A stab at political songs
When I hit the shore,
I carry the silt of the shore
back to it like a child for burial.
Its defenses used to be wider.
Sometimes I rebuild it with what
it has lost (probable runes of Ur).
Sometimes I take away debris
that should be lost (missed mortar,
a tyrant’s donkey-eared head)
to the progress of the tide. We
bring things that shine (aluminum sticks
of gum, fatigued Coke bottles)
from the outer lines
to the eastern jetty
where the ugly
ought to be jettisoned,
where we disorient ourselves
before thundering out
to the ships, bearing crude spoils
that drive them forward, farther in.
* * *
The Wedding (a Han-Hun Union)
The bride weeps. It is the desert. Her husband
has no interest in what lies beyond her veil
but the weave of her skirts, the meal
ground into the evening wedding meal.
Their families each according
to contract have rolled out
registries, tallied what
is there to celebrate:
lunar borders left to dream
undisturbed
by rapid hoof prints in the herb beds
bulging westward;
virgin art of the silkworm,
groaning carts of grain,
seeds of script for their own
recording historian.
The feast is about to begin. Famine
waits at the gate with one hand
begging (it was a dry year)
the guests emptying their fill—
Then the news, the old news
comes crashing like a drunken beast
through cymbal brass—
Other barbarians unbound
by this ceremony
have flown an arrow through
the now shared wall—
the groom’s men swing up their metal
sharp atop their tamed
mares. The bride’s marriage official
gestures on with his writing hand. Her ladies
weep again, but it does not stop. This
is progress. The clangor outside
perennial like certain herbs
from the stubborn garden. And the bride
for him is handsome enough.
Though she cannot ride
and he cannot read, what
rings sterling in the din?
Impress of seal to silk, sword to skin.

