Название: Time Will Clean the Carcass Bones
Автор: Lucia Perillo
Издательство: Ingram
Жанр: Зарубежные стихи
isbn: 9781619321502
isbn:
to drape over the telling
where and how I grew, in a suburb
with no men that I could in good conscience adorn
with prosthetic limbs or even crushed straw hats?
Kudzu was something we shouted
jujitsuing air like the Green Hornet’s sidekick
whose name still needed some time to ferment
in those years separating the yellow peril
from kung-fu mania, before BRUCE LEE
floated up to the marquee lights.
Like the stripers you could not eat
floating on top of the poisonous river,
to whose bank we never carried our burdens
and let them weep down into Jersey.
Because surely these words would have profited
from at least one silo lording over,
with some earthmoving equipment
parked nearby in a nest of wire
belonging to some good old boy named…
what? Leldon? Lemuel? But sorry:
in no barn did the whiskey bottles lie
like Confederate casualties at Appomattox —
no tent revivals, no cousins with red hair
and freckled hands, no words as exotic as po’boy
or chifforobe or muffuletta. Which meant
we had no means to wrangle Beauty
into the cathedrals of our mouths,
though on occasion an ordinary cow
could make the car’s eight-chambered heart
stop dead beside a pasture, where none of us
dared get out for fear of stampedes or hay fever
or maybe even fangs hidden behind the lips.
Call us ignorant: everything we knew poured out
those two-at-a-time black-and-white TVS —
one for picture, one for sound — & antlered
with coat hangers that gave even Hawaii Five-O
the speckling of constant winter. The snow
fell like the fur of our fat white dog
for whom my mother cooked lamb chops every night
in an attempt to cure its baldness,
while we dug our fingers in the chopmeat
before she slapped it into patties.
Then Star Trek came on. Then for an hour
the men faded in and out of light.
And there is nothing about this past
it does any service to the language to recall:
Art was what the fire department sold tickets to,
raising money for the hook and ladder.
It took place inside the school auditorium,
where an old Italian couple hid
by donning black and standing
just outside the purple spotlight.
Then music surged that was vaguely familiar
though we’d fail to lure its elaborate name
in from the borders of what we knew,
while the marionette-swan bobbled to its feet
as if newly born. I can say it now:
Tchaikovsky. Of course, the whole time
they worked the sticks and strings,
the puppeteers stood right out in the open.
Yet how silently they moved, how easy
a thing they were to pretend we couldn’t see.
Foley
It is Harrison Ford who just saved the world,
but when he walks down a dirt road toward the ultralarge sun
what sound like his boots are really bricks being drudged
through a boxful of coffee beans. And the mare you’ve seen
clopping along those nineteenth-century cobbles —
she’s a coconut struck by a ball-peen hammer.
And the three girls riding in the hansom,
where the jouncing rustles their silk-and-bone:
that’s a toothbrush moving across birchbark.
Even the moment when one kickboxer’s perfect body
makes contact with the other kickboxer’s perfect body
has nothing to do with kickboxing, or bodies,
but the concrete colliding with the abstract of perfection,
which molts into a leather belt spanking a side of beef.
This is the problem with movies:
go to enough of them and pretty soon the world
starts sounding wrongly synced against itself: e.g.,
last night when I heard a noise below my bedroom window
that sounded like the yowl a cat would make
if its tongue were being yanked backward out its ass.
Pain, I thought. Help, I thought,
so at two a.m. I went outside with a flashlight
and found a she-cat corkscrewed to a tom,
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