Termites in Spring

He says Termites. Scrutinising
their Braille, he finds a tinyness too obscure for such stubborn
thumbs. He says The wood’s too bitter, compensating
with his literacy in timber.

*

I think, the termite’s entire body
is devoted to language. Following a scent’s stain,
a pilgrimage to sucrose wood.

*

We talk about the tragedy of knowing.
He says Look at this bit, steel-toe circling
a section of raspy
decay. He says They had no clue, sniffles
at the arrogance of the past.

Alone, I study sections of floor-board
for nescient letters, tracings
in dusty termite-shit, scraping clots out
from under my ruby-red fingernails.

*

He pulls back more stucco.
He says They’re gone. He says Bet you they’ve got designs
on that oak out front
.

In dreams, my elbows scar with blisters
where a termite has broken out
through the skin. I spit creamy fistfuls of them, feel
a scrotal tingling, that
their empire needs the sex of my bones.

Waking, I hear a phone-call in the hall, his voice gone stiff
on certain words: sander. Girls. Concerns.

*

Yesterday, I bit paint off my nails. I coughed
at the ceiling. Today, I scratch three lines about water, or
the dank retch of rot, and then

such human noise is muted; everything
is muted by the bitter taste of wood.

Posted in 60: SILENCE | Tagged

Reaching

Somebody died three houses down
it was the girl – and this is what I want to say –

she was sixteen and could not breathe
air failed to travel its path and floated

just beyond her reach. She could not speak
and worst of all, no one heard her reaching.

Silence is never silence;
darkness and cloud-cover cushion volume

but they are not impassable.
I sat outside; no wind carried the pain

from the home three houses down
yet I felt death by the handful emptying its load

onto my lap, skin absorbing the heavy loss
it spilling from my chest, my eyes

pouring pictures out, tacit words shooting
from my mind. You were there:

in the op-shop hammock hanging
from the longest branch, you near-winter rapt

to be lazing, drenching in the big sun
and a thin grey jumper, there was a bottle

of water resting in the curve of your hip
the novel you had been talking about

sleeping on your full breast, and then
you were dead –

the loss of your breath
felt in the stillness of the leaves.

Death was not death that day
even in autumn, when sunflowers refused to rise,

but something like silence, like darkness
and cloud-cover. Sometimes I reach

for your phantom body as if I am trying not to fall.
I cannot breathe or speak

and this is what I want to say – I might die
the heart ceding to long stretches between go

and go, the brain too tired to dictate to the heart
and no one, my love, no one would hear my reaching.

Posted in 60: SILENCE | Tagged

Pain Management 1 & 2

What size is your pain, what strength on a scale of one to ten,
what colour is it, what song does it sing?

My pain is grey. Dull like layers of fog that settle
over the tors of bog-lands. It is a gloom
that spreads and seeps through bone.

The song it sings haunts the bleak muirs.
It leaks out of mean homes that once bred warriors
whose callous shadows weigh down

the shoulders of men taught to bear grief
with a straight back and a grimace.
—————————-
Mine is a scarlet poker that sears
nerve, spine, brain and flesh.

It skewers each act and thought
with thrusts so deep
that each breath is a burst of fire.

It has trapped me here on a narrow cot
of catheters, drips, timid shots of morphine.

I listen to the faint pulsings of machines
and pray to no god but mercy, for silence.

Posted in 60: SILENCE | Tagged

Finishing

The love of form is a love of endings. —Louise Glück, ‘Celestial Music’

What if it’s somehow like the end
of a good, a well-told story?
Then you’ll have completion,
have, better still, completeness.

The reckoning will be a rounding off,
an arrival so well foretold
by the setting forth the journey
will have seemed all along a return.

All questions will be answered.
Should the sense signal loss—
or, worse, disaster—even so,
at the sound of the last cadence,

when the long rhythms of the telling
lapse in a great easing fall
that finishes the whole,
prepare for a lift of startling fullness.

Let the speaking word ebb as it will
at the close, not hurried or slowed.
You’ll feel the rightness of silence
and space.

Posted in 60: SILENCE | Tagged

A Cup of Tea

after Kevin Brophy

A good cup of tea is poised so
everyone becomes your aunty.
Below the base of the nose time is infused.
The afternoon sighs.

A butterfly may dance through your field
of vision. You needn’t look around.
The room and the chair are recognised
as long-lost friends. A teddy bear
is raised from an old box somewhere.

The conversations are wallpaper.
Light filters into the old house,
and beams upon the still living carpet.
The air swirls, dizzy with dust.

Posted in 60: SILENCE | Tagged

Pope Innocent the Last Addresses the Crowd from The Gallows

As God’s first servant, I’m here to reveal His secret:
we’re entertainment. We’re a spectacle for clouds,

who admire our constant changes and read mystic
meaning into our shifting shapes. For the wind

and waves, who rub us like stones, we’re lucky.
For rain, which loves irony and our laughable,

accidentally effective efforts to erode and exhaust
the world, we’re amusing. For mosquitoes, leeches,

sharks, and crows, we’re fresh fruit. For coyotes
and cockroaches, we’re the best of good providers.

We’re a doomed, mistaken race, a two-part mini-series
on the Evolution Channel: “Species of the Damned.”

Don’t deny the truth: Deity deserted us long before
we designed our Dolls of the Divine and forced

our words into their mouths to frighten our children,
quell our silly fears, vindicate our ugliest ideas,

and invoke a host of winged, blonde, bubble-headed
Barbies to sing an unseen sublime. Tighten the noose.

Check the trap. The drop must be quick and clean.
Do well now what you do best, but mark my words.

My grace is to believe what no other is fool enough
to believe, and I worship, as should you, what I see:

a gutter pool dammed by leaves in November rain,
a finch in a cat’s claws, the yeasty rising of the loaf,

a summer cottonwood crashing into a muddy river
gnawing the bank beneath ragged roots, a black slug

on a sidewalk, an owl, a thistle, a fly, a star so faint
the eye admits the light only at the edge of vision–

Posted in 60: SILENCE | Tagged

Nagasaki Rain

Silence is always audible through the noise,
it’s your watching soul
disturbed. The buzzing city is a laminate
pressed upon awful stillness. You arrive
among a Ninja whispering of rain
under a riot of tyres at
Victoria Inn, 6-24 Dougashou.

In this lobby they’ve buried the body of the desert
in art deco
plush English furniture complete with upright
Agatha Christie phone – you’re in the Cotswolds
not Nagasaki
till in reception Japanese are bowing
as in the days of Queen Victoria,
when smuggled guns began this sad relationship
with high explosives.

In the lift’s quietness you ascend like God, aware
of an itchy skin rash on your ankles. Hotel soaps?
Room 412, you splash on lotion, rub it in
hang your soaking socks over the towel-rack,
then step into the shoes
of invading armies back five hundred years
that burned across Japan’s most Christian city.

Jesuit footfalls in the aisles
of this painted wooden church, modern veneer
on Armageddon. At Ground Zero you stand
before a high blackened chimney, potent as
a crucifix.

Peace Park down the road, a shuttle-shuffle place
with photographs in tiers of floors to terrorise
the human spirit into peace while, blocks away
devotees hover in pachinko parlours
firing exploding rounds like they’re in Moscow,
New York, London – not in a nuclear graveyard.
The rain has stopped, the desert’s everywhere.

What do you do when you’re bombed back to the Stone Age?
You bury and rebuild, and learn to love
baseball. Now, in the silent lobby, waiting
for the bus, you’re thinking it could be
yesterday, or Nineteen-Fortyfive, serene,
two minutes past eleven.

Posted in 60: SILENCE | Tagged

Swan Song

It was the song of a swan I heard falling
in mist over the harbor after the ice broke
leaving the shattered pattern of a spilt goblet,
its long neck still, after splintering the air.

And the swan herself mingled with faints
of water flowing as the ice shrank
the edges of that strange harbor so empty
except for glass and a long unbroken silence,

others having left, holding their coats by thumbs
over their shoulders as the quiet echoed
over their footsteps as if the harbor pond
could be forgotten or left to merely happen.

But the song had been my own so many years
I knew I would know it when it came for me.

Posted in 60: SILENCE | Tagged

Eurydice Speaks

(after Edward Hirsch)

I
You didn’t know how I hid my head in darkness,
a child in the oak avoiding moonlight.

How I could touch with only closed curtains,
snuffed candle lingering in hair, in breath.

How your skin burnt through my sleep
so I woke all mornings on the boil, a little more

evaporated, a little less, than the day before.


II
My Father hung light all over my Mother
as though she was his hatstand. Across years

she was blinded to any other image;
my face was his and in her own
she saw only the places he had touched.

On our marriage when you took my chin in your hands
I knew, I could never hate myself so much,
nor love you enough, to become your mirror,

to see myself only through your fingertips.


III
When you played my name back into being
I remembered what it meant to want,

felt the drowning sound of longing
reborn at the back of my throat.

You peeled dark off me like autumn leaves
leaving me bare, blood already blistering,

the thick of you on the tip of my tongue,
Orpheus. Orpheus, the song of you

in my footsteps, almost enough
to dance me out of shadows.

Not quite enough to stop me
slipping your name from my lips,

the turn of your head, and the darkness.

Posted in 60: SILENCE | Tagged

Essentially Human

In the Southern Highlands I think I’ve made a friend on the ground. She tells me the baby inside her has not moved. Her husband doesn’t know how not to smile anymore. The baby is dead but she does not know this yet. It is three months later before she shows me the photo she carries in her wallet like a Victorian lady. It looks already born somewhere else with a new name. In between, murder has sat in the road at my neighbour’s crossings and spared one save his leg and a mother at least one son. She makes dolls to keep her in the house, to stop her from crossing her own road. Now she too keeps a silent husband. Before I leave I will spend a night in the spotless pub with fine glass on the floor. For those who know the meaning of sound in the silent town—the way of glass in my steps, the shots saved for ducks at night, the dolls dancing on the clothes line, the wind in the dresses of the missing girls—disappearances mean discipline.
Posted in 60: SILENCE | Tagged

A Silence

We watch them sitting down beside us,
(she, the latte; he, long black)
and see them splitting up the paper
(he, the sport, and she, the crossword).
Five or forty years ago,
we would have seen them leaning inwards
antiphonal and half-obsessed,
hands upraised to stroke a cheek.
We’re thinking now, too hastily,
how all their conversation’s gone,
how everything and more’s been said.
We see the waiter bring their coffees.
They look up vaguely with their thanks,
glimpse each other fleetingly;
then re-divide the world.
Alone or paired, it seems to us
that life is mainly diminution,
infatuations cannot last.
We read the law of entropy
across their concentrated faces.
Their sex life, we surmise,
must show the same decline —
skins in moonlight too well-known,
dramas long played out.
They look up once to share a smile.
She’s stuck perhaps on 14 down;
he wonders how the Western Bulldogs
ever won a game.
A knee is rubbed against a knee
as if by accident.
We’re thinking it’s all loyalty now —
and somewhere also seeing how
a high spring tide of pheromones
collapses into love.

Posted in 60: SILENCE | Tagged

it is not the river carrying us away

The armoured bream glint
and scatter. We bunt the hull
against a submerged pylon. The anchor
chatters its chain against the gunwale and
vanishes. We can feel in the swing of the dinghy
how the anchor kites in dark silt thin
almost as the water itself.

This is how the river catches,
hauling what it can from underfed creeks,
widening to pools where the tiger snake,
quick as history, swims in patches
of water warmed to a green
opacity. How many spirits
are caught in the phosphate
run-off, tugged, almost weightless,
against underwater rocks, torn at times,
only to come back together.

Rivers are secretive. They do something
to time. But only rarely do they catch fire –
the day smoking down on us, the cold cinder
crumble of a paperbark under hand, the hot sheet
of the surface at sunset, the hook in the eye
of a whiting. When the anchor is raised,
it’s a dead weight, laden flukes trailing dark
mud as it emerges. We have caught
almost nothing. But we hear,
in the beginnings of night
how, on the river, even
a voice is ash,
at last hushed.

Posted in 60: SILENCE | Tagged

trees are about you

I was far from
the root of things and
therefore quiet
of mind. Picking

holly, breaking stems
with gloved hands.
In each waxy leaf
the gleam of winter’s

flattest days. So few
berries this year,
and all of them out
of reach. I’d climbed

a steep slope, and in
reaching leant my whole
weight against a birch.
It was only right

to put my ear to it,
as once I’d auscultated
the chest of a man
I tried to love; whose

blood would press
to the inner meniscus
of skin, and skim
away. I heard this

time no sap, just
the tree’s own
chambering, a hum
of branch scraping

with another birch
in the rising wind.
Then, four clear
knocks. Who hid

inside? Or asked
to leave? Or wanted
to come in; to the hill,
the open air, my

simple ear? Who’s there,
I might have said.
Or found some other
question. Are you at home

in there? Knock,
knock. I know
of a man who,
faced with ancient

handprints in Chauvet
Cave, saw not an imprint,
but that someone still
pushed firmly

from the other side.
But what then of
the drawn bison,
the stalking panther?

Do they prowl and
moan behind it all,
coming at us through
even this bark, resolute.

Who’s there, I want
to say. There are no limits
anymore. Everything burns
and dissipates or

somehow roots in.
Joseph Priestley
felt his one death closing
in, no more than a high

whine in the tips of
of the trees. He said
goodbye, and covered
his eyes, that no one

should witness what
passed. In the end,
we always seem to
face a kind of shame.

I moved my head
away from the tree’s
inner murmur. Enough
gathering for today.

Posted in 60: SILENCE | Tagged

Inside Quietness (Söderlund)

I wake: only the wind
curls, the rise and fall
call of the whip bird
the white curtain billowed with light.
Everyone is sleeping.

The quiet house accepts my footfall
the way a winter forest accepts a solitary deer:
coarse wooden walls—
the colour of molasses—groan
as I pass, forgetting they are no longer
standing trees easing themselves
beneath weight of snow.
In the kitchen a kettle of water
catches heat, brews a thunderstorm—
I hold my breath
but no one rouses.

Back in bed I contemplate the small
grey bird pecking air on the white plate
left out overnight, the blue hills falling
away like a clear rain.

Posted in 60: SILENCE | Tagged

Alone in the Woods

You are standing at an intersection: what used to be called a crossroads. One way is gravel and one way is sealed. North is whichever way you’re facing. There is no right answer. The sun gets behind you and pushes. What would your 38,000-word vocabulary say about that? Down that road is a poem. Down any road is a poem. But when you walk towards it with your muddy boots it becomes a story. The plot and characters function in the same way but you take more steps to reach the end. The story is a series of interruptions. Narrativity is the way we make sense of unrelated series’ of inconsequential events. Where is the end? This is not something you should be asking yet. You should be looking into all the blind windows to see if you recognise – who said there were windows? – you should be looking – into the trees to see if you recognise – you used to – know – all the names – now they wear name badges and your knowledge is defunct. They are like foreign students standing there in groups – growing roots – they have their real name which they assume no one can say – and a fake name – Shirley – Robert – Beech – Pine – to long for – what is English responsible for? In Japanese there’s a word for looking worse after a haircut – in Norwegian there’s a word for the euphoric feeling of falling in love – and there’s a Tibetan word for giving an answer to an unrelated question – you are standing at the crossroads with the poem hanging – off your every word – tugging – at your sleeve – this way – this way – there is a German word for the feeling of being alone in the woods – the poem has abandoned you – are you lost?

Posted in 60: SILENCE | Tagged

The Torpey Spoon

for Evelyn, Elizabeth and Janet

Home is the colour of sunlight through the kitchen window,
a lemon-curd glow as day infuses thin air.

I’m inside with my young daughter, crafting a version of love
from cooling figs and a row of gingham-capped jars.

And with each turn of our old cooking spoon, I’m borrowing
maternal lore; making simple transactions of inheritance.

Some domestic artefacts endure in their retelling and
become glory box gifts worth leaving – like this simple spoon

placed by my grandmother’s hands and her mother’s before
hers, deep in a calico-lined tea chest. The kind of old spoon

that carried the heart of a kitchen. Wide-mouthed and generous,
with lipped edges that could curl snug around a single egg

or stir resilience through with servitude when the winds changed.
During weeks that stretched to months when the work dried up,

when tall brown beer bottles kept an empty meat-safe company;
when something could always be made from nothing.

A domestic instrument with a defined use and a dozen undefined
others; a generational orphan, an extension of matriarchal hands.

This afternoon, we measure distances together, making jam and
history, ghosted by the thickening fingers of bush brides.

And as Saturday floats, I am witness to my daughter’s
industry, working beside me with small, deliberate hands.

Day slides away and crickets crowd the night air with an earthly
thrum. From the back steps, the sky turns the colour of eternity.

Posted in 60: SILENCE | Tagged

A History of Australian Silences

I

The first
was a cross-hatch
of bodily lightning –
a nerve-net
of increase-sites
danger-sites
food-in-its-season.

The first silence
shook out its leg
and sang low in the drone.

There were no gaps
between it and story.

The first silence
could not conceive
of an absence or end.


II

But
when the firesticks arrived,
that’s the first thing they found:
who could not
see their faces in the water;
who could not hear their language in the scrub.

The stage set was there.

But the actors were somebody else.

Clumsily, shrewdly,
they misheard and improvised:
track names and creek names and food names;
tribe-bunting/race boundaries/prospects and vanishing points;
the Gregorian time-grid; the Governor’s space-grid;
the long names for misdeeds,
the Flash names – and all the look-dumb names;
the Secretary’s full-sentence edicts. . .
the jokes and elisions that rounded them, late, round the fire.

An emergency lashing, a raft of inventions and doubts –
but the new silence held.

And everything in it was God’s work.

And everything not in it yet.


III

Banging and whistling,
they worked to install it all over.
The Governor strode round and proclaimed it.
JP’s reinforced it with strokes.
Communions re-drank it –
and even the abject confirmed it by being left out:
a shape-shifting, feral, part-rational silence
of hard labour/Providence/Upper Case Principles/
costume/affection for Ma//
the self-songs of distance and dyings//
the God-song of weather/the sing-song of daily amens.

A flexible, muscular lattice with scope for emergencies.

Except there were those
who kept gnawing away
at an ur-silence, out beyond bounds.

Who would peer
into all those small lights.


IV

I hold the Gorgon’s head, my own, my own;
it stares this lockjaw land to light and stone.

Hal Porter, Dry Final Scene

And this one was too big.

It stared at us blankly.

It howled from the ovens
and laughed at the lovers’ wet oaths.
It shimmied and bristled and clawed in a teeming biota.

It sent Frank Webb crazy: for whom
each next tick would be Morgan’s last breath.
It was Nolan’s one subject: a sluggish but permanent creek
into which all events e.g. murdered policemen, would soon disappear.
It black-holes from Tucker’s burnt faces:
the ironbark-and-blue of a stonewalling rage dried to distance.
Humphries hurled gladdies and home truths to make it take notice.
White tried the glare of close witness.
Silence asked, Who? Them or you?

And it won.

As it must. You can’t out-express silence.

This one was all absence.

Time to invite silence in.


V

Stand him up.

Brush out the sand from his hair.

Let him take as much time as he needs.

Who thinks
he has no other choice
but fight silence and lose:

that his role’s to raise it with triumphs –
with projects and lovers
that don’t quite add up to a win.

As if it succumbed to arrival.

As if it weren’t what we are made of, as well.

What can we do
except open the sides of our stories?

Dance with it?

Come on Ulysses.

One half-step. One. And now two …

Posted in 60: SILENCE | Tagged

The Village, The Bathers, Dialectic

The Village

The villagers here have a single theme. Really, it
is quite wearing, all these variations on the
strain of insufficiency. Why should I care?

But until my train comes I am stuck here. At the pension
I take my meals on trays up to my rooms, which causes
laughter between the manager and her daughter, who

otherwise aren’t on speaking terms. The cars are
decorated for a wedding and the battleships bite
their little bits of sky from the horizon, quarrying

the blue. Along the sea walk a track joins
one town to another and halfway in between, lined
with cedars, is the cemetery. The old men play at cards

all afternoon and kick the cobbled stones horribly
laced by tiny spray faced cats. I think that
I will take up smoking, if only to light

the air with sparks, each swallowing its
little bit of oxygen and its little bit of dark.

The Bathers

Beneath the broken heavy hills by the shapeless sparking sea
the odd unerotic angles of nude bathers, pink and bungled,
float on the landscape like lights, like balloons, like migraines.
Scalded shoulders and knees, florid heads and aspirant
bellies, goosepimpled, bulging over marks left by tight
removed suits; their tender feet stumble on the rocks crafted
by the ocean into axes and agents of blunt trauma.
They fit as neatly here as a cheque in an envelope, and in
their small devotions, awkwardly applying sunscreen
or spilling a towel across the harsh pebbled beach, they
are consistent with one another as disappointment and hope.

Dialectic

Top-heavy small brown birds nod in
the pine trees like clocks: tick squawk.

The mountains are heaped up around
like infamy. I am beginning to believe

in silence as a worthwhile project.
Something I tried so hard to be talked

out of. But this place is very persuasive,
with its apt unkindness, its chalk hills, its sea. The church

bells ring things that are not the hour.
Someone performs some service. But look,

there is burning, the reflection intensifies
the light. Not here, not here, is where we go in.

Posted in 60: SILENCE | Tagged

Snow from Hakuba to Nagoya

Each house, each fence, bough, post & letter box
has its chapeau or topiary of snow,

a cap, a stack whose mosaic interlocks
until it’s doffed.

Icing sugar, talc-like powder, linen perfect, doona-esque,
foot-hold test, temple finial, gravestone grace note; snow.

Tree pillow, roof fondant, template for tracks,
acoustic trap, bringer out of burlap,

under-foot squeak, eave dropper, candidate for the corduroy rake,
light amplifier, sight stealer, world white-washer,

detail obliterator, hoar frost generator, slope groomer,
light’s diffuse deflector to all white, reflective extender of the last light.

Scenic smoother, road block, ground falsifier, pond slurry-er,
airborne sip, persimmon decorator, graphic illustrator,

lane hobo, mono-chromaticist, bough breaker,
ice-maker, false delineator, ditch obfuscator.

Wind-drift traveller, car roof hitcher, beard starch
and hair stiffener, boot clog and glove coagulant.

Cabbage coat, leek mattress, cold store,
shovel chore, wonder maker, gumboot infiltrator.

Toboggan-izer, foot freezer, cable garland,
ghost maker, cloud sown once-and-will-be water,

road greaser, sound cease-er, shrub shroud,
storm maker, fractal faction, self-assembler,

fine flurry-ist, architect of avalanche, blizzard grist,
yuki, neve, neige, nieve, schnee, snow.

Posted in 60: SILENCE | Tagged

The Pool

New York, 2011

Grief, they say, has four steep walls
cut from black stone. Water sheers
off the sides into a giant pool:
the edges milk themselves violently
towards a hollow centre.
The level of water is sunk so low
no birds skim it. You cannot hear yourself
cry above the threshing sound.
But if you sit long enough, observe
how sunlight edges round the mouth
like a man scaling a ledge.
By noon, its surface glistens like tar.
At night, tiny lights fixed to the floor
people the depths.

Posted in 60: SILENCE | Tagged

Nell

When she took the bandage off her mouth
she found her lips in the mirror
dead as doorknobs, needing to be turned
but opening the locomotive of her throat

only sent certain crackerjacks out.
The truth when it spilled was white
like the ejaculate he had given her
as a present when she turned kind of four.

This was not the gift she had asked for.
So all the banshees that stuck
in her teeth like chicken, and all the lines
she crossed her arms with like noughts,

were so many touch and go bouts
of circumstantial evidence; or, straws
the drowning girl grasps for in the Pacific
when, having risen for the lucky third

time, she can no longer mime her furore
so breaks the silence like a biscuit in two.
And this new silence sounds abrupt
and is a siren call made only for you.

Posted in 60: SILENCE | Tagged

Silence

It doesn’t matter
And it can’t be done.

The way a wave
Won’t outlast the sun.

You see a word once
Then it’s gone again

Like wet paint drying on
A wall to be knocked down.

The songs are flashing
In a pond like signs, fish

Half-asleep until the ice
Is broken off.

It isn’t wrong to cough
When the big guns sing.

I had a vocation,
It had begun.

It lasted two weeks,
A vacation more than anything.

It gave great pleasure
To the lofty mice.

My silent words, O Lord, to you
Were offerings

Of sugar and spice.
By morning the platter

Was licked clean and bare
By vermin who had fed

On my adoration.
It had been bent and soft

Before then, then hard and coarse.
For once you care,

Care can’t be taken anymore.
You’re sent off course.

What goes is gone, what goes ahead
Is just enough to stay a hand

From making bad things worse,
Or worse, bedding things best left unsaid.

Undone is what all sheets were once,
On that occasion when they bled.

What lost its purpose
Was the poise. To clear

My heart my throat makes noise.
Above the ceremony

Good birds take wing
And in their leaving notify

The ground that soaring brings
A distance to be mastery,

In the new conjoining
Of thought and thing.

It wasn’t clearly meant
To be just above,

Which is why love always
Lies down in the end.

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Hafiz: Ghazal 75

The products from the workshop of the universe, all of it is nothing.
Bring wine, for the goods of the world are nothing.

The heart and soul long for the honor of intimacy with the beloved.
That is all, for otherwise heart and soul would be nothing.

Do not, for the sake of shade, be indebted to the sacred trees of Sidra and Túbá:
when you look closely, O flowing cypress, heavenly trees are nothing.

Five days you are spared in this way station.
Rest easy awhile, for time is nothing.

O Saqi, we are waiting on the shore by the sea of annihilation.
Regard it, for the space between lip and mouth is nothing.

Wailing and weeping have sadly consumed me,
but to narrate or explain is worth nothing.

Fakir, beware: do not grow complacent in your zeal.
The distance from your cloister to the Magi’s tavern is nothing.

The name of Hafiz has gained honor in the world,
but among outcasts, the calculations of profit and loss are nothing.

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Writing: Silence ::

To mark the surface
(in gelid depths trout linger),
to inscribe in point
(mordant bites into metal),
is giving voice to silence.

Etymologies
are wiser than our sayings,
or, distillations
of our perilous knowings.
We write, but we are written.

Long or short, our days
are numbered, start to finish.
We can count on it,
but it will seldom be real
for us, more so for others,

for others we love
as ourselves, in whom we live.
I sit and listen
to the last breath die away.
How quickly her hand turns cold.

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