Saturday, August 22, 2026

Not Sure How Many Men or Even Poets Ever Considered How Much Time and Labor It Takes Women to Arrive at Their Careful Simplicity

  

Empire speaks plain, everyday English,

but should the soul not speak to us

in the tongues we learned at home,

in school, in our leisure,

so that we all may be correctly posted

 

with memos, epistles, and missives

landing at our feet like femmes well tired,

rightly, sufficiently lenient and eased

 

under parasols from old pointillist paintings

that cut the sun to size and pass it

over the space with a fine hand, neatly gloved?

 

Imagine a soul so simple, English, plain,

that no one would ever need to look or search

for what she hid, or what she meant.

On Why the Soul Makes This World and This Life of Ours More Complicated

 

Frontiers are peculiar places,

whether in Ostrov or in Fort Kent,

that call for another set of eyes

than those that heave and bristle

in the middle of the hive.

 

For on those borderland edges

all that is keeps its other

tucked close underneath what claims,

“This is it and basta.”

 

And even Dan, one of the two

most wondrous students of mine

from that small place by the St. John River,

whose very name used to be a trope

for “utmost extremity” in the Levant,

was perturbed by how much otherness

the soul herself makes us taste

 

when all one wants is to have it

at last—all simple, neat, and straight—

and so, in sheer exasperation,

he once said:

 

“I know nothing of these other languages.

Why won’t my soul speak to me

in plain, current English?

I don’t understand

why she makes everything

more complex than it has to be!”

 

And yet he himself could read Greek letters

as easily as his own alphabet

without ever being taught

what that ancient language says,

 

and yet himself was—by his soul’s design—

a true psychopomp, who was asked

to smuggle, or, to be more correct,

to help the select dead move

from this to the other world

 

and realize, once entered,

that other ineffable state.

 

And thus, as he put it:

 

“We are being visited

by sights and sounds

beyond what the extant mind

may ever remember …

 

even though I have always sensed

the presence where I have lived

even when darkness abounded,

whether within or without,

 

made of shadows and so black

that they parted the dark itself.

 

But then I remembered

I worked what mortals would call ‘death,’

and that not to obey someone with such clout

is never taken lightly—but what is, in truth,

ever at stake

 

is how one holds to

that power and presence

ever abiding there in the deepest heart,

with all her wisdom, all her sublime calm,

 

the ‘Aino-Mora,’ ‘The Sole One,’

from the mirror’s unseen back.

 

Or was she—is she—all the way from Japan,

perhaps, and hence a ‘Love Field,’

or ‘The Love’s Own Sound,’

or a trace of a fading palimpsest

that used to spell Harmonia

but then lost its ‘H’?”

 

And so the surface and the depth,

like two mirror-cut sides,

always tied and yet apart,

our souls and even our art

try to tally and bring in line,

as if ignorance and wisdom

could ever match and become one.

 

But if the presence decides

to grant us, once, its breath of grace,

then, on occasion, a marvel,

a divine marvel, may reach out.

Thursday, August 20, 2026

Of the Roses-Horses on the Cliffs

 

What of Ariadne's golden thread?
How often did it—whether in thought
or in fact, itself a bold and brazen act—
lead a stranger along its winding path
and ever deeper into grave-like death?

And why would Ariadne then herself crack
and split into two—instead of the one—
into the troubadours' Eleanor
and the meek and pliant,
dove-like gentle Rosemund?

And Theseus? Wasn't he the first
to switch the sails from white to black,
just as he swapped between two sisters,
even though each—and in her own way—
carried the rider who was also both:
both love and death—and each
an entwined snaking thread
along the line of poetry and fate?

And wasn't Rosemund herself
such a bower's mare—
made of hros or horse

and mund, protection and guard,
until scholars changed her
into rosa munda, pure rose,
or into rosa mundi
all the way back

to Phaedrus' two horses,
one black, the other white?
But why should one need
to repaint those roses
hanging on the seaside crag,

and keep one's sails inverted—
female reds and royal purples
into whites and blues and golds,
akin to the silk of kissing graze
as it navigates by the lover's nave?