Thursday, March 22, 2012

THE RAIN'S FALLING UPWARD


THE RAIN’S FALLING UPWARD

The rain’s falling upward
and I’m rooted in the clouds.
I’m riffing with the greening of my leaves
without a flute, letting my thoughts grow
like musical serpents each
according to their need.
It’s the snake’s turn to charm me,
to entangle me in its form
like forbidden fruit
swaying from my highest boughs.
In the chalky, moist grey air
I’m scraping my fingernails
down a blackboard like crows
because my desires are vaguely out of reach
and my mind is a teacher with nothing to teach.
I want nothing more
than the freedom of my own humanity
thumbing its own heart
like a well-read book
or a worn guitar I taught myself to play
when no one else was around
to hear the sound of one hand clapping.
If my mind brings forth an abyss
like a vast womb where there’s only room
for my solitude
I’ll slip into it
under the reflection of the moon
on the unwitnessed side of my eyelids
without abandoning the boat of my body
and drift like stars across the timeless spaces
of anywhere the light doesn’t taste like physics.
Being is Knowing. I don’t need a web
to prove I’m a spider
and I don’t need a constellation
to shine out like a star
when I’m not being humbled
by the blind insignificance of it all.
Even when I mean bees and earthworms
too often my voice
is an urn full of dead fireflies.
Yesterday’s astonishment before the stars
in the open-mouthed fields
comes down today
like chandeliers of mystic trivia
on a scarecrow who lets the birds
in on the joke
that everytime he begins to burn
in his fireless martyrdom
his tears fall like an ice storm
to put him out.
But I don’t always want
wisdom oozing out of everything
like the sententious candle
of its own enlightenment
even if I am wounded by the compassion of it.
Sometimes I am content with the futility of things
just as they are.

PATRICK WHITE

YOU READ MY POETRY


YOU READ MY POETRY

You read my poetry
and you need a locus,
something to hang on to,
a familiar milieu, a focus,
right ascension and declination,
a starmap and astrolabe,
and the usual pictures painted
on the lens of the usual telescope.
If I had wanted you to follow me
I would have dropped breadcrumbs,
I would have spray-bombed the trees
an adolescent cadmium red
to show you where the road goes.
I may have been pulled like a weed
from the garden of Eden
and tossed to the wilder side of things,
a meteor among boundary stones,
but that doesn’t mean my darkness is tar,
or all these stars are a kind of quicksand
you’re sinking through like a sculptor
swimming through stone
with a chisel in your hand.
Maybe you’re just the wrong tool for the job.
Maybe you’re trying to follow the music with a map.
Maybe you haven’t come to terms
with eleven dimensions yet
and you’re still standing at the gates
of your own singularity, hat in hand,
waiting for a passport
incommensurably as pi
hoping for refugee status.
Maybe you don’t know
the whole universe
begins with a kiss
between the lips
of two membranes
in an ocean of dimensions
beyond the reach of your sensible wave
and the big bang
is not the beginning
but the afterbirth of the matter.
It’s hard to believe that your mind is free
when you’re standing there
with chains in your hand
counting rosaries like vertebrae.
It’s hard to know what to say
that might amuse you
outside of convention,
but that doesn’t mean
I’ve spent my life
trying to find
a new way to confuse you.
If I revel in the simulacra
like a kid in the fall playing in leaves,
if I kick a stone down the road like the earth as far as it can go
or use the moon to plumb the well
of my raindrop depths,
or try to walk on fire, stars, water,
hoping my feet are better lifeboats
than my migratory reasons are
birds for all seasons,
or I’m kind to the illusions
I had to leave along the way
like roadside flowers
closing in eclipse,
it may well be
the playful compassion of fools
that exempts the wise man
like a hard rock on the mountain
from the avalanche
of cornerstones and schools
you keep bringing down upon yourself like an echo.
You might hear a pair of morning doves in the trees
and the bee in the burgundy ear of the hollyhock
and all the key frequencies of string theory
and know how to finger them masterfully
leaping from fret to fret
like balance beams
and well-worn thresholds
up and down your neck
like serpent-fire through your open chakras,
but to judge from the way you look at me
you’ve never once
cupped your hands
like a lifeboat in the mindstream
and washed your face off in the music
so you could see what you’ve been listening to
like the rain on the inside of a broken windowpane.

PATRICK WHITE

SLOWLY OVER THE YEARS


SLOWLY OVER THE YEARS

Slowly over the years
like a queen cobra that didn’t like
the music she was dancing to,
the right song but the wrong flute,
life has made a big impression on me
by showing me what it can do
to the magnanimous equanimity
of all those who went looking for the Buddha
to explain what they’d just done to themselves
in the late sixties by straightening out their wavelengths
like the curls in their long bucolated hair,
or the creases under the eyes in the mirror
that weren’t there yesterday
or the day before whenever I last cried.
I used to tattoo starmaps like blackholes
on the bad moon rising of my skull
like the eye sockets on one roll of the dice.
I put an emergency exit sign over one ear
and over the other. Enter here.
Like the back and front covers of a hardbound book.
Emotional butterflies caught in the passions of a forest-fire
like broadsheets in a revolution,
spiritual gazelles like slim first volumes of poetry
martyred in the eternal flames
of the solar corona with the mystical sun dog
they mistook for their third eye
before it evaporated into thin air
like the last two drops of bloodshed on the savannah.
It rained vipers. It rained manna.
Authority struck my crystal skull
with an iron billy club
it carried around like an organ transplant
in case of urgent insurgencies
and where you can see all these little frayed threads
of the deltas and rivers and roads I’ve been down
like a pilgrim asking everyone I met along the way
whose holy war this was and had they seen
a dreamcatcher fractured by nervous, white lightning
walking in its sleep on the moon somewhere
uprooting the wildflowers of the stars in her eyes
to replant them like corneas in the gardens of the blind.
Right here. Where that shard of a star is missing
like the capitol of an unknown country
is where I broke out of the cosmic egg
and made a getaway like an arrow
in the opposite direction of the divine.
Not every journey ends in a shrine.
Right here is where I stepped out of the night woods
like starlight through my eyelashes
into the clearing of a vast inconceivably open space
as if I had just woken up and were rubbing
the crumbs of a dream like fireflies,
like stray asteroids with chips on their shoulders
looking to pick a fight with the planet
I was living on at the time,
and nuggets of fool’s gold
out of the corners of my iron pyrite eyes.
And I had a vision that crept up on me
like the shadow of the watcher in a dream
who’s always keeping an eye upon you
from the trees on the far side of the mindstream
And I’ll always remember this.
The orchids of bliss
were blooming in the shadow of an outhouse.
And I understood how love
that thrives on longing and emptiness
could die of starvation as soon as it was full.
And why enlightenment, the moon, love, and poetry
that come so blithely of their own accord
are so attached to letting go of everything
they ever set out to seek like someone
they were blind to who could see
but could not speak.

PATRICK WHITE

EVERY WORD TURNS AWAY


EVERY WORD TURNS AWAY

Every word turns away
shame-faced and a liar
when you try to say things so true
they could only be contaminated
by a mouth.
And the tree in your voice
may be its own guitar
and every flower of your breath
be rooted in stars like the wind,
and you can spend a whole lifetime
trying to say everything
as if words could exact living destinies
from the names on the scrolls of the dead
to save everyone, to save
everything that exists
from nothing,
but when you’re done,
when the tree falls silent
and the bird has flown away,
everything, just as it is,
will still be left unsaid
and just as there is no likeness for the living
there will be no likeness for the dead.
It is the unsayability of the mystic theme
that runs through us like a road through a dream
or the poem in our bloodstream
that is the cosmological constant
that keeps on expressing us
like waves of its own water
though we go looking for ourselves
like empty cups
to fill the topics of our names
forgetting like the moon
that water is its own chalice.
Why kneel by the water like the moon
to drink from your own face
as if it tasted any different downstream
than it did when you were a cloud
high on the mountain
when you can taste
the facelessness of the sea in everything
if you drink deep enough?
And there are eyes full of wine
waiting to get drunk on you
that haven’t bloomed yet
and wells that your tears
are still falling through
like plumb-bobs and pennies
that haven’t reached bottom yet,
and deaths that are antiquely your own
you must rise from
like the hosts of the morning glory
to show the gaping bells of your irrefutable ghosts
it can be done.
Words have bad memories.
Words are troubled sleep and nightmares.
Words are dead trees in a winter swamp
that couldn’t wake a mosquito up.
Words are the ring of the gold on the counter top
that tells you it isn’t true.
Words are a snakepit of spray bombs
that go off like terrorists
on any average day
in the market-heart of the silence.
Words are wanted posters
nailing their own likenesses
to the crucifix of a telephone pole
to divert their detection like water
from the tines
and witching wands of the lightning
that seeks them out like humans alone in the open.
And if you try to say the unsayable
by smearing the view
with a new holy book
what have you said
that isn’t just more graffiti
scratched on a face reserved for God,
or the vast scream of the dawn
just before you wake up from the dream
to discover you’re gone?
Words are the negative space
we use to delineate
the shapes of ourselves
when we talk ourselves
like water into fish,
like infinite, open-mouthed skies
that have winged their way into words
like autumn rain in the hearts of the waterbirds
that leave no trace behind.
Words are blind. And eyeless.
Words are boulders
in the throat of the impasse
when the mountain tries to speak
of things that last,
or mud in the stream of the valley
when it lowers its gaze like a poem
to whisper of things that pass.
Words turn the spell
on the sorcerer
and dangle him
like a participial puppet
from the strings
of his own grammar,
his own magic,
like stars in farcical cocoons
on the trophy-lines of his webs.
Why rummage through
the wardrobe of a wave
for something to cover your nakedness
when every time you go swimming
you can wear the sea?
Take a page out of the book of the stars
and keep words behind you
like seagulls in the wake of your shining
so by the time anyone can see you
that’s not who you are.
Words are living creatures,
words are all eyes and ears
as vivid and vital as yours
looking out from under the autumn leaves
like a flower pressed into a book
that gives it no meaning
that it didn’t have in the fields.
Ignorance doesn’t eclipse the light
and enlightenment doesn’t illuminate.
You may talk forever around it
but what’s the meaning of fire
or sit by the mindstream all night
making constellations of the fireflies
that come together like words
and there may be no separation
between the water
and the reflections of the stars
that ride it like long-legged spiders,
or between you and the earth,
not so much difference
as a razorblade of stargrass,
but what’s the meaning of water,
what’s the meaning of the earth under your feet,
what’s the meaning of that blade of chlorophyll?
Words speak for themselves,
not anything else.
Words are living voices
not harps in the throats of the dead.
A word is not a thought,
not an emotion,
not a stand-in for reality
not the verbal version
of the stem cells on your tongue,
or the eloquent fragrance of a brain
recruiting bees to chafe their pollen into honey.
You can spend a whole lifetime saying
and still not know what a word is,
a whole lifetime feeling
and not know what emotion is,
a whole lifetime thinking
and not know what a thought is.
Beyond appearances
that are not wholly
at the discretion of the depths,
nothing is the likeness of anything else
in the unity of their uniqueness,
the oneness of their oneness,
the mystic specificity
of many rivers
unspooling the mountain
to weave this infinite sea of awareness
into the myriad forms and tongues and waves of us
who take on minds and hang
like empty cups and water droplets
as if we were mere slips of the tongue
on the leaves of the morning glory,
from our own hooked fingers,
the black crescents of the lunar triggers
that play Russian roulette with our heads,
and the dreams that fit us like skin
and the lean watercolours of our sweat
on form-fitted sheets
when our separation troubles us
like waves trying to say the unsayable sea
to islands that already flow
like clear diamonds
that have mastered the yoga of tears.
Everything’s like that
when things turn from solid to real.
Even these words.
Even in the fireflies
no one ever sees
deep in the well of the word,
even in the human heart,
the star, the rock, the tree,
in the smallest eye of water
that ever looked upon a summer sky,
the unsayable sea
of the whole of this multiverse
that sheds worlds like cool petals
from the sea mouths of the mind,
the life of everything
effortlessly exists
to explore its own weather
like water, to hold
its own life like a jewel
up to the light
and see everyone crowned
in a palace of water
whenever you say your name
to the stars
just to let them know
that you were here once
as if you meant it.

PATRICK WHITE