November 27, 2008

I.

A bicycle built for two

slouches against the green fence by the powerbox. 

Cold black seats.

Cold gripless handles.

The riders have flown

to discover: it's impossible to be sad when skipping.

II.

Not many people can claim victory

in a staring contest 

with sheep.

III.

That second-phase leaf,

not the just-fallen kind:

These have lain on the ground,

on the yellow-grass pool,

long enough for the veins to stand out

and the colored part to       not.

Leaves limp 

not formless--

on the pool (that black water!)

filled with dead-grass-straw

and, of course, again, 

the leaves.

 

They're witness to:

The glory of muddy shoes!

squelching either protest or liberation

with every step--

which? depends entirely on whether or not 

the shoes were meant to meet the pool in the first place.

IV.

Moonlight=

love's ideal light.

But what does it mean,

when the moonlight's not moonlight,

But lighting? (like the set of some romance comedy,

where they may film a moonlight scene at lunchtime)

And further

what does it mean, 

when there's moonlight and lighting?

Is it doubly ideal?

(or like 2 film stars who are really in love,

playing 2 fictional characters who are in love--

a situation strange? or sweet?)

I may answer my own question

and say

lighting is in the eye of the beholder.

V.

A make-shift gallery

He stands, hands clasped behind back.

That art-viewer's position, 

on defense,

the paintings play offense

He stands 

vulnerable.

The play begins

They start their story

He shifts his weight to the left foot.

The story continues

Pops his right knee.

Intensifies

He leans in, 

The painting keeps speaking

one finger leaves the interlace and approaches the frame

They feint, add a twist

He forfeits, impatient 

moving on 

While the painting readies itself 

for its next opponent.