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David Adamson Apr 2017
The first time I saw Los Angeles,
it was after midnight.
Descending from Cajon pass and
entering the chaos of light and
the formless poetry of traffic,
I thought of Ezra Pound’s line from near the end of the Cantos:
“I cannot make it cohere.”
“It” is the most important word in that sentence.
In language we can conjure wholes too big for us to comprehend.
Push hard enough, and names fade and pronouns are all we have left.
So what is this place?
#urbansprawl #citylights
David Adamson Oct 2016
Salt Lake City, 2015*

Like a tourist in my own childhood,
I wander the neighborhood of my youth.
It’s not quite a pilgrimage, as
pilgrims know what they’re looking for.

I stand at the flagstone fountain in the park
and gaze across the street
at the red brick bungalow
where my family lived until I was 13.

Am I supposed to intone something?
Summon a spirit? Or perhaps I’m the one
who’s been summoned. Ghost of myself.

On this spot, there’s the illusion of level ground,
but here at the northwest corner of this Victorian
mountain city, the ground slopes in every direction
if you walk a few yards. North up to the Wasatch,
east up to the Wasatch, south more gently but up again,
to the Wasatch, and west sharply down to the valley floor.

Set into the hillside, the house faces west.
A boarded-up plate glass window
makes it blind in one eye.
In the summer, from that window,
we could see postcard sunsets,  
fiery light sinking into the Great Salt Lake.
In winter the gray stasis of inversion.

The old brass address plate—61—still hangs
Slightly crooked on the molding below the attic dormer.
The steep cement steps to the wide front porch
look worn by nostalgia.

My grandparents bought this house in 1938,
and sold it to my parents in 1957, so dad,
the English professor, could walk to work
at the U., a half block away.  I was 1.

Double exposure.  I can’t separate this view
From old photos and recollections.

There to the right on the parking strip,
I once hid under a giant cardboard box
when I knew my sister was walking back from campus.  
As she got close, I jumped out,
causing a satisfyingly chilling scream.  
She tried her best to be furious at me,
but we were both laughing too hard.

1946:  Dad in black and white stands
to the left of the porch’s north column in his graduation gown,
his bachelor’s degree delayed seven years
by a Mormon mission to Scotland and World War II.

1955: all my siblings and all the children
of my mother’s sisters posed on the sweeping cement stairs
for an iconic black and white portrait. Only one missing:
Me.  Not born yet.  All those cousins
Sitting on my steps before I existed.  
There must be a word in some language
for the feeling that gave me. I never could name it.

I start up the alley to the north side
to take a lap around the place.
The brick’s discolored and damaged
from a half-century’s growth of ivy,
recently stripped away, like skin where a tattoo’s been removed.
A picture I took in 1985 shows ivy completely covering the dim brick.

At night, a car turning up this alley would cast crazily
dancing lights  on the ceiling
of my pitch-dark basement bedroom,
through this little porthole-size window.
My heart  would race, knowing it meant my parents were home.

The cement walk alongside the house is crumbling
and has started to melt into the wild grass.

The next window, at the landing of the basement stairs
is where a black widow lived, encased in the space between
inner and outer panes. I used to study the red hourglass
on its abdomen, and tried to draw it.
Couldn’t get it right. Was better at artillery.

In the back, against this wall, an old radiator was standing, waiting for removal  after home improvements.
It toppled over and landed on my brother’s foot.
Crutches for weeks.  Bad luck, but maybe it inoculated
him.  He’s still never had a broken bone.

Here behind the garage, the old crabapple tree still stands,
nurturing its sour but highly flingable fruit.
At its base a hamster lies buried.

The little side yard on the south looks the same,
though the old white trellis that I used to climb
when I was so tiny it would support my weight is gone.

Back to the ***** at the front of the house.
Leaving for school in the morning I would
leap this ***** in a single bound.

The old place looks creased and sleepy.
It doesn’t remember who I am,
is starting to fade into the past.
It’s only about half here.
The rest is memory and desire.
I know this is a bit long and discursive, but I hope you'll stay with it! If you want to see a photo of the house, go to the tumblr address on my home page.
David Adamson Oct 2016
Dear David:

We are deeply gratified that you gave us the opportunity
to read your poems.  Notice that we say “opportunity”
rather than “submission,” for truly you graced us with works
of such enduring power, so sublime, so transcendent,
that our humble words scarce can adequately praise
the sacred privilege of reading them.

Seldom, no, never has human experience been so distilled,
so purified, so exalted, yet so exposed
in all its paradox, its shades and sunbursts,
shouts and silences, the hiding places redolent of inner light,
as in these timeless works.  

A calm breeze from the desert’s edge at dusk,
the chatter of a mockingbird at dawn,
the rumble and crash of a hidden waterfall,
the laughter of a child unseen in a cool wood’s shade,
emanate so intensely from the shapes of these letters
that our faith in the power of language to evoke reality
has been nourished and restored to its proper place.

However, we regret to inform you
that your poems do not meet our needs at this time,
which are for relevant poems for the upcoming
theme issue on Hammer Toes.

We hope you will consider us for future opportunities.

Sincerely,

The editors of ******* Quarterly
Have been collecting a lot of rejection letters lately.  Here's my interpretation.
  Oct 2016 David Adamson
Candace Smith
"Only kids play hide and seek", I tell myself,
as I ponder all the dimly lit, hidden places to squeeze my body into

I've never really been afraid of the dark until I try to hide
These empty cold spaces
that hold nothing but vacant memories of the last spider's web where weaving stopped

What's so scary about the dark?
If I carry my flashlight in my back pocket would I be less ashamed?

It's only a game
There's nothing to be afraid of
Yet it's the only thing I actually fear.
Things that go bump in the night always seem to control all the candles

being brazenly bold in the daylight
is easy
all eyes on me and the fleshed persona
that seems invincible
How can you be invisible when you are nothing but seen?

Center of attention
Applause from the stage
Seems as though there is nothing left to seek
It's what I hide from myself in dark
That makes me the most afraid
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