CASPER

THE FRIENDLY GHOST
Banish the glaze of objects from the firmament,
undo formica & fundament, pinch off the ridges
of the Caucasus & irons of clay used in hearths
some four millennia ago. Ask how blind urges
creolized in burnished arabesque surfaces
that once glowed in fire are now backlit in humidity-
controlled glass capsules indexed by number,
defined by placard, sold at auction. Recall
that clusters of bird bones found buried with relics
are those of Gallus gallus—the domestic chicken.
Trace a chain of Y-chromosomes from the Upper
Paleolithic imagination to rock walls scarred
with petroglyphs & handprints. To poems.
Burnish the gaze of subjects with firm remnants.
 

CASPER

THE FRIENDLY GHOST
Patriarch Sky

Just for the hell of it,
you took out scissors
and cut up the sky.
Mostly clipped shapes
of the svelte female hip,
water jugs,
Cheshire leers,
grinning way the blades opened
and closed.


Loose raiments curled, torn, wrung,
flying
limp as old bed linen kids jump on,
ripping when the wind blows.


This is what's left of my
ceiling,
helter-skelter
puzzle,
mansion of the mind.
 

CASPER

THE FRIENDLY GHOST
Flock Life

They fly these snap
roller coaster curves,

these taking your breath drops
and lifts drawing out the stretch

and rebound anyone watching feels
and all without their flying apart —

within unison in untamable directions
when in a sense they fly in place.

and all other movement emerges out of
keeping out of each other's way:

squalling patterns, the dash, the lilting shapes
just happen out of their correction for

each other's shifts almost as if
forgiveness is to fly.
 

CASPER

THE FRIENDLY GHOST
Seawall

Ten mile long stony face
On which a long light shines,
Gentle scoop by the sea,
Border between men and

Their original salt,
Holding the island's shape,
Shaping the waves into
Choirs of longevity.

Early last century,
Elegant architects
Walking through the rubble
Sadly took account of

The stricken city that
Papers said lay prostrate
Under catastrophe.
One might have yelled, "A wall!"

Whatever happened, soon
They began rebuilding
And staging protection
Against the water's teeth.

Important afternoons
Of dazzling bodies built
A memorial to
Protect against and taunt

The ocean's forceful art,
Putting forth a sign that
Can be seen but not read,
Its fortune lost in sound.

That fortune is too plain
However, anyone
With a past knows what end
Awaits every sure bet.

And so vastness may be
Frustrated by stones that
Outweigh the sea's own, but
Whoever returns won't

Remember this place's
Antique and hopeful mood,
When it was still cut off
From sorrow's chandeliers.

The future has arrived,
Each storm describes it, and
Until the relentless
Lives of fantasy and

Remembrance fade, no peace
Will be known by this town.
It works day and night in
Wind and waves, its people

Always toast to better
Wages for better wine.
To honor past dreamers
And maintain dignity

They must keep doom distinct.
What once was an image
Is now an afterlife
Of working. Those who bermed

The leeward side and built
This new place on that old
One need some space to sleep
Or open mystery.

Now all the cargo's gone
In waves of memory.
The ocean cleans the face
Of the old, friendly wall

With bubbles of soft foam.
Gulls fill the placid sky,
Seaweed gathers in heaps.
It's a nice place to watch

Nature's indifference
Break like a winter wheel
Against mankind's talent
For physical withdrawal.
 

CASPER

THE FRIENDLY GHOST
I Remember Lost Things

I remember getting letters addressed to me with my name and street address, followed on the next line by the word City. Which meant the same city in which they had been mailed. Could life have been that simple?

I remember the first time I heard Joe read from his I Remember. The shock of pleasure was quickly replaced by envy and the question, Why didn't I think of that? Aesthetic pleasure comes in many forms and degrees, but envy comes only when you wholeheartedly admire someone else's new work. Envying the talent of a person you love is particularly beautiful and envigorating. And you don't even have to answer the question.

I remember feeling miffed at García Lorca because he made me feel like crying about something that may never have happened. There is a 1929 photograph of him standing next to a large sphere on a granite pedestal that also bears a sundial, on the Columbia University campus. Passing by the sundial this morning, I suddenly realized that Lorca had stood on that very spot 70 years ago, a few years before he was shot to death. It was as if he had been there just moments ago. Such a brutal, stupid death! Tears came to my eyes. But on second thought, I found it hard to believe that someone would put such a large sphere on this spot: it would have come between the light and the sundial, no? Later, when I examined the photo again, I saw that it was taken there. But that sphere? I like it because it keeps distracting me from the idea of his death.

I remember the mill, a piece of currency that was used for a few years near the end of World War II and just after. A thick paper (and later a lightweight metal) coin with a round hole in the center, the mill was worth one-tenth of a cent. It was fun to press it hard enough between thumb and forefinger to create temporary bumps on those fingers. On price tags, it was written as if it were an exponent; for example, ten cents and four mills was written 104. I don't know if mills were used anywhere other than in my hometown, and since they went out of use I have heard references to them only once or twice. They have faded away, even more forgotten than the black pennies of the same period. But if you mention the mill to people old enough to remember them, their faces will take on a rising glow of recognition that turns into a deeper pleasure in your company.

I am trying to remember what it felt like to have never even heard of television, to be six years old with your toys and maybe a dog. You roll the wooden truck along the carpet and make a truck sound that turns into a honking horn as you approach the outstretched paw of the dog that jumps to her feet, just in case, and you say, "Aw, I wouldn't have hit you." Wagging her tail, she comes up to lick your face, which is fun at first, before the doggy breath becomes too strong. Then you wipe your face with your sleeve, turn back to the truck, and start up its engine again. The sound of dishes from the kitchen.

I remember when some cars, older ones, had running boards, and the fun of standing on one and gripping the window post as the car accelerated down the block to the corner, the wind in my ears. Gradually there were fewer and fewer of them, and then none. At least the new cars still had hood ornaments, the most memorable being the shiny chrome head of an Indian man, his profile knifing into the wind, headdress feathers blown back. And then he was gone too.
 
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