hollow space where blue ebbs and flows.
Before picking up the thread of the sentence
where he left off, this reader will have scanned
a summer afternoonâs supreme iambic.
Thatâs his cry we hear: tweet-tweet-tweet-tweet â¦
A cardinalâs proclaiming his possession
of the street. Thereâs no need to search for long
to catch sight of the scarlet patch he makes
at the top of an aspen; heâs turned towards
the river, which we see at the foot of the slope,
over a factory district that the eight oâclock
sunlight is slathering, for the moment,
with the Arcadian softness of Claude.
As far as the horizon crenellated with towers
stretches a zone of rail lines and vacant lots:
his domain, soon to be buzzing with insects.
Ahead, always ahead, arises the day, the night,
the evening and, we imagine without proof,
that itâs the same behind, that from this whole
a concave space is formed, within whose centre,
under a perfect dome, we settle in, arranging
the streets and their people all around us.
But itâs never more than a screen, set on the retina,
with all the rest painted in. Quick as we turn around,
we never glimpse the nothingness that sinks away behind,
and which no mirror, a screen if ever was, can show.
Between the buildings the people press on, each one
pushing his world ahead, without looking back.
The stubborn bass of the crickets endlessly repeats
four notes that we hear through the humid night
at Augustâs end, trying in vain to sleep. We listen
to the few cars trailing a rumble that swells,
then fades away, as a counterpoint of nighthawksâ
cries enters in, or a distant siren, or footsteps,
or a breath in the trees, or the curtains rustling.
We hear other sounds too, confused and vague,
dreamt up in the slight delirium that arises always
from insomnia, but the true murmur of the world,
should one heed, even a little, its glorious orchestration,
at once covers over their too predictible monotony.
The rain arrives, familiar, expected, in an act
so close we touch the space that it enshrouds.
It descends like memory, green and grey,
forest, sea and street mingled in the cold light
that adorns each object with fresh details;
it comes nearer, repetitive, inexorable
as childhood was, with a rustling like the curtain
one draws at evening to enclose the room
and its swarm of dreams; it murmurs
a single word, repeated indefinitely, that
we cannot quite grasp, that we divine
or foresee, which is the secret name of time.
Sitting on the ground by the trash can, he stinks up
the subway entrance, calling out in confusion
to people passing, who know where theyâre going.
No one listens to his drunken, drugged-out
monologueâwho could?âand no one
spares more than a sidelong glance for his
fumbling gestures, his pitiable efforts
to struggle to his feet, the looks he casts
at the incomprehensible mess around him.
Heâs a tangle of misery, a child of the slime,
made in the shape and image of their God, and
the police will shortly come and collect him.
As soon as the blind is raised, on which
only whitish rectangles were outlined
by the crosspieces, the landscape unfolds:
trees appear, the street, some zones of blue;
over the roadway is a tracery of branches
with the shadows of birds flying through.
Plotinus believed the eye sees only images
derived from inconceivable archetypes, but
the glance by instinct shuns the burning sun.
In the bathroom, when from the mirrorâs depths
we see a stranger looking out at us, we understand
that weâre nothing but a knot, coming undone.
Thereâs no better dancer than the aspen leaf,
its supple stalks the longest, the slenderest of the legs
to flicker in the green majesty of high summerâs light.
From a distance, perhaps at the far end of a field,
an aspen looks to be fluttering thousands of flags,
like a strip-mall lot on a suburban boulevard
amongst
Wayne Andy; Simmons Tony; Remic Neal; Ballantyne Stan; Asher Colin; Nicholls Steven; Harvey Gary; Savile Adrian; McMahon Guy N.; Tchaikovsky Smith