Sunday Verse: Charles Bukowski

16-bit Intel 8088 chip

with an Apple Macintosh
you can't run Radio Shack programs
in its disc drive.
nor can a Commodore 64
drive read a file
you have created on an
IBM Personal Computer.
both Kaypro and Osborne computers use
the CP/M operating system
but can't read each other's
handwriting
for they format (write
on) discs in different
ways.
the Tandy 2000 runs MS-DOS but
can't use most programs produced for
the IBM Personal Computer
unless certain
bits and bytes are
altered
but the wind still blows over
Savannah
and in the Spring
the turkey buzzard struts and
flounces before his
hens.

~ Charles Bukowski


Grouch: Not one of Buk's better poems, but a reminder of just how fast today's whiz-bang technology  falls on the trash heap of history.

Sunday Verse: Ray Bradbury

Remembrance

And this is where we went, I thought,
Now here, now there, upon the grass
Some forty years ago.
I had returned and walked along the streets
And saw the house where I was born
And grown and had my endless days.
The days being short now, simply I had come
To gaze and look and stare upon
The thought of that once endless maze of afternoons.
But most of all I wished to find the places where I ran
As dogs do run before or after boys,
The paths put down by Indians or brothers wise and swift
Pretending at a tribe.
I came to the ravine.
I half slid down the path
A man with graying hair but seeming supple thoughts
And saw the place was empty.
Fools! I thought. O, boys of this new year,
Why don’t you know the Abyss waits you here?
Ravines are special fine and lovely green
And secretive and wandering with apes and thugs
And bandit bees that steal from flowers to give to trees.
Caves echo here and creeks for wading after loot:
A water-strider, crayfish, precious stone
Or long-lost rubber boot --
It is a natural treasure-house, so why the silent place?
What’s happened to our boys that they no longer race
And stand them still to contemplate Christ’s handiwork:
His clear blood bled in syrups from the lovely wounded trees?
Why only bees and blackbird winds and bending grass?
No matter. Walk. Walk, look, and sweet recall.

I came upon an oak where once when I was twelve
I had climbed up and screamed for Skip to get me down.
It was a thousand miles to earth. I shut my eyes and yelled.
My brother, richly compelled to mirth, gave shouts of laughter
And scaled up to rescue me.
"What were you doing there?" he said.
I did not tell. Rather drop me dead.
But I was there to place a note within a squirrel nest
On which I’d written some old secret thing now long forgot.
Now in the green ravine of middle years I stood
Beneath that tree. Why, why, I thought, my God,
It’s not so high. Why did I shriek?
It can’t be more than fifteen feet above. I’ll climb it handily.
And did.
And squatted like an aging ape alone and thanking God
That no one saw this ancient man at antics
Clutched grotesquely to the bole.
But then, ah God, what awe.
The squirrel’s hole and long-lost nest were there.

I lay upon the limb a long while, thinking.
I drank in all the leaves and clouds and weathers
Going by as mindless
As the days.
What, what, what if? I thought. But no. Some forty years beyond!
The note I’d put? It’s surely stolen off by now.
A boy or screech-owl’s pilfered, read, and tattered it.
It’s scattered to the lake like pollen, chestnut leaf
Or smoke of dandelion that breaks along the wind of time...

No. No.

I put my hand into the nest. I dug my fingers deep.
Nothing. And still more nothing. Yet digging further
I brought forth:
The note.
Like mothwings neatly powdered on themselves, and folded close
It had survived. No rains had touched, no sunlight bleached
Its stuff. It lay upon my palm. I knew its look:
Ruled paper from an old Sioux Indian Head scribble writing book.
What, what, oh, what had I put there in words
So many years ago?
I opened it. For now I had to know.
I opened it, and wept. I clung then to the tree
And let the tears flow out and down my chin.
Dear boy, strange child, who must have known the years
And reckoned time and smelled sweet death from flowers
In the far churchyard.
It was a message to the future, to myself.
Knowing one day I must arrive, come, seek, return.
From the young one to the old. From the me that was small
And fresh to the me that was large and no longer new.
What did it say that made me weep?

I remember you.
I remember you.

~ Ray Bradbury

Sunday Verse: Philip Levine

Among Children

I walk among the rows of bowed heads--
the children are sleeping through fourth grade
so as to be ready for what is ahead,
the monumental boredom of junior high
and the rush forward tearing their wings
loose and turning their eyes forever inward.
These are the children of Flint, their fathers
work at the spark plug factory or truck
bottled water in 5 gallon sea-blue jugs
to the widows of the suburbs. You can see
already how their backs have thickened,
how their small hands, soiled by pig iron,
leap and stutter even in dreams. I would like
to sit down among them and read slowly
from The Book of Job until the windows
pale and the teacher rises out of a milky sea
of industrial scum, her gowns streaming
with light, her foolish words transformed
into song, I would like to arm each one
with a quiver of arrows so that they might
rush like wind there where no battle rages
shouting among the trumpets, Hal Ha!
How dear the gift of laughter in the face
of the 8 hour day, the cold winter mornings
without coffee and oranges, the long lines
of mothers in old coats waiting silently
where the gates have closed. Ten years ago
I went among these same children, just born,
in the bright ward of the Sacred Heart and leaned
down to hear their breaths delivered that day,
burning with joy. There was such wonder
in their sleep, such purpose in their eyes
dosed against autumn, in their damp heads
blurred with the hair of ponds, and not one
turned against me or the light, not one
said, I am sick, I am tired, I will go home,
not one complained or drifted alone,
unloved, on the hardest day of their lives.
Eleven years from now they will become
the men and women of Flint or Paradise,
the majors of a minor town, and I
will be gone into smoke or memory,
so I bow to them here and whisper
all I know, all I will never know.

~ Philip Levine

Sunday Verse: Michaelangelo

To The Supreme Being


The prayers I make will then be sweet indeed,
If Thou the spirit give by which I pray:
My unassisted heart is barren clay,
Which of its native self can nothing feed:
Of good and pious works Thou art the seed,
Which quickens only where Thou say'st it may;
Unless Thou show to us Thine own true way,
No man can find it: Father! Thou must lead.
Do Thou, then, breathe those thoughts into my mind
By which such virtue may in me be bred
That in Thy holy footsteps I may tread;
The fetters of my tongue do Thou unbind,
That I may have the power to sing of Thee,
And sound Thy praises everlastingly.

~ Michaelangelo, translated by William Wordsworth (1770-1850)

Sunday Verse: N. Scott Momaday

Before an Old Painting of the Crucifixion


I ponder how He died, despairing once.
I've heard the cry subside in vacant skies,
In clearings where no other was. Despair,
Which, in the vibrant wake of utterance,
Resides in desolate calm, preoccupies,
Though it is still. There is no solace there.

That calm inhabits wilderness, the sea,
And where no peace inheres but solitude;
Near death it most impends. It was for Him,
Absurd and public in His agony,
Inscrutably itself, nor misconstrued,
Nor metaphrased in art or pseudonym:

A vague contagion. Old, the mural fades...
Reminded of the fainter sea I scanned,
I recollect: How mute in constancy!
I could not leave the wall of palisades
Till cormorants returned my eyes on land.
The mural but implies eternity:

Not death, but silence after death is change.
Judean hills, the endless afternoon,
The farther groves and arbors seasonless
But fix the mind within the moment's range.
Where evening would obscure our sorrow soon,
There shines too much a sterile loveliness.

No imprecisions of commingled shade,
No shimmering deceptions of the sun,
Herein no semblances remark the cold
Unhindered swell of time, for time is stayed.
The Passion wanes into oblivion,
And time and timelessness confuse, I'm told.

These centuries removed from either fact
Have lain upon the critical expanse
And been of little consequence. The void
Is calendared in stone; the human act,
Outrageous, is in vain. The hours advance
Like flecks of foam borne landward and destroyed.

~ N. Scott Momaday

Sunday Verse: Michael Salcman

Dr. Williams Delivers a Baby


Dr. Williams was making his rounds:
one dilapidated house, then another,
powdered oxygen on the aluminum siding,
brown shingles on the roofs.
In between visits, he’d sit in his car
a notebook on his lap and arrange words—
instruments on a surgical tray—
uterine sounds blunt as tire-irons,
scalpels sharper than paper.
Often a cry from within the house
would bring him running past its yard,
past a tomato plant or wheelbarrow or red hen,
things he took in as he sprang
up the porch steps, hoping the family
was already in the parlor, had put the kettle on,
had found clean towels and disinfectant
to swab the wound or welcome the crowning head.
He put down his old-fashioned doctor’s bag,
a satchel peaked like a dormer at both ends,
his initials stamped in gold, long ago faded,
and took off his wool overcoat. Tonight,
he noted the burdened book shelves,
responsible chair, the goose-necked reading lamp,
the desk loaded with papers, writing tools
and a folding pince-nez: the father
was a professor or writer of some degree,
who could afford both coal and electric.
He suspected they were Jewish, the mother
of German ancestry, the father Sephardic—
but had no reason to know. In truth
he had only a cursory familiarity with their tribe
and knew no Hebrew. But the mother’s cry?
Soon, it was going to be soon. He timed her pain
until a dark spot between her labia grew
and it was time to prep and drape her;
then he encouraged the head with a gloved hand
turned the shoulders and delivered the rest.
Dr. Williams told the father it looked like a writer,
this noisy boy, vigorous and exploring.
They would name him Allen.

~ Michael Salcman

Sunday Verse: W. H. Auden

Musée des Beaux Arts


About suffering they were never wrong,
The Old Masters; how well, they understood
Its human position; how it takes place
While someone else is eating or opening a window or just walking dully along;
How, when the aged are reverently, passionately waiting
For the miraculous birth, there always must be
Children who did not specially want it to happen, skating
On a pond at the edge of the wood:
They never forgot
That even the dreadful martyrdom must run its course
Anyhow in a corner, some untidy spot
Where the dogs go on with their doggy life and the torturer’s horse
Scratches its innocent behind on a tree.

In Breughel’s Icarus, for instance: how everything turns away
Quite leisurely from the disaster; the ploughman may
Have heard the splash, the forsaken cry,
But for him it was not an important failure; the sun shone
As it had to on the white legs disappearing into the green
Water; and the expensive delicate ship that must have seen
Something amazing, a boy falling out of the sky,
had somewhere to get to and sailed calmly on.

~ W. H. Auden


Breughel's Icarus

Sunday Verse: Noriko Ibaragi

When I Was Most Beautiful in My Life


When I was most beautiful in my life,
the cities crumbled down,
and the blue sky appeared
in the most unexpected places.

When I was most beautiful in my life,
a lot of people around me were killed,
in factories, in the sea, and on nameless islands.
I lost the chance to dress up like a girl should.

When I was most beautiful in my life,
no men offered me thoughtful gifts.
They only knew how to salute in the military fashion.
They all went off to the front, leaving their beautiful eyes behind.

When I was most beautiful in my life,
my head was empty,
my heart was obstinate,
and only my limbs had the bright color of chestnuts.

When I was most beautiful in my life,
my country lost in a war.
"How could it be true?" I asked,
striding, with my sleeves rolled up, through the prideless town.

When I was most beautiful in my life,
jazz music streamed from the radio.
Feeling dizzy, as if I'd broken a resolve to quit smoking,
I devoured the sweet music of a foreign land.

When I was most beautiful in my life,
I was most unhappy,
I was most absurd,
I was helplessly lonely.

So I decided to live a long time, if I could,
like old Rouault of France,
who painted magnificent pictures in his old age.

~ Noriko Ibaragi

Sunday Verse: Affa Michael Weaver

My Father's Geography

I was parading the Côte d'Azur,
hopping the short trains from Nice to Cannes,
following the maze of streets in Monte Carlo
to the hill that overlooks the ville.
A woman fed me pâté in the afternoon,
calling from her stall to offer me more.
At breakfast I talked in French with an old man
about what he loved about America--the Kennedys.

On the beaches I walked and watched
topless women sunbathe and swim,
loving both home and being so far from it.

At a phone looking to Africa over the Mediterranean,
I called my father, and, missing me, he said,
"You almost home boy. Go on cross that sea!"

~ Affa Michael Weaver

Sunday Verse: Kim Addonizio

First Poem for You


I like to touch your tattoos in complete
darkness, when I can’t see them. I’m sure of
where they are, know by heart the neat
lines of lightning pulsing just above
your nipple, can find, as if by instinct, the blue
swirls of water on your shoulder where a serpent
twists, facing a dragon. When I pull you

to me, taking you until we’re spent
and quiet on the sheets, I love to kiss
the pictures in your skin. They’ll last until
you’re seared to ashes; whatever persists
or turns to pain between us, they will still
be there. Such permanence is terrifying.
So I touch them in the dark; but touch them, trying.

~ Kim Addonizio

Sunday Verse: Thomas Lux

Empty Pitchforks

          "There was poverty before money."

There was debtors’ prison before inmates,
there was hunger prefossil,

there was pain before a nervous system
to convey it to the brain, there existed

poverty before intelligence, or accountants,
before narration; there was bankruptcy aswirl

in nowhere, it was palpable
where nothing was palpable, there was repossession

in the gasses forming so many billion ... ;
there was poverty—it had a tongue—in cooling

ash, in marl, and coming loam,
thirst in the few strands of hay slipping

between a pitchfork’s wide tines,
in the reptile and the first birds,

poverty aloof and no mystery like God
its maker; there was surely want

in one steamed and sagging onion,
there was poverty in the shard of bread

sopped in the final drop of gravy
you snatched from your brother’s mouth.

~ Thomas Lux

Sunday Verse: James Dickey

Cherrylog Road

Off Highway 106
At Cherrylog Road I entered
The ’34 Ford without wheels,
Smothered in kudzu,
With a seat pulled out to run
Corn whiskey down from the hills,

And then from the other side
Crept into an Essex
With a rumble seat of red leather
And then out again, aboard
A blue Chevrolet, releasing
The rust from its other color,

Reared up on three building blocks.
None had the same body heat;
I changed with them inward, toward
The weedy heart of the junkyard,
For I knew that Doris Holbrook
Would escape from her father at noon

And would come from the farm
To seek parts owned by the sun
Among the abandoned chassis,
Sitting in each in turn
As I did, leaning forward
As in a wild stock-car race

In the parking lot of the dead.
Time after time, I climbed in
And out the other side, like
An envoy or movie star
Met at the station by crickets.
A radiator cap raised its head,

Become a real toad or a kingsnake
As I neared the hub of the yard,
Passing through many states,
Many lives, to reach
Some grandmother’s long Pierce-Arrow
Sending platters of blindness forth

From its nickel hubcaps
And spilling its tender upholstery
On sleepy roaches,
The glass panel in between
Lady and colored driver
Not all the way broken out,

The back-seat phone
Still on its hook.
I got in as though to exclaim,
“Let us go to the orphan asylum,
John; I have some old toys
For children who say their prayers.”

I popped with sweat as I thought
I heard Doris Holbrook scrape
Like a mouse in the southern-state sun
That was eating the paint in blisters
From a hundred car tops and hoods.
She was tapping like code,

Loosening the screws,
Carrying off headlights,
Sparkplugs, bumpers,
Cracked mirrors and gear-knobs,
Getting ready, already,
To go back with something to show

Other than her lips’ new trembling
I would hold to me soon, soon,
Where I sat in the ripped back seat
Talking over the interphone,
Praying for Doris Holbrook
To come from her father’s farm

And to get back there
With no trace of me on her face
To be seen by her red-haired father
Who would change, in the squalling barn,
Her back’s pale skin with a strop,
Then lay for me

In a bootlegger’s roasting car
With a string-triggered I2-gauge shotgun
To blast the breath from the air.
Not cut by the jagged windshields,
Through the acres of wrecks she came
With a wrench in her hand,

Through dust where the blacksnake dies
Of boredom, and the beetle knows
The compost has no more life.
Someone outside would have seen
The oldest car's door inexplicably
Close from within:

I held her and held her and held her,
Convoyed at terrific speed
By the stalled, dreaming traffic around us,
So the blacksnake, stiff
With inaction, curved back
Into life, and hunted the mouse

With deadly overexcitement,
The beetles reclaimed their field
As we clung, glued together,
With the hooks of the seat springs
Working through to catch us red-handed
Amidst the gray breathless batting

That burst from the seat at our backs.
We left by separate doors
Into the changed, other bodies
Of cars, she down Cherrylog Road
And I to my motorcycle
Parked like the soul of the junkyard

Restored, a bicycle fleshed
With power, and tore off
Up Highway 106, continually
Drunk on the wind in my mouth,
Wringing the handlebar for speed,
Wild to be wreckage forever.

~ James Dickey

Sunday Verse: William Stafford

Ceremony

On the third finger of my left hand
under the bank of the Ninnescah
a muskrat whirled and bit to the bone.
The mangled hand made the water red.

That was something the ocean would remember:
I saw me in the current flowing through the land,
rolling, touching roots, the world incarnadined,
and the river richer by a kind of marriage.

While in the woods an owl started quavering
with drops like tears I raised my arm.
Under the bank a muskrat was trembling
with meaning my hand would wear forever.

In that river my blood flowed on.

~ William Stafford

Sunday Verse: Richard Hugo

The Lady in Kicking Horse Reservoir


Not my hands but green across you now.
Green tons hold you down, and ten bass curve
teasing in your hair. Summer slime
will pile deep on your breast. Four months of ice
will keep you firm. I hope each spring
to find you tangled in those pads
pulled not quite loose by the spillway pour,
stars in dead reflection off your teeth.

Lie there lily still. The spillway’s closed.
Two feet down most lakes are common gray.
This lake is dark from the black blue Mission range
climbing sky like music dying Indians once wailed.
On ocean beaches, mystery fish
are offered to the moon. Your jaws go blue.
Your hands start waving every wind.
Wave to the ocean where we crushed a mile of foam.

We still love there in thundering foam
and love. Whales fall in love with gulls
and tide reclaims the Dolly skeletons
gone with a blast of aching horns to China.
Landlocked in Montana here
the end is limited by light, the final note
will trail off at the farthest point we see,
already faded, lover, where you bloat.

All girls should be nicer. Arrows rain
above us in the Indian wind. My future
should be full of windy gems, my past
will stop this roaring in my dreams.
Sorry. Sorry. Sorry. But the arrows sing:
no way to float her up. The dead sink
from dead weight. The Mission range
turns this water black late afternoons.

One boy slapped the other. Hard.
The slapped boy talked until his dignity
dissolved, screamed a single ‘stop’
and went down sobbing in the company pond.
I swam for him all night. My only suit
got wet and factory hands went home.
No one cared the coward disappeared.
Morning then: cold music I had never heard.

Loners like work best on second shift.
No one liked our product and the factory closed.
Off south, the bison multiply so fast
a slaughter’s mandatory every spring
and every spring the creeks get fat
and Kicking Horse fills up. My hope is vague.
The far blur of your bones in May
may be nourished by the snow.

The spillway’s open and you spill out
into weather, lover down the bright canal
and mother, irrigating crops
dead Indians forgot to plant.
I’m sailing west with arrows to dissolving foam
where waves strand naked Dollys.
Their eyes are white as oriental mountains
and their tongues are teasing oil from whales.

~ Richard Hugo

Sunday Verse: Ellen Bryant Voigt

At the Movie: Virginia, 1956


This is how it was:
they had their own churches, their own schools,
schoolbuses, football teams, bands and majorettes,
separate restaurants, in all the public places
their own bathrooms, at the doctor’s
their own waiting room, in the Tribune
a column for their news, in the village
a neighborhood called Sugar Hill,
uneven rows of unresponsive houses
that took the maids back in each afternoon—
in our homes used the designated door,
on Trailways sat in the back, and at the movie
paid at a separate entrance, stayed upstairs.
Saturdays, a double feature drew the local kids
as the town bulged, families surfacing
for groceries, medicine and wine,
the black barber, white clerks in the stores—crowds
lined the sidewalks, swirled through the courthouse yard,
around the stone soldier and the flag,

and still I never saw them on the street.
It seemed a chivalric code
laced the milk: you’d try not to look
and they would try to be invisible.
Once, on my way to the creek,
I went without permission to the tenants’
log cabin near the barns, and when Aunt Susie
opened the door, a cave yawned, and beyond her square,
leonine, freckled face, in the hushed interior,
Joe White lumbered up from the table, six unfolding
feet of him, dark as a gun-barrel, his head bent
to clear the chinked rafters, and I caught
the terrifying smell of sweat and grease,
smell of the woodstove, nightjar, straw mattress—
This was rural Piedmont, upper south;
we lived on a farm but not in poverty.
When finally we got our own TV, the evening news
with its hooded figures of the Ku Klux Klan
seemed like another movie—King Solomon’s Mines,
the serial of Atlantis in the sea.
By then I was thirteen,
and no longer went to movies to see movies.
The downstairs forged its attentions forward,
toward the lit horizon, but leaning a little
to one side or the other, arranging the pairs
that would own the county, stores and farms, everything
but easy passage out of there—
and through my wing-tipped glasses the balcony
took on a sullen glamor: whenever the film
sputtered on the reel, when the music died
and the lights came on, I swiveled my face
up to where they whooped and swore,
to the smoky blue haze and that tribe
of black and brown, licorice, coffee,
taffy, red oak, sweet tea—

wanting to look, not knowing how to see,
I thought it was a special privilege
to enter the side door, climb the stairs
and scan the even rows below—trained bears
in a pit, herded by the stringent rule,
while they were free, lounging above us,
their laughter pelting down on us like trash.

~ Ellen Bryant Voigt

Sunday Verse: Frank Stanford

Place on a Grave


It's not hard to forget what they ate
Every winter, when the father
And oldest brother went back to do time,
Cowpeas and smoked goat, all winter
The same muddy supper, their voices
Thick as pan bread, the hollering
At dawn when the mother went out
To the pens in cowboy boots
With a bucket of feed and a roll
Of toilet paper, finding a swatch
Of her daughter's nightgown
Fluttering on the barbed-wire,
The hollering and calling
The rest of them did when they
Raised up from their cold beds
And went out searching at first light
For their crippled sister, who dreamed
Walking over the mountains
In the dead of winter, the smell
Of cooking in her hair, believing
She was gone from there, dignified
Like a wooden figure on the prow
Of a ship with no horizon.

~ Frank Stanford

Sunday Verse: Olena Kalytiak Davis

Like Kerosene


Yes, it’s daily
that we move into each other—but this morning
I was separate even from myself—
my hands were shovels, I had mosquito netting for hair,
and the insect beating against the night
was my heart. My name was hallow
and the sky was made of shale when

I walked into a part of morning
I’ve never seen: the sky still heavy, still
smoldering with the nightmares of others,
the drunkenness and sorrow rising like dew, like fog,
like smoke back into the clouds. Suddenly,
my face was wet with it. I wanted to lie down
with it. To rest against the almost exhausted night.

Uncertain of what to do there
I started dividing the layers, the sediment,
thinking: Usually I sleep through his sadness.

And the morning asking: Why do you keep track
of the middle of the day when you should be
waxing the moon? How can these young fragile branches
be left out in the darkness, and who set that darkness
wandering inside your heart? Who can your love ignite,
like this, like kerosene?

And then the sky lit the morning.
And then I went in to set my own house on fire.
And then I lay down next to you:
a body filling with feathers or with snow
asking: and who are you that my love can light
like this, like kerosene.

~ Olena Kalytiak Davis

Sunday Verse: Phillip Levin

What Work Is


We stand in the rain in a long line
waiting at Ford Highland Park. For work.
You know what work is--if you're
old enough to read this you know what
work is, although you may not do it.
Forget you. This is about waiting,
shifting from one foot to another.
Feeling the light rain falling like mist
into your hair, blurring your vision
until you think you see your own brother
ahead of you, maybe ten places.
You rub your glasses with your fingers,
and of course it's someone else's brother,
narrower across the shoulders than
yours but with the same sad slouch, the grin
that does not hide the stubbornness,
the sad refusal to give in to
rain, to the hours wasted waiting,
to the knowledge that somewhere ahead
a man is waiting who will say, "No,
we're not hiring today," for any
reason he wants. You love your brother,
now suddenly you can hardly stand
the love flooding you for your brother,
who's not beside you or behind or
ahead because he's home trying to
sleep off a miserable night shift
at Cadillac so he can get up
before noon to study his German.
Works eight hours a night so he can sing
Wagner, the opera you hate most,
the worst music ever invented.
How long has it been since you told him
you loved him, held his wide shoulders,
opened your eyes wide and said those words,
and maybe kissed his cheek? You've never
done something so simple, so obvious,
not because you're too young or too dumb,
not because you're jealous or even mean
or incapable of crying in
the presence of another man, no,
just because you don't know what work is.

Sunday Verse: Joan Kane

Anchorage

How rapidly the tide turned, turns.
Still, turning now, gray wash and silt
Pivots on a finger of foam.

One could count time in its long
Trough, or lose it altogether:

Winter may thicken the air
Earlier than expected. Or,

An inflection in the shadow
Of the long crest is an increment,
And a small variation.

With it, we are joined, and continue.
A sharp-shinned hawk now wheels

Overhead, as each spring tends,
And shows its white underbelly.

~ Joan Kane

Sunday Verse: The Grouch

Waiting for the Second Coming

The cattle are lowing
but there’s no baby in the manger. Christmas day
dawns cold and bright without a star to follow
or Wise Men who come trudging over the whitened

hills. All I see are the swaying backsides of Guernseys,
tails flicking flies out of habit. They waddle
like old ladies answering the call of church bells
weary from lugging oversized purses

filled with life’s necessary nothings.
They stare in wide-eyed astonishment
that I’ve left the warmth of the house, presents
unopened under the tree as the others snore

snugly in their beds. The sucking sound
of my rubber boots in the mud draws them
closer. I lead them one by one into the stalls,
smear antiseptic on the udders, attach

the metal fingers. Liquid rushes through tubing
as the gentle massage begins and the collection tank
fills. I listen to the vacuum motor’s whir,
unthinkingly replace one cow with another.

If there’s a Messiah born on this day,
surely he would be here, nestled dryly
in the loft, adored by his teenage parents,
who have fled their own Caesars and Herods,

I want to rise from this damp straw
that smells of shit, urine and sour milk
to behold the radiance of his face,
the peaceful reassurance that miracles await.

But I’m afraid all I’d find is two scared children
holding a screaming baby, the bloody
afterbirth matted in the hay, a beat-up
Volkswagen hidden behind a clump of evergreens,

and their eyes begging the blessing of my silence.
As the last udder is emptied, a halo
of light descends from the loft window
to circle my thorn-crowned head, and it is finished.

~ The Grouch