Robinson Jeffers’ poetry is as hard as bone,
his windswept lyrics fed by his dark side.
At Carmel, he built a tower of stone.
Wind, sea and storm fostered his rugged pride.
With nature’s fiery force, his skills he honed.
His message bleak, from which he could not hide,
foretold an elemental strife alone.
He wrangled roan stallions only few could ride.
His long-winged hawks over waves would moan.
He joined their wildness with soul open wide.
His poems made me yearn for his coastal home.
Nothing humanly made could pull back the tide.
His poetics read: Etch your heart in stone.
A Zen he practiced till the day he died.

I have dirtied my hands
with the archaeology of faith,
digging deep to unearth commitment,
smoothing soil to hide despair,
heaping stones as cairns of evidence.

Weary, I have accomplished this much:
Adding water, the dirt turns malleable.
I squeeze a body out of black clay,
delicately sculpt life into it,
then write my name in the residue.
Mud covers all but the letter "A".

1.
Spirits trample the rain-starved
Plains like herds of fattened buffalo.

Cloaked in tawny hides, they pound
the earth: invincible grass dancers.

From the ground spring their harvests
of sickness and health, good and evil.

A shaman ignites his sage bundle,
tosses pebbles on the tipi floor.

He stumbles backward, eyes turned
inward, arms outstretched to receive

the medicine's blessing. He soars in vapor
trails of hawks, surpassing the smoke,

the sky, the spirits' singing to the drum,
the cosmos' luminous fringe.

Eyes on fire like liquid lightning,
he peers into the future, the past,

liberates forces of healing, gathers up
baskets of goodness, effusive with wonder.

2.
Above the dusty brown hills, the turquoise
sky casts shadows on ancestral shores.

All must cross the waters, awaken from
their trances, devour supernatural dreams.

The shaman cries out in ancient rapture,
his flesh on tenterhooks, shredding into leaves

of supplication, tears of blood and water.
Horses snort in the distance. Raptors

circle overhead. The shaman grapples
with the spirits, ***** power from their

dances, grinds grasses' green seedlings,
the growing treasure of the earth.

He calls down hawks of heaven, builds
a bed of red feathers. Smoke wavers

through the night sky, orange as a harvest moon.
In the deep sleep of bears, the dying rise up.

1.
Framed by a well-worn,
wooden windowsill,
we peer down on Purgatory
from our hotel perch
high above the restless shores
of Lake Como.

Behemoth slabs of marble
hang in limbo: rough-hewn
bodies awaiting their savior —
the divinely appointed sculptor
to chisel away the sins of their world.

Reflected in the window’s wavy glass,
the ghost of Michelangelo
glides past — an aging slave to beauty —
humming an Italian hymn to Venus
in syncopated rhythms.

He whispers that the stone
comes from Carrara,
carved out of ragged mountainsides,
carried down muddy, makeshift roads,  
crated onto misshapen barges,
then barreled down the Arno River.

Last stop: Firenze.

2.
In his hands, marble beams
as the body of the beloved,
draped in splendor and light,
draped in radiant form — form
of the sculptor, not the sculpture;
of the master, not the slave.

Beneath the rock-rough surface
of his métier, his soul
struggles to emerge from stone,
rising in rapture toward the divine,
rising on wings of beauty,
rising on wings of desire.

In his hands, marble melds into a mirror
of the making mind.
He levitates, an embodied ideal,
rising higher, ever higher,
toward his immortal beloved —
yearning to be made real,
to be made flesh,
the “coarse and savage bark”
of the artist’s first art.

3.
We come late to all
high lofty things,
he wrote.

And so we peer at the pit of Purgatory,
into its dissonant, disturbing discovery
that art cannot save,
that art cannot rightfully claim the artist’s life,
that art cannot breach the infinite reach
of divine love.

What happens is what is real;
but what is real is what we make happen.

The only choice, then: to go down, down, down into stone;
down into the blood-stained marble;
down into the rough-cut corners of regret.
Inconsolable, sculpture crumples into dust.

First, the patina falls away,
then appendages and organs —
everything but the sightless sea-surge
of skin, the seamless sanctuary
of pagan heroes and gods.

4.
The ideal — immensity, enormity, infinity —
ignites in unrequited desire. The heart strains in vain
to bear the weight of stone.

In Purgatory’s pit,
the master stumbles:
art cannot save him.
The body of his beloved crumbles.

Chiseled above his tomb:
Ripeness is all.

(after E. E. Cummings)

ALPHA

time's mightiest dream
fills unspace with lowliest freedom

we
choose
NOW to act
in alabaster innocence
we
yes the day
its
magnanimous
blessing

we
skip through
greenvanishing
meadows
leap to
pale
indifferent skies
(while memory
whittles
away
the past)

we
carry little
people's
humility;clouds
drain heavens
gates
of slippery/silver
tears

languid lovers lie
in curly locked *****
their coitus
the rasping
friction
of IMmortality

BETA

onetwothreefour equations
rewrite relativity,tumble down
puddle-licious
wormholes

Euclid inhabits
an ice-oceles
triangle
draws line
A to be

pockmarked
moonrocks
pummel
Atlantis

the universe dances
to canticles
of calculus
out-Zorbaing the greek
outshining
the starz

God lurks
in
unlucky alleyways
plays dice
with
Einstein's
willowy
hair  today
de-parts tomorrow

clumsy rolls
of
snake eyes
whistle down
celestial canyons
signals bleep
f  a  r.....    a  n  d .....  w  e  e

OMEGA

present's presence
courages the future
of illusions
(the
blind
heart
bleeds)
on a magician's
rickety stage

quarters sprout
behind junior's ears
magic,tricks
cut in half
cambridgeladies
faint from vapors
peddled by the
goat-footed
good humor man

kings horses
pull the velvet
curtains
a-side

sunken sailors
saLUTE:
scribble
on the sawdust
ocean
(a
n
c
h
o
r
s
a
w
e
i
g
h)
floor

schools of
spermatozoa
break-dance
toward
a/******/****

fluids flow
freely
to hard
hoed rows

cherubs:chime
a flowerblooms

time turn
s  in its
s l e e p

freedom
kisses awake
a  N  E  W  dawn

dreams
swirl
in the
mirror

a poet pens
his epitaph
the soul's eyes
BLINK

unspace floods
with;beauty

1.
My mother hates me!
My father hates me!
Oedipus screams to the
stealthily silent Sphinx.

He scatters riddles like laurel leaves
waiting to be braided into
a playwright's crown. It is too
grandiose to fit his cracked. cramped cranium.

His unconscious mind flies open
like the Sphinx rocketing to the sky.
Sacred haunches soar. Wings beat
steadily to reach titanic heights.

Blind to his murderous fate, Oedipus
cannot know himself. Before the
Delphic Oracle, his life shrivels,  
unexamined by his bleeding eyes.

2.
Freud exults in triumph.
Maternal love births eternal love:
endless comfort and affection
for the newly bloomed beloved.

Soon, comfort metamorphoses
into feral eros, unspeakable, unthinkable,
beyond the bounds of catastrophic evil.
Submerged desire sullies the chastest kiss.

Jacosta embraces her son
as her new living king, her husband's
royal blood bubbling brazenly
on the bitter road to Thebes.

His hands stained, Oedipus strives
to transmute his trauma as our own.
We become him when Freud deigns
to interpret our darkest, direst dreams.

Blindly, we mimic him: carnal union
with the mother, lethal rage against
the father. Mourning Becomes Electra
beckons to the wary second ***.

3.
The Sphinx belies its own riddle:
How can prophecy spring from
the sculpted, smooth stone
of these perfect *******?

Only blind Teiresias plumbs the depths
of Oedipus' fate: Judgement lies blinded,
action lies blinded by the ventricles of
violence, the twisted telos of the mind.

Humans sin against the world, against
nature, siphoned of joy. They sin without
a sacred perch to rise from. Blood and *****,
mud and blindness fashion their Oedipal souls.

The tiny red train clawed its way
up the mountain *****,
clamping on crampons to pull itself
over the ever-widening angle
of ascent. One-hundred-year-old
slat chairs defied any pretense
of repose. Comfort vanished like a wisp
of smoke as altitude rose and rose.

At the end of the line spread Schynige Platte
with its front-row seats to the three tenors
of granite. Pasted with snow, nearly equal
in height, they stared at us face to face,
unapologetic, unconcerned, untamable.
Sentinels over the knife-edge valley,
they penetrated our psyches with
the grandeur of Wordsworth's infinite sublime.

Up from the crest of our hilltop lookout  
swept a vast array of Alpine plants.
Flora flourished where oxygen
grew thin. A band of volunteers
humbly tended the garden
for nine months a year. They stuffed
hay pillows, sifted tall grasses
for hungry Ibex in Interlaken.

When the sun had sunk, they  
joined hands and bowed to
Eiger, Munch and Jungfrau,
the elevated elders of their tribe.