WHALESONG
Leviathan is lonely
and he moans in the sea.
He takes no comfort
from the thought
that God made him,
that God framed
and fixed
and farced him
and made him
an exemplum
giving him great limbs
to thrash in the sea.
Leviathan is weary,
weary of grandiose music
of bells and gongs and organs
dogging his progress,
at any twitch or wriggle
ringing
and tolling,
weary of the blue
blue–black and black
fathoms God gave him
to be in,
the terror of them.
Leviathan is tired
of his job.
He would prefer
not to swallow prophets
anymore nor to
lift and crack continents
upon his back.
He is tired
of signifying
a power and a glory
not his
in his soundings
to do with as he pleases.
Leviathan is thinking
of losing a lot of weight
and beaching himself,
heaving himself up
onto the dry land.
He is thinking of taking
a vacation,
incognito,
and to that end
on the dark sea floor
he practices upright postures
and stifles the impulse to sing.
WHERE
everything is having its effects although some
are napping (things,
not effects).
still
even in a doze
they compose about themselves a scape
where the sky is white
and the clouds are blue:
where light glides silently overhead but
rubbing itself against the horizon
makes a noise,
a sound of slate slabs falling from a great height
far away
as if all the brown animals in the forest
wore bells.
where everything depends upon the weather assuming air's
perturbable possibility––
yes
that's it––
where the wind has its way with the dust
(that old game)
waiting for something wet to happen,
explicating a manifold of fern–foils and robins
as if a fan snapped open
and a love letter fluttered out.
ah yes
isn't there every evidence angels
or bears
have been having a pretty good time around here:
look,
confetti and streamers and sticky glasses,
and the furniture,
it's been moved!
TOURISTS
The ghosts in the clouds are churning butter
and making cheese
and singing in their quaint dialects
the songs the cows like best.
If they did not do so
where should we find the strength
to bear up,
to press on?
Wearing the traditional costumes
of their crafts and counties
they go to market in the sun.
Even though they're ghosts their faces are ruddy
and their eyes are blue.
We are welcome
to take photographs,
and they are too polite
to point or whisper
at the shadows that we cast.
Ah,
how we ache to go home with them,
to share their simple meal at evening
and the empty histories of the day
and then, perhaps, to spend the night
curiously sleepless while they sleep,
for as they sleep
they fade from sight,
their little house dissolves,
and we are
left alone to listen to the snoring stars.
Someday surely we will return,
we will come to stay,
relying on their natural geniality
and the advantageous rate of exchange.
We'll rent a little place and fix it up
and have our butter cheap
and cheese for lunch
and in the evening stroll down to the pub
and practice how to disappear at night.
AUTUMN NARCISSUS
i
Late autumn rain knocks acorns loose.
They fall a long way
For the big oaks are tall.
When they hit dropped branches,
Abandoned water cans, tin awnings,
Neighbors' decks, they make sharp loud
Striking sounds, variously pitched:
A recitation (in Chinese)
Of a poem first apprehended and forgotten
When you were nine or ten.
ii
Ah, you'll let yourself off easy here
I can tell. Next
The moon will be adduced;
Who last night gathered stars
In brilliant skirts tonight
Convenes her bright salon above the clouds
Where amidst a moony music
There will be talk of lucent losses,
And a shuffling sound under that chatter
As if of blood, or decks of cards.
iii
You know, this clink and clatter
Of celestial cups and saucers
Some might consider a sort of
Moral failure.
Perhaps a vehement insistence that the sound
You hear is sound of rain and dogs,
Falling rain and barking dogs,
Only rain and barking dogs
Would be a clearer saying.
Or seem to be.
iv
But then the sound of your own voice,
Your breath and breathing,
Mingles in the autumnal music
Giving it a rhythm rain and dogs
Have not, yet range themselves around.
And this is why it comes to seem,
And seems so easy,
That the night's yellow concubine appears
And fills your mouth with kisses,
Your throat with acorns and with rain.
v
O what a pack of foolish stanzas
Each with its clumsy sleight of hand
Revealing the card you won't remember:
Its edges dogged, its face
Caked with earth.
Looking like the ace of spades,
It might be an acorn or bulbed
Narcissus buried in the leafy deck
While you're distracted by the patter
Of the dull magician, the autumn rain.
vi
Ask the oaks with golden branches
If they will lend a limb
To light the way out of this forest,
To free you from these stale manoeuvres
Of mere circulation and self-regard
And bring you where naked figures
Rise above their own effects
In the dark, rain-lacquered, yellow wood
Silently keeping silence as
Echo gathers and dissolves.
Blake Leland
Blake Leland has taught in the Science, Technology and Culture program of The Georgia Institute of Technology for many years. His poetry has been published in The New Yorker, Epoch, Indiana Review, Atlanta Review, Commonweal and other journals. His work has often been incorporated in digital multi-media pieces, including the “Irreversibility” series by Carol-Ann Braun.
A brief facet of this work is on line at : http://videochannel.newmediafest.org/select15.html