Authors: Jack Gilbert
My friend was fat and mean and lonely.
He made lots of money and never got anything
he really wanted. Most unhappy man I ever met.
There was resentment and even dislike in his
love for me. But we managed, knowing that.
We would spend long evenings reviewing again
his first marriage. Then he’d make his speech
about therapy teaching him how to express anger.
Afterwards, we would sit sleepy and silent
in the lavishness, embarrassed by our tenderness.
When I dream of him now, years later, he’s driving
me to the airport, or we are on Fifth Avenue
near Rockefeller Center with him explaining again
how to reach Columbus Circle. We stand on,
talking of nothing. Comfortable, as the snow
falls the way it did in the old Pittsburgh.
People complain about too many moons in my poetry.
Even my friends ask why I keep putting in the moon.
And I wish I had an answer like when Archie Moore
was asked by a reporter in the dressing room
after the fight, “Why did you keep looking in
his eyes, Archie? The whole fight you were
looking in his eyes.” And old Archie Moore said,
“Because the eyes are the windows of the soul, man.”
He tries to tell the doctor:
“My heart springs open and I see
there is a woods inside.
The trees are full of birds
but they are unable to sing.”
It’s a good sign, the doctor says.
“My body begins to shine
brighter and brighter.
In the center of the light
there is a transparent woman
yelling,
Go back! Go back!
”
The doctor says that’s promising.
“No,” he says, “all of you lie to me.
Like the night they came to get me
out of bed at four in the morning.
Because Marmarosa wouldn’t play
anymore. Unless I was there, they said.
“It was one of those blind pig places
I remember. And he made something perfect.
Made an architecture with the piano.
Like one of those buildings by Palladio.
But when he came to my table he was
as crazy as before. Like after Los Angeles.
“We left and walked through the empty streets
of East Liberty afterwards. Just before
it got light, Dodo in pain and mumbling.
It’s what you’re good at they use
to destroy you he said.”
The doctor says Dodo was feeling
a little down because they took
away his children. “No, no!” he insists.
“I remember what Dodo was like before
he went with the Dorsey band.
When we were in high school, he was
like everybody else. When I went
to have his father cut my hair
I could always hear Dodo in the other
room practicing Chopin.”
Yes, of course, the doctor says.
“You don’t understand. He was famous.
He was important. Parker and Gillespie
would still go over to the house
when they passed through town.
He invented that music with them.
Things mattered.”
(The doctor does not say anything.
Calm yourself,
something whispers
inside him.
We can go home now.
)
There is a film on water
which permits a glass to hold
more than it can hold.
If probed, the water breaks.
Before and after,
both are truly water. But
only one will support swans.
There is someone. Always the same
half block behind. Not a doppelgänger
or anything like that. Not dangerous
or angelic. Just a middle-aged man
with a thick face wearing an old coat.
But always furtively just out of sight.
He is often on ridges very high up
when I walk along the empty beach.
When I am in the bedrooms, he is
discreet. He waits in a doorway
to see her face in the streetlight
as we go by. There is neither sex
nor love between us, but he will
follow the girl home. He stays far back
and never speaks to them. Once
he even helped me when I got trampled.
Very efficient, but ambiguous.
Except for that, we have never met.
One day, when he had lost me, I saw him
following an old damaged woman.
But he returns to me. Without kindness
or threat. My life is beginning to list.
He occupies more and more importance.
Meaninglessly. Nothing to do with God
or fate. Actually a man. Rather stout.
And I can’t make out his intentions.
I am terrified by his not wanting anything.
They have Mary’s wedding ring in the Cathedral.
I was eager to see it, but learned it is
kept fastened in a box which requires keys
carried by the district’s three main officials.
The box is locked seven times in a chest
and the keys held by their chief guilds.
The chest is sealed in the wall of the nave,
thirty feet in the air. Stairs are built to it
just once a year. It is a very holy relic,
and I assumed they feared thieves. Today,
when I asked of it, I learned it is magic.
The color changes according to the soul before it.
Then I understood about the locks. The ring
is not being protected. It is locked in.
I have drifted into the habit
of going to Matins. Today
I found they are repairing
the church. The side windows
have been taken out. I was shocked
by the sound of swallows. By sun
and the smell of morning.
I realized there has been a mistake.
It is convenient for the old men to blame Eve.
To insist we are damned because a country girl
talked to the snake one afternoon long ago.
Children must starve in Somalia for that,
and old women be abandoned in our greatest cities.
It’s why we will finally be thrown into the lakes
of molten lead. Because she was confused
by happiness that first time anyone said
she was beautiful. Nevertheless, she must be
the issue, so people won’t notice that rocks
and galaxies, mathematics and rust are also
created in His image.
The forest must
not show the other face: slugs and grubs,
nematodes, and greenhead flies laying eggs
so their white larvae squirm in the filth.
Tent caterpillars, high in the trees, swarm out
from their offensive shrouds to eat the green
luxury bare. Spiders cast their nets in the dark.
Aphids gorge on lice. The braconid wasps lay eggs
under the skin of sphinx caterpillars so the larvae
will bore their way out through the host.
The other faces of God are not mediated by our
heart’s need. We are not stone, nor even jungle.
We are animals haunted by love. Not spirits
buried in flesh, but the flesh itself.
And the spirit we are is not separated from it.
There is a god who prepares the locust in the blind
earth for seventeen years, to have it born without
a mouth. I believe in the spirit that would have
Agamemnon sail home with Iphigenia alive in his arms,
leaving Helen with her young man.
If human love and God’s love meet
There is where we’ll find defeat.
When spirit and the flesh are twin
There is where we can begin.
Where the heart is not at rest
There will I build my only nest.
I spend the days deciding
on a commemorative poem.
Not, luckily, an epitaph.
A quiet poem
to establish the fact of me.
As one of the incidental faces
in those stone processions.
Carefully done.
Not claiming that I was
at any of the great victories.
But that I volunteered.
Some of these poems have been revised since their initial appearance in book form. Most of the changes are minor, involving spelling or punctuation.
In
Views of Jeopardy,
the first letter of each line was originally capitalized, a tradition abandoned when poems from this collection were reprinted in
Monolithos
.
The epigraph to “Portolano” is Sanskrit, meaning “In some place is a city.”
The first section of
Monolithos
originally included sixteen poems previously published in
Views of Jeopardy
. These were “In Dispraise of Poetry,” “Perspective He Would Mutter Going to Bed,” “And She Waiting,” “It May Be No One Should Be Opened,” “Rain,” “County Musician,” “Orpheus in Greenwich Village,” “Don Giovanni on His Way to Hell (II),” “Before Morning in Perugia,” “The Night Comes Every Day to My Window,” “The Abnormal Is Not Courage,” “Susanna and the Elders,” “I’ll Try to Explain About the Fear,” “New York, Summer” (originally titled “Portrait Number Five: Against a New York Summer”), “On Growing Old in San Francisco,” and “The Whiteness, the Sound, and Alcibiades.”
“Spring,” “Meniscus: Or How the Heart Must Not Be Too Much Questioned,” “The Companion,” “The Ring,” “Lust,” and “Convalescing” are drawn from a manuscript titled
Torches at Noon,
written in the early 1960s under a pseudonym.
All the Way from There to Here
Alone on Christmas Eve in Japan