My father with hands warm as high octanes at a dead jetport in blue leaves, my father who wisely thought nothing of Bartok’s death, my father who lived in the past whenever I touched his echo, my father of gold still accruing in my memory, my father whose bones were burned one morning, who rusted shut at night and was whistled away into absolute poetry, my father who listened to rock music while carrying moist roots in his hands, my father who fell into the machinery of moody spinning wheels, whose enflamed iron spectacles longed for more nomad emergency moonrises…
I shall infuriate this piece of parchment with a discussion of stars or some other unaltered thought which could be set forth as musician to this universe. Fragile parchment on a night of forgetfulness, reach somewhere into distant architecture, for it is the somber hour of the beast virus, stopped by no cries from our hearts. Watching the thunderstorm of countryside colors covering October Mountain, I agree that the almond moon is a trusted old image etched on the reflections of much older myth. So from rain-glittered thunderstorms I will stain your parchments with a falling darkness to remember.
You who made, after several trips to the shore, these beach mosaics, can tell how I have remembered the sayings which will not tarnish, how I have taken true voices and let them fall through my fingers, remorse of the heart the sleepy ancients admired which they used to create the star patterns overhead. You sought after comets and set your clocks to the Latin of an oldest Christmas. Tell me those sayings. Sing creation falling, touch it upon the harp, for you must remember that body which has lost all, lost all and lost configurations, and lost evening music.
The woods are stinging for glory. Acorns under a starry night. Before midnight, the hickory logs will be used to start another bonfire. The pony pulls on his rope, firmly tied to a post. Somebody has already chopped the firewood. Last night, the brittle ice formed on the pools. Somehow, you turn out some bitter camper’s coffee–you let it boil for awhile in an old iron pot over an open log fire. If you stay in this territory, it will be because this bitter coffee tastes good in your cup after another hour of rain has fallen in it.
Bricks will teach you everything you need, especially five stories of basic brick arranged like a complete education. Or is it nine stories of brick, tottering high among the trees and distant sky until you wonder why? Brickwork tells its own story, has its own legend. That’s how it is with the Olde Columbine schoolhouse, that mystery under blue-gray rainclouds. If you would walk by the Olde Columbine schoolhouse to observe the ruins of American history, I would be charmed, and I would not mind at all if you think of me in it laboring nights, getting it ready.
Poetry was something left in the stars like a trace of old smoke. It is the language of symphonies and the language of night in violent conversation. It is old words turned into a black art which saints may set forth like whirling fire in their religious fury. Poetry herself dreams of a complete midnight where the world’s wild colors flourish. In the waters of dawn, you may come to the garden of poetry where the flowers are reddening out whatever remains of night’s traces. Poetry is the neutron and the diamond, the french kiss under Spanish moss; brain vitamins.