At sunset, when the paralyzed street gives uphope of hearing an ambulance, finally settling forstrolling Chinamen, while the elms imitate a mapof a khaki-clad country that lulls its foe,life is gradually getting myopic, spliced,aquiline, geometrical, free of glossor detail — be it cornices, doorknobs, Christ —stressing silhouettes: chimneys, rooftops, a cross.And your closing the shutters unleashes the dominotheory; for no matter what size a lumpmelts in your throat, the future snowballs each «no»to coin a profile by the burning lamp.Neither because there is a lot of guiltnor because local prices are somewhat steep,nobody picks this brick pocket filledwith change that barely buys some sleep.1981
DUTCH MISTRESS
To Pauline Aarts
A hotel in whose ledgers departuresare more prominent than arrivals.With wet Koh-i-noors the October rainstrokes what’s left of the naked brain.In this country laid flat for the sake of rivers,beer smells of Germany and seagulls arein the air like a page’s soiled corners.Morning enters the premises with a coroner’spunctuality, puts its earto the ribs of a cold radiator, detects sub-zero:the afterlife has to start somewhere.Correspondingly, the angelic curlsgrow more blond, the skin gains its distant, lordlywhite, while the bedding already coilsdesperately in the basement laundry.1981
EX VOTO
To Jonathan Aaron
Something like a field in Hungary, but withoutits innocence. Something like a long river, shortof its bridges. Above, an unutterable umlautof eyes staining the view with hurt.A posthumous vista where words belongto their echo much more than to what one says.An angel resembles in the clouds a blondgone in an Auschwitz of sidewalk sales.And a stone marks the ground where a sparrow sat.In shop windows, the palms of the quay foretellto a mosquito challenging the facadeof a villa — or, better yet, hotel —his flat future. The farther one goes, the lessone is interested in the terrain.An aimless iceberg resents bad press:it suffers a meltdown, and forms a brain.1983