
one more child
learning the rules of the game
what is trash and what is treasure
one more dazed tourist
admitted after many years
to these sacred temple grounds
our contributions at the gate
evident in new temples rising
behind the bamboo scaffolding
and green nets

Should I have had my fortune told
despite those fluorescent lights?
With nearly every choice it seems
regrets

___________


TYPHOON WARNING

What will happen to Hong Kong?
I ask a businessman

Oh, these buildings are built
to withstand the winds

But what about the houses on the roofs
the ones with curtains in the windows
and topped with corrugated tin—
all those shanty towns in the sky….

Illegal structures he says
brushing them off
with a windy wave of his hand

I know that corrugated tin
can decapitate a man
cut limbs off a tree
skim like razors
across town, hills, valleys
I saw it myself
in two once-in-lifetime hurricanes
Now here comes a once-in-a-lifetime typhoon
the same wind in the same lifetime

Everywhere I look
I see skyscrapers
bamboo scaffolding
illegal structures….

Hong Kong is so fragile

___________


LAST CHANCE
                                          
There’s an old temple
in Yau Ma Tei
where fortune tellers
offer their services
It’s our last chance 
to have ours told
We can choose our fortune teller
one among many
a gent who bellows advice
a lady with an inviting smile…
but what if they know too much?
My mother claimed she did
when she played gypsy at a party
and went out on a limb
skipping card reading and let’s pretend,
heading straight for eye contact
hand holding, face reading

What do we want to know?
Do we think we already know too much
or too little?
Are we afraid to misinterpret
a stranger’s enigmatic warnings
or grow too confident over a fortune
of one-size-fits-all good luck?
And we can't help but wonder--
who tells the fortune tellers’ fortune?

The fortune tellers bend before the altar too,
tossing the jiao bei and shaking the chim
and leaving offerings
for the gods of their choice
knowing that choosing among choices
can’t be left to chance alone

_____________


UNKNOWABLE  FUTURE

The worshipers I watch
share my penchant
for rolling dice
picking a number
flipping a coin

Too many choices
call for decisions
which horse
which road
which fork in the road
whether to hurry up
or slow down
to speak or not
to stay or go

When there’s a choice
it helps to have a little help
from the gods
but I passed up the comfort of an altar
and a fortune teller’s predictions and advice
When it comes to the difficult decisions
once again I roll the dice

* * * * * *
IMPRESSIONS: SPAIN

ÁVILA
“Ávila tiene el frio
mas caliente de España”
St. Teresa’s passion
doesn’t keep me arm
in cold Ávila
though candles burn
in the church
above her home
and the souvenir shop
does a heart warming business
in post cards and charms

St. Teresa’s town
is stone cold within the walls
and the red bedspread I wear
doesn’t keep me from freezing
at the sight of plaques
in praise of Franco, Dios y Patria
bound in inseparable ecstasy

_________________


ST. TERESA’S TAVERN

Our ground floor room in Ávila
is more dismal than a nun’s cell
and reeks of smoke from the bar
but the sound of bouncing bedsprings
is as good a sign as any
that the people in the room next door
found ecstasy
about three last night

__________________


MADRID

The guide book said
hold on to your purse
in the Rastro--
it’s a thieves market
So I did
with New York City
trepidation

But the price of the pin
was fair
even if it wasn’t gold
and the gypsy’s plaster saint
was worth it
even if it wasn’t old
and the woman selling stones,
crystals glinting in the light,
gave us one —a gift—
sun-stealing Aragonite

_________________


ZARAGOZA

In the Plaza
the women feed pigeons
placing bread crumbs
directly in their beaks
like holy wafers
on outstretched tongues

In the Cathedral
the women fondle beads
mouths working overtime
and press their lips
against the marble pillar
long, lingering

The prayers fly up
The pigeons fly off
and the postcard peddler
sells glossing nudes
to a flock of tourists

_________________


INDECENT EXPOSURE
Cathedral of Barcelona
The city police
won’t let the boy in
despite popular protest.
Too bad. It’s a sin.
He came all this way
for a look at saintly bones
and rib vaults
and enough riches
to resurrect the poor.
His thin, bare legs
expose him instead
to the naked power
of Barcelona’s gothic guards

____________________


TOLEDO

The Holy Trinity
of Church, State, and Army
led the procession
of the Virgin

Men of brocade
Men of black suited power
Men of blood
Medals, items, pious masks
I shot them all
from up close
with the weapon at my side
and my hands shook like crazy
though it was only an automatic
Konica C 35

___________________


CRISTO DE LA LUZ
Toledo                                 
The sun warms the figs
in the garden of the mosque
Three Pakistani tourists
make their ablutions in the fountain
and the turbaned Imam
calls the faithful to prayer

Children look out the windows
Women lean over the balconies
Young men surround us

I tell the Imam
“Your call has worked”


* * * * * *
STOPOVER IN BALI

PROHIBITIONS

“It is forbidden to enter without decent dress
and for women during menstruation.”
Balinese Temple sign, 1990

Snooping around the grounds
of the Mother Temple
on the volcanic slopes of Mt. Agung,
I look over gray walls
and thatched pagoda-like roofs,
one temple after another,
their empty thrones reserved for visiting gods.
And then—here comes a group of worshipers.
Some look up and smile, wave.
I wave back.
I cannot bring myself to take a photo,
too embarrassed by my intrusive, prying camera,
by women sliding out of range,
by children, corrupted, posing,
crying “gimme money.”
Maybe cameras should be prohibited.

The ceremony wraps up
and I’m still here, focused on the bright sarongs,
the baskets balanced on women’s heads,
the men rolling up prayer spreads
dogs poking at leftover palm-wrapped offerings.
But not one photo.
Some things are just too private
like the fact that it’s my period
and I’m not allowed here in the first place.

Who will ever know?
And do the gods really care?
There are so many other prohibitions,
their punishments pictured graphically
in the old Klungkung Hall of Justice.
At least my conscience is clear.
I did not take advantage of a photo opportunity.
I have atoned, haven’t I?
The next eruption of Mt. Agung
has nothing to do with me.

________________


BARONG DANCE

Good and Evil in Bali:
a tug of war, a balancing act, a dance.
The protagonists chase each other--grapple, push, pull
in a rhythmic, open ended, never ending battle
between flawed creatures and flamboyant demons—
evil Rangda, an old hag,
and good Barong,  a two person affair,
his front feet not always coordinated with his rear.

They circle the stage night after night,
gamelans beating a crescendo of confrontations,
eternally repetitive, night after night.

In this innocent dance
the Balinese explain everything,
except for the thousands massacred
in a fraternal bloodbath
not too long ago,
a fact that rears its head in Paradise
like one of those sculpted snakes
at the Temple of the Dead.

_______________


BARONG DANCE, ABRIDGED

A Balinese spectacle:
costumes, humor, drama, magic,
blood and near death
when the forces of good and evil
battle it out, one never completely
vanquishing the other.

Tonight the climactic clashes
between good and evil speed up
as the rain begins to fall.
The gamelan players
pick up the pace
faster, faster.
The villagers
in a simulated trance
race onto the stage
faster, faster,
piercing their breasts with knives
faster, faster,
in a frenzy of grimaces and groans
faster, faster,
and the priest in white
sprints out to sprinkle them
with holy water,
perfunctorily,
hardly necessary in the rain,
till they awaken from their trance
in double time.

Good Barong and Evil Rangda
run around the stage
bumping into each other
while the audience runs for cover.
Tonight the continuing battle
between good and evil
takes a rain check.

___________________


ART MARKET

There’s a lot of poetry I’m missing here
not knowing the myths and meanings
but even so there’s more than enough—
the pyramidal offerings of flowers and fruit,
stone demons in front of every door,
slender ladies in batik sarongs,
sculpted fields of green,
markets overflowing with arts and crafts.

Later, after I read about the gods,
history, tradition, culture,
maybe another poetry will emerge
like a snail in the rainy season,
and maybe it will twist
and curl back into itself,
into dark and slimy recesses.

But right now, time is short
and there’s so much color and light.
I can only touch the surface
like the paintings for sale everywhere—
detailed, bright, picturesque,
carefully executed copies
without originality or depth.
I buy two.

_________________


WATCHING A CREMATION FOR THE FIRST TIME
7/12/1990, for the young man who died three days earlier in a motorcycle accident in Pejeng, Bali.

First the procession:
colorful bull and wooden tower
decorated in paper and cloth,
women in bright sarongs and brocade
carrying pyramidal offerings on their heads,
musicians keeping up the energy level
as bearers whoop and holler
in a shower of holy water
rocking the bull on its bamboo rack
forward and back
to confuse the spirits of the dead.
Then down the street, down the dirt road
to the cemetery and into a clearing.
The body is carried from
tower coffin to bull bier,
anointed by a priest,
laid to rest with fine cloths
and torched.

It takes just minutes to die and so long to burn,
time for women with trays to hand out cigarettes,
time for men to pass around bottled soft drinks.
Neighbors and friends soon drift away.
We tourists and our cameras
finally leave the family alone too,
to its last offerings and prayers
before the ashes cool.

On the way back
we see five new bulls
under construction.
Motorcycle accidents
keep the tourists clicking.
The bikers don’t wear helmets
and no head is as strong as a bull’s head
carved from a solid trunk of cotton wood
like the one today,
somehow never consumed by fire
even when the body lost its shape. 

_______________

OFFERINGS

I

Baskets filled with rice, flowers and incense
or simply a little piece of palm leaf
and a few grains of rice—
these are the offerings
at every corner and crossroads,
at the foot or on the head of every statue,
in front of every construction site,
on every dashboard and water pump,
alongside every old and venerated tree….
Perhaps size doesn’t matter
when appeasing gods and demons.
It’s the thought that counts.

II

We were concerned this morning.
There was no offering decorating
the doorstep of our bungalow.
Is that because we’re leaving?
Maybe they don’t care about us anymore.

Ah, here’s a fellow with a tray
He’s left a square of palm leaf
and grains of sticky rice,
this time sprinkled with yellow grated coconut.
Something special to see us off?

We view the added coconut
as flight insurance.

_________________

RUPIAH TIME

In a new time zone
though I’m tired
I cannot sleep
I keep seeing the woman
in her dusty sarong
standing by the road
looking after us,
her unpainted wooden cats
piled high in an overflowing basket

When she boarded the crowded van
the cats tumbled around
and when a French tourist
picked one cat up
another fell out the back
We pulled our legs and the basket
further into the bemo
The bemo didn’t stop
for the fallen cat
hardly worth its weight in rupiah

A month, a year, ten years ago
a painted cat was sold
and family workshops were born
to cut and carve and paint
hundreds of them, look-a-likes,
along with baskets upon baskets
of wooden fruit and flowers—
rice farmers by day
artisans by night
until supply exceeded demand
and available basket space

Why did I sit and stare?
Why didn’t I pull out some bills
and hand them over
and turn the woman's mishap
into her lucky day?
Did time go too fast, too slow?
I don’t know
but the image remains—
not the wood cats
like all the others on a shelf
but the woman on the road
with her heavy basket
speaking to the people
in the departing van
in a language they couldn’t understand

For me, across the date line and sleepless
Bali is dusty and poor and sad,
no matter the colorful carvings
the lush green fields
and the hundreds of real cats
and dogs on the roadside,
it’s still rupiah time
and the women still carry
impossible burdens
on their heads

_____

* * * * * *
RECENT POEMS

LAST WORDS

              Put the fear of death into life poems
              and get some life into death poems —
David Gershator

I
Last words on your mind
serious, sarcastic, sorrowful, scholarly
from jisei to jokes to communing
on a first name basis
with the dead:
exchanging words with Elijah—
debating the prophet
over the meaning of life
the mundane and mystical
and with Walt—
your mentor, your lifeline
in a heart-scare hospital bed
clutching Leaves of Grass
to your chest
the essential possession
of a dying poet

How many elegies did you write
songs of sorrow, songs of praise
how many words
about the murdered
and disappeared
and your own demise
always expected momentarily
II
Last words on my mind
last words not said
too shallow
too hokey
too cliche
what can I say?
“Show don’t tell” they say

I love you doesn’t cut it
I love spaghetti too
You’re my everything
well, not quite
I didn’t immolate myself
still eating, sleeping
going to the dentist
haven’t stopped living
though there’s sorrow and loss
beyond words
and the regret that last words
not shallow
not hokey
not cliche
were beyond me

Lost words on my mind—
no last minute literary “closure”
and no last minute either
not even the moment of death
III
“Give me a gun” you said
in your last years
as if we had one handy
or knew how to use it
but you never said
Give me a pill
Give me morphine
I’m done

You never said last words
in your last years
and I didn’t try
something to think about now
to cry about
IV
For a word man
you left a lot unsaid

You left your words on paper
boxes full of words
illegibly scrawled
and crisscrossed words
termite eaten words
unfinished words
undated words
damaged by wind and rain
scraps of past words
left for me to trash
except for this note-to-self
I saved
for the last word:

Last words
lost words—
a curse
or a love song?

Fat chance
you’ll know

10/2023
_________________


MOON GAZING
                    to Sarah

The new moon
low in the sky
pale against a misty sunset—
I think of you

The Ryder moon
half hiding
behind a cloud—
I think of you

The full moon
surrounded by
a rainbow predicting halo—
I think of you

I think of you
tracking the moons
planets  stars
charting them with symbols
I can’t seem to remember
or decipher
as incomprehensible
as the daily news

I prefer your cosmic messages
your down to earth hopes
and think of you
head in the stars
roots in familiar ground
dear friend
this was just to let you know
you’re on my mind
and always there
joining me
when I moon-gaze my way
to beauty 
peace
joy

12/2023
______________________


* * * * * *

Four poems from DRAGON BONES


DRAGON BONES

Chinese oracles of the Shang Dynasty court
requested guidance from the royal ancestors 
by scratching questions on the bones of animals,
then burning the bones, and finding the answers
in the resulting cracks. Farmers unearthed them
later, calling them “dragon bones.”

If I look for dragon bones
to predict a future
better than the past
I know it won’t be easy
Dragons are extinct now
and their bones are scarce

But when it comes to human bones
wherever I go I see monuments
memorials and mass graves
ancestral tombs filled with unclaimed bones
millions in the Great Wall alone
buried in mud, brick, and stone
and cracked with age—
predictions of an auspicious future
in doubt

_______________


THE PALACE OF PEACE AND HARMONY
Yong He Gong or Lama Temple, Beijing
I
All the wooden saints
line up harmoniously
against the temple wall
each in the same pose
each a different color—
all the imaginary colors of man
from pure black to pure white
II
Each succeeding Buddha
is bigger that the one before
You have to crane your next
to see the neck of the last one
and bend over backwards
to see his head banging
against the painted ceiling
III
Framed neatly in the window—
the monk’s wizened bald head,
the Golden Buddha’s head
impeccably coiffed
is the background
IV
In this temple
filled with art
candlelight is the only illumination
You have to return again
and again
for another look
V
NO SMOKING IN THE TEMPLE
Smoke from incense burners
and joss sticks fills the air

Little red buckets
hang on a rack like alarm bells—
the fire brigade is ready

_______________


SILK FACTORY

Scene 1:
cocoons soaking in
steaming hot water baths
and silk weavers extracting threads
with a flick of the wrist,
their fingers shriveling up
like the naked pupae
left behind

Scene 2:
young women embroidering
kitsch and classic motifs
bent over racks of stretched silk,
stitching away
until retirement or blindness
whichever comes first.

_________________

THE I-CHING
I
Flash!
Latest news from China!
I-Ching outlawed!

Maintain vigilance
Re-educate yourselves
Old beliefs are fairy tales
Heavenly intervention is a a myth
Superstition is destructive
Predictions are a waste of time
Destiny is not foretold
by the bumps on one’s forehead
by palm lines or date of birth
by the fall of the fortune sticks

It is wrong to lead the people on
with false hopes
aroused expectations
and dreams of happiness
never to be fulfilled

It’s time to be rational
It’s time for fortune tellers
to join the illegal ghosts underground
while we wise men in our fortress
concoct the elixir of immortality—
even one more year would be a coup
II
The I-Ching outlawed?

After the latest news
an underground gathers:
young, old, rich, poor
sorcerers and soothsayers
princesses in disguise
money frog, qilin
tianlu, phoenix, dragon
woodcutters wielding magic axes
fishermen tossing magic nets
Even immortal Fu Xi,
the half dragon inventor of writing
and the first trigrams,
joins the demonstration

Fu Xi defends his invention—
the representation of reality
with lines short and long
wherever they may fall
whatever they may mean
He doesn’t want humans
creation of Nu Wa, his beloved sister-wife,
to be deprived
abandoned
left without solace,
hope,
wonder

______________________



* * * * * *

Five poems from DISASTER CHRONICLES


“SENTIMENTAL JOURNEY”
 revisiting the San Fernando Valley, CA, after 40 years
I
Wally’s dad wrote “Sentimental Journey”
and I sang it
as we drove into the smog
and neon signs
past the old elementary school
and OUR LADY OF GRACE
just a bee bee gun away from the mistletoe tree
and the bad boys in school uniform,
past RALPH’S SUPERMARKET,
now rebuilt, my former refuge,
a treasure house of Classic comics
chained to the tables,
RALPH’S, where I won the sweetest jackpot
at broken M & M machines.

RALPH’S—home away from home!
I roamed the aisles
in search of Our Lady of Free Samples,
her crackers my salvation.
I promised to pass on the good word
for sure.

RALPH’S, the local supermarket,
Escape City
for the original Valley Girl
seeking sanctuary
in a store.
II
A lady watches TV in the bedroom.
I want her to see me watching her
and invite me into the little house
where so many years ago
my best friend, a Jehovah’s witness,
told me Armageddon
was around the corner
and we jumped rope
like there was no tomorrow,
the house where we candled eggs
for the egg route
and made sponge cake
with the bloods and the cracks,
where the FBI visited religiously
asking over and over,
“Do you have anything to tell us?”
where the blood one day
was ulcer thick on the bathroom floor,
and we watched our first TV.

I don’t knock.
III
My sanctuary now:
a house on a hill
where I see the sun and moon
rise and set
and many sides
to every question,
to every mystery and half truth—
no Armageddon, no salvation,
no ideology worth dying for,
no sentimental journeys home.

__________________


AN INCIDENT RECALLED ON READING THE NEWSPAPER

The New York Times
reports that the stereotype,
the man in a coat offering candy to a child—
the garden variety child molester—
is a figment of our imagination,
a myth, a “public legend,”
a tale that turns us on.

Will parents stop repeating that story
now that the truth is out?
There are other perils, plenty of them,
but I did hear that story decades ago,
a cautionary tale, a warning,
and when a man in a coat
pulled up alongside me in his car
and offered me candy, I refused it.
I walked home faster,
back to the rooming house in L.A.
where I waited for my mother
to tell her
I met a kidnapper.

Was the little girl a figment of my imagination?
Or the candy man in the car imaginary?

Afterwards, after school, Raymond,
two years older and also from the rooming house,
was assigned to walk me home past Westlake Park
where imaginary men lurked, driving slowly,
and leaned across car seats
with outstretched hands, offering candy
to imaginary curly-headed, baby-toothed little girls.

The New York Time' story confirmed it—
I can never be sure my life was real.

_____________________


PRE-ELECTION POLL

Just read that flaxseed
ground into meal
will alleviate depression
Should I run out and buy some
so I can get through this season
when people call at all hours
also depressed?
Another four years they say
Another four years of the same
hunger homelessness war
Another four years
of white bread and circuses
and idealists in retreat
debating the latest health food fads
flaxseed for one

The campesinos don’t have beans

___________________


FOR COMET BROUHAHA

You’ll be gone tomorrow
passing me by
like the babies dripping into bedsheet stains
the pheasant and snake I never ate
the unread piles of books
the choices I didn’t make

I recognize loss every night at dusk
looking out over New York Bay
and Elizabeth, New Jersey,
the Statue of Liberty hidden in haze
(I mistook her light for you!)

You speck, you passing flame
I’m almost sorry I ever heard your name
I’ll stick with the moon, full and orange
rising over the earth and tides
seawater blood and paper roofs

Farewell comet, sun grazer comet
At least it wasn’t a complete waste
looking, watching, waiting for you
from a roof over New York
I got a wider view

_________________


INAUGURATION DAY 2009

We needed a ceremony
to prove it really happened—
that prejudice can be overcome
that mothers can tell their children
Be anything you want to be

We needed a ceremony
huddled together in the cold
to share the hope and joy
and cry as though
it were a wedding day

We needed a ceremony
to mark the new road ahead
and its mirage-like oases—
tear tracks shining, then gone
in the cheek-chilling January sun

_____________________

* * * * * *


Five poems from TROPICAL POSSESSION


CONCRETELY CELEBRATING THE QUINCENTENNIAL
I
On the islands they're mixing concrete
for monuments and markers
to celebrate fourteen ninety two
when Columbus, sailing off the face of the map,
touched these shores and gave them new names
and proved at last—in the year of heresies,
recantations, lies and burnings at the stake—
the world is round, not flat
II
We appreciate
the science of it all
the accidents
the hand of fate
We celebrate Discovery
not the loose ends
unfurling in its wake
not greed
not power lust
not the flag with a cross

With mixed feelings
we approach the date
III
Progress is a mixed blessing
so let the concrete mixing begin!
A blind man's concrete lighthouse
rises on the shores of Hispaniola
A concrete K-mart in the Virgins
buries an Arawak village
Another concrete hotel
blocks the beach
Here, there, and everywhere
Concrete for Columbus
for capitalists
for consumers
for caudillos
Concrete for the sake of concrete

_________________


DONKEY INVASION
for Richard, Park Ranger
I
The donkeys run loose
in the green hills of St. John
giving birth exponentially.
Do they rule the land now?
No plant or place is sacred.
The donkeys are Kings --
Kings of the Mountain!
II
The counterattack is underway….
Kill the donkeys!
Ten were shot and fed to the sea.
But the people are up in arms.
The donkeys are so cute,
submissive, innocent.
Remember the old days--
the banana man
and his sway-backed donkey?
The retort—sharp as a gun:
This is now, not then.
Donkeys are rapacious,
destructive, threatening,
not even indigenous.
What to do?
Find an uninhabited island
say the lawmakers.
Exile them.
III
Donkey doom
is as inevitable
as unenforced laws.
Castaways, starving slowly
on a denuded island
or instant meat
(tastier than horse),
a feast for sharks
or man—
King of the Mountain again
eating his way out from under
the long eared spoils of war.

_________________


PIGEONBERRY TREES

Two trees in strange proximity
rub against each other in the wind
squeaking, creaking.
The bark is worn
where they’ve rubbed each other
over the years—
the abrasive contact
of two trees in the wind
defining themselves
and flourishing
as they meet and touch
and pull away.

__________________


VISIONS
to David
You notice things around us
double rainbows in the sky
birds collecting cobwebs
dragonfly shadows on the ground
You say it’s your peripheral vision
as opposed to my blinders
my focus on the straight and narrow—
food clothing shelter

You’re the one who noticed
the crystal on the hill
exposed by a newly cut road
crystal reaching up from the blue bit
crystal shining through crusts of volcanic dirt
And I, pickaxing down the mountain vein
rock lover before the New Age
scavenger of the Post Depression
took home as many as I could carry
crystals large and small
so excited I lost my glasses

You notice things I overlook
even when I wear my glasses—
some kinds of vision
have nothing to do with sight

__________________


SURVIVAL
after "Immersion" by Susan Griffin
I
So you're afraid of what lurks
beneath a circling fin
I am too
though I've never seen the movie Jaws
or read the book
whichever came first
cartilage or teeth
I think about sharks
and your heart pulling you down
into the deepest shark infested
dream waters
saved in the nick of time
by the dawn
and I think about the sharks
that killed two brothers
in the Caribbean
for the bloody fish they caught
young men following their heart’s desire—
the deepest water
the biggest fish
II
So you're afraid of the water?
Slow to jump in?
Is it the loss of control,
the weightlessness;
is it the unending expanse
or the unexpected tides;
is it the certainty
that your lungs will give out
if you give in?
The water is so dark at night,
deceptively blue in the morning,
pink and grey when the sun sets
Quick change is suspect
like radical conversions
and magic tricks
No wonder you hesitate
to trust your life
to a reflecting surface
III
Navigating uncharted waters
in your sleep
following the deepest dream
your heart speeds up
slows down
you wake in shock
gasping for air
a beached sea creature
on dry land
The dream was real
but, thank God, it wasn't
No one had to press and blow
life back into you
or bury you at sea
or lose you altogether
presumed eaten
The fear was real but, no,
the waves do not have teeth
What does it mean
all those fears
those dreams?
It's a lifetime occupation
reflecting on fact and fiction
whichever came first
in the mirror
window
sea
IV
The cure for shark fear:
Exchange roles
Circle the table and take a bite
Shark meat is delicious
You'lI never feel the same
about your nemesis
when it's a part of you,
your own blood and bone
The peoples of New Guinea
know these basic facts
You embody a new spirit
Your teeth grow sharper
You reek of elemental waters
Streamlined, swift,
sensitive to the scent of blood,
you are at home now and confident
in the sacrificial sea

____________________

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TO BE UPLOADED LATER IN 2024:
MORE POEMS FROM THREE MANUSCRIPTS:

TROPICAL POSSESSION

DISASTER CHRONICLES

DRAGON BONES