Quotes by Poets - Page 320

Most people are afflicted with an inability to say what they see or think. They say there’s nothing more difficult than to define a spiral in words; they claim it is necessary to use the unliterary hand, twirling it in a steadily upward direction, so that human eyes will perceive the abstract figure immanent in wire spring and a certain type of staircase. But if we remember that to say is to renew, we will have no trouble defining a spiral; it’s a circle that rises without ever closing. I realize that most people would never dare to define it this way, for they suppose that defining is to say what others want us to say rather than what’s required for the definition. I’ll say it more accurately: a spiral is a potential circle that winds round as it rises, without ever completing itself. But no, the definition is still abstract. I’ll resort to the concrete, and all will become clear: a spiral is a snake without a snake, vertically wound around nothing. All literature is an attempt to make life real. All of us know, even when we act on what we don’t know, life is absolutely unreal in its directly real form; the country, the city and our ideas are absolutely fictitious things, the offspring of our complex sensation of our own selves. Impressions are incommunicable unless we make them literary. Children are particularly literary, for they say what they feel not what someone has taught them to feel. Once I heard a child, who wished to say that he was on the verge of tears, say not ‘I feel like crying’, which is what an adult, i.e., an idiot, would say but rather, ’ I feel like tears.’ And this phrase -so literary it would seem affected in a well-known poet, if he could ever invent it - decisively refers to the warm presence of tears about to burst from eyelids that feel the liquid bitterness. ‘I feel like tears’! The small child aptly defined his spiral. To say! To know how to say! To know how to exist via the written voice and the intellectual image! This is all that matters in life; the rest is men and women, imagined loves and factitious vanities, the wiles of our digestion and forgetfulness, people squirming- like worms when a rock is lifted - under the huge abstract boulder of the meaningless blue sky.
I used to think love was two people suckingon the same straw to see whose thirst was stronger,but then I whiffed the crushed walnuts of your nape,traced jackals in the snow-covered tombstones of your teeth.I used to think love was a non-stop saxophone soloin the lungs, till I hung with you like a pair of sneakersfrom a phone line, and you promised to always smellthe rose in my kerosene. I used to think love was terminalpelvic ballet, till you let me jog beside while you pedaledall over hell on the menstrual bicycle, your tongueripping through my prairie like a tornado of paper cuts.I used to think love was an old man smashing a mirrorover his knee, till you helped me carry the barbellof my spirit back up the stairs after my car pirouettedin the desert. You are my history book. I used to not believein fairy tales till I played the dunce in sheep’s clothingand felt how perfectly your foot fit in the glass slipperof my ass. But then duty wrapped its phone cordaround my ankle and yanked me across the continent.And now there are three thousand miles between the uand s in esophagus. And being without you is like standingat a cement-filled wall with a roll of Yugoslavian nickelsand making a wish. Some days I miss you so muchI’d jump off the roof of your office buildingjust to catch a glimpse of you on the way down. I wishwe could trade left eyeballs, so we could always seewhat the other sees. But you’re here, I’m there,and we have only words, a nightly phone call - one chanceto mix feelings into syllables and pour into the receiver,hope they don’t disassemble in that calculus of wire.And lately - with this whole war thing - the language machinesupporting it - I feel betrayed by the alphabet, like they’reinjecting strychnine into my vowels, infecting my consonants,naming attack helicopters after shattered Indian tribes:Apache, Blackhawk; and West Bank colonizers are settlers,so Sharon is Davey Crockett, and Arafat: Geronimo,and it’s the Wild West all over again. And I imagine Picassolooking in a mirror, decorating his face in war paint,washing his brushes in venom. And I think of Jeninin all that rubble, and I feel like a Cyclops with two eyes,like an anorexic with three mouths, like a scuba diverin quicksand, like a shark with plastic vampire teeth,like I’m the executioner’s fingernail trying to reasonwith the hand. And I don’t know how to speak lovewhen the heart is a busted cup filling with spit and paste,and the only sexual fantasy I have is bustinginto the Pentagon with a bazooka-sized pen and blowingopen the minds of generals. And I comfort myselfwith the thought that we’ll name our first child Jenin,and her middle name will be Terezin, and we’ll teach herhow to glow in the dark, and how to swallow firecrackers,and to never neglect the first straw; because no oneever talks about the first straw, it’s always the last strawthat gets all the attention, but by then it’s way too late.