Portrait from the Infantry

To an army wife, in Sardis:

Some say a cavalry corps,
some infantry, some, again,
will maintain that the swift oars

of our fleet are the finest
sight on dark earth; but I say
that whatever one loves, is.

This is easily proved: did

But do not let us quarrel any more,
No, my Lucrezia; bear with me for once:
Sit down and all shall happen as you wish.
You turn your face, but does it bring your heart?
I'll work then for your friend's friend, never fear,
Treat his own subject after his own way,
Fix his own time, accept too his own price,
And shut the money into this small hand
When next it takes mine. Will it? tenderly?
Oh, I'll content him,—but to-morrow, Love!
I often am much wearier than you think,
This evening more than usual, and it seems
As if—forgive now—should you let me sit
Here by the window with your hand in mine
And look a half-hour forth on Fiesole,

(Double Portrait in a Mirror) I
To the meeting despair of eyes in the street, offer
Your eyes on plates and your liver on skewers of pity.
When the Jericho sky is heaped with clouds which the sun
Trumpets above, respond to Apocalypse
With a headache. In spirit follow
The young men to the war, up Everest. Be shot.

For Marilyn who died in January april 1

Here, in the darkness, where this plaster saint
Stands nearer than God stands to our distress,
And one small candle shines, but not so faint
As the far lights of everlastingness,
I’d rather kneel than over there, in open day
Where Christ is hanging, rather pray
To something more like my own clay,
Not too divine;

I look in that one kind of dwindled. And in this,
look up, a truncheon in my fist, tin pot
on my head, the war. My father, I’m looking at, is my
age then and thin, his pants streak to the ground,
shadows of rosevines . . . His father sits beneath
a cat. Here the shadow has more flavor than my
trains, elbows on livingroom floor, bangs that
curl, opera broadcast, The Surreptitious Adventures of

A high-yellow lawyer woman
told me I ought to go to
Europe to “broaden your per
spective.” This happened at
a black black cocktail party
an oil portrait, Andrew Carnegie,
smiling down

Nothing so true as what you once let fall,
"Most Women have no Characters at all."
Matter too soft a lasting mark to bear,
And best distinguish'd by black, brown, or fair.

How many pictures of one nymph we view,
All how unlike each other, all how true!
Arcadia's Countess, here, in ermin'd pride,

Rapt with the rage of mine own ravish'd thought,
Through contemplation of those goodly sights,
And glorious images in heaven wrought,
Whose wondrous beauty, breathing sweet delights
Do kindle love in high-conceited sprights;
I fain to tell the things that I behold,
But feel my wits to fail, and tongue to fold.

1. ON ASPHALT: NO GREENS

Quarry out the stone
of land, cobble the beach,
wall surf, name it “street,”
allow no ground or green
cover for animal sins,
but let opacity of sand
be glass to keep the heat

I
You say, as one who shapes a life,
That you will never be a wife,

And, laughing lightly, ask my aid
To paint your future as a maid.

This is the portrait; and I take

When the eye

When the edgeless screen receiving
light from the edgeless universe

When the eye first

When the edgeless screen facing
outward as if hypnotized by the edgeless universe

When the eye first saw that it

Hungry for more light

“painting has no air . . .”
—Gertrude Stein That there should never be air
in a picture surprises me.

I
My life is the gardener of my body. The brain—a hothouse closed tight
with its flowers and plants, alien and odd
in their sensitivity, their terror of becoming extinct.
The face—a formal French garden of symmetrical contours
and circular paths of marble with statues and places to rest,
places to touch and smell, to look out from, to lose yourself
in a green maze, and Keep Off and Don’t Pick the Flowers.

after this, the cold more intense, and the night comes rapidly up
.
angels in the fall
.
around a tongue of land, free from trees
.
awakened by feeling a heavy weight on your feet, something that seems inert and motionless
.
awestruck manner, as though you expected to find some strange presence behind you
.
coming through the diamond-paned bay window of your sanctum
.
a crimson-flowered silk dressing gown, the folds of which I could now describe
.
deathly pallor overspreading

I sit in my own shadow, she says, the way my mother gave birth to it. In artificial light, blinds drawn against the darkness of power. I think of you as if you were that shadow, a natural enclosure, a world, not a slight, so I can wander through your darkness. Has our contract inverted time, made our universe contract, a cramped bed for two? And when I say your name, do I draw water, a portrait, curtain, bridge, or conclusion?



Place there is none, he quotes. Not even to hang up our archetypes. Let alone Star-Spangled Banners. We go forward and backward, and there is no place. Therefore it is a name for God. My eye, steadfast on traffic lights, abolishes the larger part of the round world. I should look at my feet. Space sweeps through us, a hell of distances bathed in the feeble glow of emptiness. Outward mobility, unimpeded. Suddenly we’re nobody home, without any need of inattention, imposture, or talent for deceit.



The wind whips my skin as if it were water, she says. My skin is water. For wind read wind, news, sky falling. Is it a mental disturbance or the higher math of love if I hear you talking under my breath and from the torn fragments assume the sun is far away and small, and a look can cause a burn? Superstition, too, is a kind of understanding, and to forgo it may have consequences.



Clusters of possibilities whiz through our head, he says. Electric charges, clogged highway, screeching brakes, a house too full of guests. With grounds for disagreement and miscarriage. The light rushes in dry, screaming. But the opaque parts of the nerve oppose the noise and void the options. Then the project must be prolonged in terms of lack.

a line of faces borders the strangler’s work
heavy european women
mist blows over dusty tropical plants
lit from beneath the leaves by a spotlight
mist in my mind a riffled deck

of cards or eccentrics
was i
a waterton animal my head

Sitting between the sea and the buildings
He enjoyed painting the sea’s portrait.
But just as children imagine a prayer
Is merely silence, he expected his subject
To rush up the sand, and, seizing a brush,
Plaster its own portrait on the canvas.

So there was never any paint on his canvas
Until the people who lived in the buildings

The room I entered was a dream of   this room.
Surely all those feet on the sofa were mine.
The oval portrait
of   a dog was me at an early age.
Something shimmers, something is hushed up.

We had macaroni for lunch every day
except Sunday, when a small quail was induced
to be served to us. Why do I tell you these things?

I am the centre
Of a circle of pain
Exceeding its boundaries in every direction

The business of the bland sun
Has no affair with me
In my congested cosmos of agony
From which there is no escape
On infinitely prolonged nerve-vibrations