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Zachary Pace

Tinsel Tinsel
for M.C.

A fool for love, an inner refugee,
sees a peacock strutting in the birdhouse
high on a branch and fanning
the broadest, most articulated fan tail
the fool for love has ever seen.
“Come fly with me!” the fool calls to the peacock,
but the bright bird keeps strutting up and down
above the fool for love there on the ground.

A blackbird comes and settles on his shoulder.
His pecks are rough caresses as he asks him,
“Why do you keep staring at that tree?”
“Peacock!” the fool for love cries, but the blackbird
caws back, “Fool! Since when do peacocks fly?
Look around the birdhouse: see us towhees,
wrens and jays and blackbirds
flittering and swooping—
what we always do for free.”

All the fool can do is stare.
His neck is permanently out of whack;
he doesn’t care.
But one fine day in slanted light
he glances up as usual and spies
not his darling bird of paradise
but a hank of Christmas tinsel
trailing in the birdhouse breeze . . .

Even so he often murmurs,
“Peacock!” in his haunted dreams.
Ask me why, the reason’s simple:
he’s a fool for love, blackbirds
are blackbirds, peacocks peacocks,
tinsel tinsel.

_______________________________________________
Jonathan Galassi is a poet, translator, and editor. A newly revised edition of his translation of Eugenio Montale’s Collected Poems 1926-1954 has just been published.

River 2

They thought themselves too much
Acquainted with their seasonal
Removal from the wet industry,
Or rather placed beside it,
Two picnickers blessed by them
And losing the thought carefully
Like a scientist in the river sent
To be their blind guest
As the center keeps forming
Only to the situation
That knows it and to no other
Abstraction suggesting, “Things have gotten
Too soon.” All things should be
Sent back—except the hawks—
Without us to the city.


__________________________________________
Paul Legault is the author of The Madeleine Poems (Omnidawn, 2010), The Other Poems (Fence, 2011) and The Emily Dickinson Reader (McSweeney’s, forthcoming). He is co-editor of the translation journal, Telephone, and he works at the Academy of American Poets.

PHOTO CREDIT: Lawrence Schwartzwald

A

On my entire obscene face
there is something I’m trying
to achieve. It is colorless. It
is self-published. It is inner

fatigue. It is so superfluous!
It is part of an addiction I hate
and depend on. It naturally
enters into conversations.

It will induce a kind of slow
intuition. It will be sloppy
and corrugated. It will smell
pleasant. It will be animals

playing on a farm. It will be
completely alone. It will not
be so bad. It will be missing
out. It will have a vague sense

of relief. It will be committing
without action. It will be floating
on the surface of everything.
It will be an amorphous tedium.

It will be sleep. It will be a party.
It will be a good lunch and supper.
It will be a whole day and night.
It will be an indefinite field full of

universal life. It will be a giant lack
of noise. It will look like the cult
of humanity. It will look like it is
“only a manuscript” in a Johnny-

come-lately style. It will be hunched
over an illustration. It won’t tell.
It, strictly speaking, won’t exist,
full like a thing full of feeling.

___________________________________________
Simone Kearney’s poems can be found in Ragazine (forthcoming), Bridge Journal (forthcoming), Post Road Magazine, Elimae, Maggy, Sal Mimeo and Supermachine. She was a recipient of the Amy Awards from Poets & Writers Magazine in the fall of 2010. She works as a lecturer at Rutgers and Pace University, and writes for the Thierry-Goldberg Projects gallery in the Lower East Side. She is also a visual artist, and lives in Brooklyn.

Pissing

What part of life is in the weirdness
spreading illimitably around
what fits? At face level, as he
stood there, glaucous light was caught
in the clear plastic shower curtain.
This light came from the sun
by an obscure but direct path
through the airshaft. Look at it!
The body of the slender man slouched
forward like a bow. And his hand
pinched his cock over the trouser notch.
He hadn’t turned the light on, because, of course, he knew
where the gleam-smudge of the commode cupped its shadowed pool.
What a limp arrow and what an idle, slouching cupid!
Whom does he hope to transpierce? He touched
the plummeting fireflies of urine with his gaze and with thought.
Would he ever choose to pass this moment
if this were heaven where every action flows
in simple purposefulness from desire? However absurd and embarrassing,
he thought of love. All right…I did. The cloudy light
got into the curtain so slyly
it looked inherent, and it made the acid drippings
of penis gleam. A pelting or dropping of mad flies
against the flimsy shanty of purpose. Plains, weird vistas
ran from every wall of that shanty of thought,
and the crazed plastic over the windows crepitated.

What part of life retires into the ghostly regions around
each thing we think and do? I loved him, no doubt of it,
but something couldn’t be resolved. I’ll never forget
the way, when teased, I reddened and blew up:
“Shut up! Leave me alone! How can you be so cruel?
You’re playing with me. Are you? Playing with me?”
But I felt a sort of strength like, in olden days,
entrails strung on a line to cure. Weird, weird, the silence between us
ran out like plains. And his expression was as fathomable
as plastic alit. Would it now
be worth anything merely to pretend
to see his cloudy face in the blur of light
the plastic shower curtain caught?

What part of life have they hit on when they say
the rules of understanding sparsen and break off at the edges?
That the weirdness of the light might as well be his
ghost, because it may be too awful to speak of
if not called that? This is too much. I came to “do my duty”
and found “Shanty,” “Cupid,” penis. In the kitchen
I left stolid life behind. I left water on the stove top.
No boyfriend, teasing or otherwise, rattles the kettle,
though I hear its tinseled, pre-boil popping.
Mere crepitation? Or the sound from across vast plains of a love spell being cast
in a hail of mad, glinting darts?

Damn. Now I don’t want more coffee. That was a false start.
How scary that your actions will only approximate your desires!
It means your whole life history could be more shallow than you meant: coffee
when you also feel like something else, you’re not sure what.
In heaven it’s not that way. There, everything is wanted,
known and done in a bold stroke. No weird plains isolate
purpose. He will not be there. Nor love. All right and I?

____________________________________________________________
David McConnell is the author of the novels The Silver Hearted (2010) and The Firebrat (2003). His short fiction and journalism have appeared widely in magazines and anthologies. He lives in New York City.

This month Metro Rhythm is proud to present five outstanding poets: Meghan O’Rourke, Eleanor Lerman, Sarah V. Schweig, Zachary Pace and Jay Deshpande.  The reading will be held at Blue Angel Wines in Williamsburg, Brooklyn.

Details.