Dick Allen

It is pleasant, very pleasant, to sit at a wooden booth
surrounded by parrots, wheels, right-turning conch shells,
the victory banner and the endless knot,
the lotus, the treasure vase, the golden fishes—
is this not so? Is it not pleasant
to sip Tsingtao beer, or Zhujiang, or Yanjing,
and tap your fingers on the bamboo mats?
After we’ve drunk enough, there will be Buddhist Delight,
Mongolian beef side dishes, a whole host of sauces,
even some pizza and chicken wings if children are present,
as well as the small ice-cream machine, lotus paste, pears,
smiles and bows all around. It is pleasant, is it not,
to linger outside the door that opens to the parking lot
of this small strip mall beside this secondary road
and look upon the scattered cars all come to rest here

Make your strokes thus: the horizontal:
as a cloud that slowly drifts across the horizon;
the vertical: as an ancient but strong vine stem;
the dot: a falling rock;
and learn to master the sheep leg, the tiger’s claw,
an apricot kernel, a dewdrop, the new moon,
the wave rising and falling. Do these
while holding your arm out above the paper
like the outstretched leg of a crane.
The strength of your hand
will give the stroke its bone.
But for real accomplishment, it would be well
if you would go to live solitary in a forest silence,
or beside a river flowing serenely.
It might also be useful

What every painter knows, but most others forget
is how bright colors dim in artificial light

and lobster tastes most fresh
the nearer to death
you set your teeth into the lobster’s flesh.

Three years, Huang Gongwang
worked on his famous handscroll,
Dwelling in the Fuchun Mountains.

As he put successive applications of ink to paper
over the “one burst of creation,” his original design,
it is said he often sang like a tree frog
and danced on his old bare feet.

One day, he adds one hemp fiber stroke,
the next a moss dot.

What patience he had,
like a cat who comes back season after season to a mole’s tunnel.

It approaches from the sea, too small
For thunder and lightning
But ominous as a closed fist
And what it will bring

Nearing us, growing larger,
Is completely unknown.
Beware the leaves blowing, beware
The spot on the sun.

All is turned toward it. It rides
The brow of the mind.
Soon, it will shadow one cliff
And a small coastal shrine.

I’ve always worried about you—the man or woman
at the piano bench,
night after night receiving only such applause
as the singer allows: a warm hand please,
for my accompanist.At concerts,
as I watch your fingers on the keys,
and how swiftly, how excellently
you turn sheet music pages,
track the singer’s notes, cover the singer’s flaws,
I worry about whole lifetimes,
most lifetimes
lived in the shadows of reflected fame;
but then the singer’s voice dies
and there are just your last piano notes,
not resentful at all,

Birdsongs that sound like the steady determined tapping
of a shoemaker's hammer,
or of a sculptor making tiny ball-peen dents in a silver plate,
wake me this morning. Is it possible the world itself can be happy? The calico cat
stretches her long body out across the top of my computer monitor,
yawning, its little primitive head a cave of possibility.
And I'm ready again
to try and see accidents, the over and over patterns