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Jack Spicer

Radar

A Postscript for Marianne Moore

No one exactly knows
Exactly how clouds look in the sky
Or the shape of the mountains below them
Or the direction in which fish swim.
No one exactly knows.
The eye is jealous of whatever moves
And the heart
Is too far buried in the sand
To tell.

They are going on a journey
Those deep blue creatures
Passing us as if they were sunshine
Look
Those fins, those closed eyes
Admiring each last dropp of the ocean.

I crawled into bed with sorrow that night

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A Diamond

A Translation for Robert Jones

A diamond
Is there
At the heart of the moon or the branches or my nakedness
And there is nothing in the universe like diamond
Nothing in the whole mind.

The poem is a seagull resting on a pier at the end of the ocean.

A dog howls at the moon
A dog howls at the branches
A dog howls at the nakedness
A dog howling with pure mind.

I ask for the poem to be as pure as a seagull’s belly.

The universe falls apart and discloses a diamond
Two words called seagull are peacefully floating out where the
waves are.

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Orpheus in Hell

When he first brought his music into hell
He was absurdly confident. Even over the noise of the
shapeless fires
And the jukebox groaning of the damned
Some of them would hear him. In the upper world
He had forced the stones to listen.
It wasn’t quite the same. And the people he remembered
Weren’t quite the same either. He began looking at faces
Wondering if all of hell were without music.
He tried an old song but pain
Was screaming on the jukebox and the bright fire
Was pelting away the faces and he heard a voice saying,
“Orpheus!”
He was at the entrance again
And a little three-headed dog was barking at him.
Later he would remember all those dead voices
And call them Eurydice.

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Sporting Life

The trouble with comparing a poet with a radio is that radios don’t develop scar-tissue. The tubes burn out, or with a transistor, which most souls are, the battery or diagram burns out replaceable or not replaceable, but not like that punchdrunk fighter in the bar. The poet
Takes too many messages. The right to the ear that floored him in New Jersey. The right to say that he stood six rounds with a champion.
Then they sell beer or go on sporting commissions, or, if the scar tissue is too heavy, demonstrate in a bar where the invisible champions might not have hit him. Too many of them.
The poet is a radio. The poet is a liar. The poet is a counterpunching radio.
And those messages (God would not damn them) do not even know they are champions.

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A Poem For Dada Day At The Place April 1, 1958

I
The bartender
Has eyes the color of ripe apricots
Easy to please as a cash register he
Enjoys art and good jokes.
Squish
Goes the painting
Squirt
Goes the poem
He
We
Laugh.

II
It is not easy to remember that other people died
besides Dylan Thomas and Charlie Parker
Died looking for beauty in the world of the
bartender
This person, that person, this person, that person
died looking for beauty

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A Second Train Song for Gary

When the trains come into strange cities
The citizens come out to meet the strangers.
I love you, Jack, he said
I love you, Jack, he said
At another station.
When passengers come in from strange cities
The citizens come out to help the strangers.
I love you too, I said
I love you too, I said
From another station.
The citizens are kind to passing strangers
And nourish them and kiss their lips in kindness.
I walk the unbelieving streets
I walk the unbelieving streets
In a strange city.
At night in cold new beds the welcomed strangers
Achieve in memory the city's promise.
I wake in love with you
I wake in love with you
At last year's station.

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“Any fool can get into an ocean . . .”

Any fool can get into an ocean
But it takes a Goddess
To get out of one.
What’s true of oceans is true, of course,
Of labyrinths and poems. When you start swimming
Through riptide of rhythms and the metaphor’s seaweed
You need to be a good swimmer or a born Goddess
To get back out of them
Look at the sea otters bobbing wildly
Out in the middle of the poem
They look so eager and peaceful playing out there where the
water hardly moves
You might get out through all the waves and rocks
Into the middle of the poem to touch them
But when you’ve tried the blessed water long
Enough to want to start backward
That’s when the fun starts
Unless you’re a poet or an otter or something supernatural
You’ll drown, dear. You’ll drown
Any Greek can get you into a labyrinth

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Dear Lorca

Dear Lorca,

These letters are to be as temporary as our poetry is to be permanent. They will establish the bulk, the wastage that my sour-stomached contemporaries demand to help them swallow and digest the pure word. We will use up our rhetoric here so that it will not appear in our poems. Let it be consumed paragraph by paragraph, day by day, until nothing of it is left in our poetry and nothing of our poetry is left in it. It is precisely because these letters are unnecessary that they must be written.
In my last letter I spoke of the tradition. The fools that read these letters will think by this we mean what tradition seems to have meant lately—an historical patchwork (whether made up of Elizabethan quotations, guide books of the poet’s home town, or obscure bits of magic published by Pantheon) which is used to cover up the nakedness of the bare word. Tradition means much more than that. It means generations of different poets in different countries patiently telling the same story, writing the same poem, gaining and losing something with each transformation—but, of course, never really losing anything. This has nothing to do with calmness, classicism, temperament, or anything else. Invention is merely the enemy of poetry.
See how weak prose is. I invent a word like invention. These paragraphs could be translated, transformed by a chain of fifty poets in fifty languages, and they still would be temporary, untrue, unable to yield the substance of a single image. Prose invents—poetry discloses.
A mad man is talking to himself in the room next to mine. He speaks in prose. Presently I shall go to a bar and there one or two poets will speak to me and I to them and we will try to destroy each other or attract each other or even listen to each other and nothing will happen because we will be speaking in prose. I will go home, drunken and dissatisfied, and sleep—and my dreams will be prose. Even the subconscious is not patient enough for poetry.
You are dead and the dead are very patient.

Love,
Jack

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Psychoanalysis: An Elegy

What are you thinking about?

I am thinking of an early summer.
I am thinking of wet hills in the rain
Pouring water. Shedding it
Down empty acres of oak and manzanita
Down to the old green brush tangled in the sun,
Greasewood, sage, and spring mustard.
Or the hot wind coming down from Santa Ana
Driving the hills crazy,
A fast wind with a bit of dust in it
Bruising everything and making the seed sweet.
Or down in the city where the peach trees
Are awkward as young horses,
And there are kites caught on the wires
Up above the street lamps,
And the storm drains are all choked with dead branches.

What are you thinking?

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Six Poems for Poetry Chicago

1

“Limon tree very pretty
And the limon flower is sweet
But the fruit of the poor lemon
Is impossible to eat”
In Riverside we saved the oranges first (by smudging) and left
the lemons last to fend for them selves. They didn’t usually
A no good crop. Smudge-pots
Didn’t rouse them. The music
Is right though. The lemon tree
Could branch off into real magic. Each flower in place. We
Were sickened by the old lemon.


2

Pieces of the past arising out of the rubble. Which evokes Eliot
and then evokes Suspicion. Ghosts all of them. Doers of no
good.

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