Photographs

For Naomi Ginsberg, 1894—1956 I
Strange now to think of you, gone without corsets & eyes, while I walk on the sunny pavement of Greenwich Village.

August, goldenrod blowing. We walk
into the graveyard, to find
my grandfather’s grave. Ten years ago
I came here last, bringing
marigolds from the round garden
outside the kitchen.
I didn’t know you then.
We walk

Who was my teacher at Harvard. Did not wear overcoat
Saying to me as we walked across the Yard
Cold brittle autumn is you should be wearing overcoat. I said
You are not wearing overcoat. He said,
You should do as I say not do as I do.
Just how American it was and how late Forties it was
Delmore, but not I, was probably aware. He quoted Finnegans Wake to me
In his New York apartment sitting on chair

A STUDY IN AN EMOTION "'Tis but a vague, invarious delight.
As gold that rains about some buried king.

As the fine flakes,

Rent a flatbed with a winch.
With the right leverage
anything can be hoisted, driven off.

Or the man with a Bobcat comes in,
then the hauler with his enormous truck.
A leveler or a lawyer does the rest;

experts always are willing to help.
The structure was old, rotten in spots.

I call and hear your voice
on the answering machine
weeks after your death,
a fledgling ghost still longing
for human messages.

Shall I leave one, telling
how the fabric of our lives

Look! From my window there’s a view
of city streets
where only lives as dry as tortoises
can crawl—the Gallapagos of desire.

There is the day of Negroes with red hair
and the day of insane women on the subway;
there is the day of the word Trieste
and the night of the blind man with the electric guitar.

This old house lodges no ghosts!
Those swaggering specters who found their way
Across the Atlantic
Were left behind
With their old European grudges
In the farmhouses of New England
And Pennsylvania
Like so much jettisoned baggage

One of those appointments you postpone
until anxiety propels you to the phone,
then have to wait too long for, to take
an inconvenient time . . . Late in the day,
an old man and I watch the minute hand

on the waiting room wall. I’ve papers
to grade, but he wants someone to talk to,
and his attendant’s rude, so he turns

Orange peels, burned letters, the car lights shining on the grass,
everything goes somewhere—and everything we do—nothing
ever disappears. But changes. The roar of the sun in photographs.
Inching shorelines. Ice lines. The cells of our skin; our meetings,
our solitudes. Our eyes.

A bee careens at the window here; flies out, released: a life
without harm, without shame. That woman, my friend,
circling against her life, a married life; that man, my friend,

The women were divided between regrets for the homes they had left and fear of the deserts and savages before them.
—Francis Parkman nothing but this continent
intent on its dismay—

in memory of R.I.S. 1.

Would I know her anywhere, this child

There is no widening distance at the shore—
The sea revolving slowly from the piers—
But the one border of our take-off roar
And we are mounted on the hemispheres.

Above the waning moon whose almanac
We wait to finish continents away,
The Northern stars already call us back,
And silence folds like maps on all we say.

based on an old photograph bought in a
shop at Half Moon Bay, summer, 1999 No sound, the whole thing.
Unknown folk. People waving from a hillside of ripple grass

In the past we listened to photographs. They heard our voice speak.
Alive, active. What had been distance was memory. Dusk came,
Pushed us forward,emptying the laboratoryeach night undisturbed by
Erasure.

In the city of X, they lived together. Always morose, her lips
soothed him. The piano was arranged in the old manner, light entered the
window, street lamps at the single tree.

Emotion evoked by a single light on a subject is not transferable to

Dear Sirs:

I have been enjoying the law and order of our
community throughout the past three months since
my wife and I, our two cats, and miscellaneous
photographs of the six grandchildren belonging to
our previous neighbors (with whom we were very
close) arrived in Saratoga Springs which is clearly
prospering under your custody

1.
Prurient tapirs gamboled on our lawns,
But that was quite some time ago.
Now one is accosted by asthmatic bulldogs,
Sluggish in the hedges, ruminant.

Moving through ivy in the park
Near drying waterfalls, we open every gate;
But that grave, shell-white unicorn is gone.

I sit where I always sit, in back of the Buddha,
Red leather wing chair, pony skin trunk
under my feet,
Sky light above me, Chinese and Indian rugs on the floor.
1 March, 1998, where to begin again?

Over there's the ur-photograph,
Giorgio Morandi, glasses pushed up on his forehead,
Looking hard at four objects—
Two olive oil tins, one wine bottle, one flower vase,
A universe of form and structure,

The universe constricting in front of his eyes,
angelic orders
And applications scraped down

On my desk there is a stone with the word “Amen” on it,
a triangular fragment of stone from a Jewish graveyard destroyed
many generations ago. The other fragments, hundreds upon hundreds,
were scattered helter-skelter, and a great yearning,
a longing without end, fills them all:
first name in search of family name, date of death seeks
dead man’s birthplace, son’s name wishes to locate
name of father, date of birth seeks reunion with soul

When news came that your mother’d
smashed her hip, both feet caught
in rungs of the banquet table,
our wedding rebroken on the memory
of the long lake of silence
when the stones of her body
broke as an Irish fence of stones,
I saw your wet dugs drag