GO AHEAD

The last thing I ever want to do is the thing that everyone else is doing. For the purpose of this entry, that thing is playing the victim. Claiming specialness. I am not special. I am not a victim. But I am willing to observe, politely and mildly, that there is a bit of an extant sentiment in society that is, shall we say, ever-so-slightly in opposition to men. There’s lots of things we’re not supposed to be, depending on who you ask. But it’s all the same thing in the end, really. The thing we’re not supposed to be, is us.

So what. My entire childhood and adolescence were based on doing exactly what I wasn’t supposed to do. Big deal. Still, here I am: one of these men – at least in terms of biology and mentality – that we don’t seem to want much of. I write occasional poems in support of others like me because after three years in college, I learned more than anything that the most important thing to do is to celebrate and support with the greatest fervor those things that are the most like ourselves. The liberal arts world in college is a world based on the elevation of things of your own kind, and denigration of things outside of your own cultural circle. And also tolerance. Do what you will with that little contradiction.

I am aware of what kind of man I am. I only very occasionally build things, but I have an embarrassingly impressive array of tools. That kind of cliché. I fold laundry more than I hammer steel, I wash dishes more than I turn wrenches. My hands are not hard or large. I am tall but not imposing, and I am (he meekly admits) terrified of confrontations. My God, I think back over all of the fights I have craftily avoided in my life and I am not proud. But it’s still in there, that core thing, that masculinity that is called toxic nowadays. I know our need of it, and bristle at the mockery directed its way.

I am not here to argue against that. It strikes me as hypocritical in some ways. The masculinity I own and revere does not raise its voice to protest. It works and produces and creates and lets that action speak for it. It follows the cardinal rule of the writer in that it does not tell – it shows. I am here not to complain but to be a fan. To write up my support for the hard things that we are, and for the shittily unrefinable parts of our nature that I would not run from a fight to preserve.

Having said that:

GO AHEAD

Be dirty and don’t hide 
your large hands that could 
                    split timber.

They flip thin pages, too,
rattle pans and
feed their fighting heirs.

GO AHEAD

Be mean and lift the heavy thing 
and don’t mind making a little 
                    show of it.

Your beambroad back
can bear it and
won’t tremble in the least

GO AHEAD

Be hard, clumsy and cruel
and let the sneer of the timid 
                    mock itself.

You hardly can part 
from that look that
feeds you its forsaken strength

GO AHEAD

Be bare-knuckled and nude
because we need most what
                    no one wants.

The world knows and 
keeps a place 
for the things we expel.

 

Tell Me There’s an Artist

Tell me there’s a painting left not aiming for the earth –
A brush not tilted dirtward, swapping mockery for mirth.
Tell me there’s a sculpture left that isn’t undercarved –
A chisel dulled by shallow cuts and subjects heavenstarved.

Tell me there’s a canvas left that’s backlit by some glory –
A fabric for the telling of ambitious human stories.
Tell me there’s a poem left that isn’t ripped apart –
A song that ends connected to the blessing of the start.

Tell me there’s an artist left not driven by deceit –
A human servant building from the places incomplete.
Tell me there’s an artist left who knows his human error –
And tell me there’s a layman left who’ll view it as a prayer.

 

Rabat

Old and New

 

With a hopeful shoulder against
its thousand-year-old brother,
the new city already shows more rust
and abuse than the ancient medina,

which stands straighter than it should
after a millennium of fire and pirates
and the tearless tyrrany of
Mohammed’s intemperate sun.

Fifty years free of France,
the tall cosmopolis outside
the gates wears the fast
age of concrete and exhaust.

The new city wonders, still half
en Français and slouched
in café chairs that face out over
the bruise-blue taxis towards

the red medina walls, what is the
trick to timelessness, and what
do the buried civilizations
around the Bou Regreg have to say

about the way the Arabs
outlasted them all without
having to do much besides wait
and stay and sometimes fight.

Why is there so little left
of the Romans besides
the coins and shields of
martial ghosts that mingle with

Phoenician busts in museums that
the Berbers came before and
built and left and will see
the end of long before their own.

And those few exhumed slabs
of marble left at Chellah, bought
by the shipload for the price
of their own weight in sugar,

what are they worth now
in dirham or dollars or the
(يا الله)
useless euros mocked in the

clacking laughter that rattles like
a call to prayer from the storks atop
the walls of the hammams, and
whose nests crown the minarets.

2016 (Asking After Your Brothers)

They say in the aftermath 
	the evil’s come out
but the evil out there 
	lives in their mouths.

So it’s something to look around
face to face, hue to hue
listen to someone being accused
	...and know...
	...and know...
the opposite’s true.

I think you dig me, Mr. Hughes

And when you said you -
a Kentuckian -
were brothers with an African
that was fine  

and I mean that the good way you would mean it
back in your place and time,
not sarcastic like we do in mine.

But I wondered (this one's harder
	...I know...
	...I know...)
could you have reached your other brotherhand
to secure a little kinship
with a white man?

Talk about fine!

The Street Sweeper

 

An angled Arab in a jellaba
as long as the Berber sun and with
tea-stained teeth the color of burnt sand,
stands unlooked at by foreign shoppers
because they all know that eye contact
is a contract that even a shy smile
cannot unbind. They see rugs, cheap jewelry.

The Arab tells a bowl of fish heads
here are more tourists. Another man
pulls a palm frond as bent as his back
over meat scraps, breadcrumbs, and poverty,
sweeping the King’s official decrees
and doubts of his Mohammedan descent
secretly beneath the dusty stones in the souk.

He stands and says bonjour to the kids
(the first guess is always for the French)
But the Americans say assalam
and the students and the Arab find
a few forgotten teeth to frame their
halfshared tongue. They eat the shopkeeper’s
small deceit in the heat of Moorish June.

The price of a dented teapot comes down quickly.

A cat mews and woos the noon-hot bowl
of fish heads but is sent running and spits
its hisses at a moped whose engine
ascends to match the unseen muezzin
his patient call having made its pact with
the long-gowned crowd, reaching unlikely speeds
beneath thin streets and stubborn burqas.

Honey drips long, making bees too drunk to fly.

Under the new moon of Al-Andalus
white women weigh the lure of the beach
against what risk they know exists and try
not to be fooled by trust earned in the sun.
A dutiful and deep-eyed olive ibn
is scraping the caramel crust from abu’s table,
closing shop in time for one more prayer.

The Final Bone

You can read the cold
in the austerity of porchlights
and the white soul of maple bark
that makes a shy shiver
when it guesses which star
might love it back.

But I am all halogen high beams
in this poor morning.
The final bone of an unwelcome skeleton
that won’t leave its ghost alone.

And here in the city –
with none of the long-sung
undone thunder of somewhere
less given to the living –
I am stung by lone red lights
and the odd mid-block walker
made bold by the madness
of his addictions.

Still.
He moves on.
I do all the stopping.

Yes

God has taken from us the sun, 
which loving was too much like firefly July, 
watching our brother kiss the girl 
we were too little to love 
but loved! 
with cloying loyalty anyway.

A name in a notebook 
and the little electric leavings 
	of her path across our sky.

But must we just go sunless sad, 
wearing moods like wet vestments 
at a mirthless service? 

		No!
 
We kick wet leaves 
on the cooling coals of long November
and hoist such a hard, proud December 
that our summerlost girl 
- hand still in rival’s hand - 
turns in a wistful flourish 
to look back once upon us 
and wish that she 
were half so free 
as we.

Why the Gods Stopped Answering

In a year that started with three months of march
the gods of the globe met a girl on a Hill,
fit with ambition and requests for the rights
of all of the people to be equally filled.

Great Zeus consulted the God of Abraham
and Mohammed added a surah or two.
Buddha nodded his silent approval
and Brahma saw it the right thing to do.

The wish was granted, her prayers were answered
and equality had been wholly ordained.
But the protester gathered her high-lettered signs
and marched, in her hat, right back out again.

Zeus looked at God and said “What’s this about?”
while angry Mohammed drew out his blade.
Buddha sat down and Om’d ‘til he shook,
Brahma wondered what mistake they had made.

The young woman said you’ve all done so well
in answering my prayers and granting my wish.
but by making my purpose so neatly complete
you’ve presented my hunger a cold, empty dish.

They watched her smartly set out for the heart
of the love that only they could create.
With a burgeoning army she chanted and marched
‘til she raised a new devil from an angelic state.

So Zeus and the God of Abraham shrugged.
Mohammed’s scimitar furrowed the dirt.
Buddha looked to have tuned it all out,
and Brahma just picked at a stain on his shirt.