(for dana rushin)

Well, you’ve got have that moon-June thing;
Hard-coded into our DNA, after all,
But if you stop there and say Well, here it is,
You’re just playin’ chopsticks instead of concertos,
Or parsing out Monk on a Fisher-Price piano.
Story’s gotta live and breathe, see,
Just like you and me, got to have a heartbeat,
And if the tale’s told right, done truly,
Well, it’s a light goin’ on for everybody,
Be it little girls (getting the giggles
Or bein’ all mock-stern with you,
Finding a way to work it in some double-dutch rhyme)
Or old-timers, gray-haired and coke-bottle glasses,
Some of them all but blind, leaning on their canes
(But lightly, gracefully, like old soft-shoe men)
And one of them likely to chuckle softly,
And say Yessir, that’s how it is.
You tell it now, son—story’s big as a house,
Big as the whole **** universe.

We try to stick to canned goods these days.
Not that it’s particularly easy, mind you,
As the expiry dates have come and gone;
You have to have a feel for what ages well
And what simply can’t be trusted.
Some of the stuff in jars is OK, if the seal’s good
And it hasn’t had too much unnaturally bright light or heat.
Sometimes, in frustration or fear or just plain madness,
We’ll grab a couple of pieces of fruit or berries
Straight from a tree or bush
(Just a brief, guilty nibble, mind you,
As our wiring for self-preservation quickly takes over,
Though that’s akin to insanity in itself;
Indeed, a considerable number of people
Won’t even consider stepping outside anymore.)

We have come to this place, then,
Carrying our threadbare blankets,
Our dented and dinged peas and garbonzos
To this portentously lush locale
(Nature’s metamorphosis, now running in overdrive,
Having its winners among its throng of losers,
Sitting among a recklessness of flowers
Which have smartened themselves up
In sizes and hues heretofore unknown)
As what passes for evening takes hold
(The daytime air so stultifying and adulterated
They don’t even bother issuing warnings and advisories any more.)
We watch the odd, unsettling out-of-place aurorae,
Not giving utterance to the obvious—is this the one?—
But choosing to soft-shoe our way through the hours
With small talk, the odd kiss and cuddle
(There are those who have taken the humanity of affection
Beyond the merely foolhardy or oblivious,
Cults of propagation comprised of odd Gnostic outliers,
Dreamy and staunch proponents of extraterrestrial rescuers.)
As the darkness takes hold, we lift our faces to the stars
(For the nights are always starry,
Clouds being relegated to only memory)
And as they sit above us, stark, awesome in the oldest sense,
It is hard not to think of what an ancient man
Wrote of one equally ancient to him,
That though they have seen the totality of our folly,
They remain wholly without fault.

She ambles, cautious, methodical
(In her world, there is no time and place
For something so frivolous as traipsing)
Through narrow and informal trails which criss-cross
The slump-shouldered hills above town,
Thick pine stands obscuring the abandoned woolen mill,
The ungainly pock-marks of the abandoned quarries below.
She is in love (but coyly, chastely) with the mountain laurel,
Unremarkable and unprepossessing in its pallidity,
Demure foil for the hawkweed, the Indian paintbrush,
The resigned counterpoint without which
The beautiful may claim no more than some vague quality,
Some ethereal, gauzy notion which sets them apart.
She has no pretensions concerning her own self
(Plain as the dirt on Bootjack Hill, she reckons,
Although she entertains the odd fanciful notion:
Small hotels in Corfu, out-of-the-way Parisian nightspots,
Tete-a-tetes with second sons of some minor baroness)
And she contents herself with the occasional ramble over the knolls,
Meandering silently among the ubiquitous tiny flowers,
Joining them in understated and minor communion,
The mute and muted envy of the canvas
Toward the bright and showy pigments of the palette.

Custom, tradition, and the twang of steel guitars
Strongly suggest I should embrace my station
As the woman done wrong,
Weeping quietly in some dark corner
At the Come On Inn,
Or, even better yet,
Wailing in a full, tear-stained voice.
Know this; I will not Patsy Cline for you,
Any man or moral of the story,
Nor will I indulge myself
In some country-crossover measure of revenge.
I will march into that bar,
And play that song for whoever on the jukebox,
Dancing without a trace of regret or malice
And I will leave that old roadhouse
In the same manner I will live
The rest of my days here on earth;
Head high, chin forward, shoulders straight
Alone or accompanied
As I—and I alone—see fit.

They sit in the humblest of frames,
Faux wood-grained plastic grotesqueries
Purchased long ago from some doomed Grants or Bradlees,
Though one or two enjoy something nicer,
Left behind by some long-timer taking a buyout
Or a sympathetic youngster denied tenure
(She has, for the better part of three decades,
Cleaned up the detritus of middle-school children,
A bit stooped from the work,
Not to mention the burden
Of any number of she’s just  or she’s only
Tossed like so much bric-a-brac in her direction.)
The approximations of old masters equally eclectic in origin:
One or two gallery-quality reproductions
Blithely abandoned by some haughty faculty matron
Mentoring children through noblesse oblige,
The odd promotional piece from a scholastic publisher,
Mostly things she has cut from magazines or discarded texts.
She studiously avoids pieces tending to the dark or muted,
No Stuart portraiture or pensive Vermeers;
She has a strong predilection for bold, boisterous Gaugins,
Mad cubist Picassos, lush Cezanne still-lifes,
Even the odd blocky *******.
If you pressed her to explain her fetish
For the brightest of the great masters,
She would likely be at a loss to explain,
Having no academic bent for such things
(Though she has been known to curse the shortcomings
Of lithographers and pressmen under her breath)
And, as she freely admits, I’m not much good with words.
There would be the uncharitable suggestion
That their purpose is to mask cracks and pockmarks in her walls
(She has, to be sure, lived in a long series of such places)
But she has never, consciously or otherwise,
Used them for such pedestrian and utilitarian purposes;
They are, to her anyway, beautiful, and that is all they need be.

I’d heard a story in that proverbial once upon a time
(Though its origins are hazy, at best, to me now:
Perhaps something my son heard at Sunday school,
Or part of the never-ending nattering
From the marketing guy at lunchtime,
Maybe cackled by the crazy, toothless blind guy on the 16A bus)
Concerning the programmers who’d worked on a project
In the earliest days of nano-technology,
Creating software for their relative monoliths,
Australopitchecuses of artificial intelligence,
Serving as prototypes for some envisioned universe
Where tiny drones served the whims of some doctor or researcher
Operating unseen and omnipotent behind some microscope or monitor.
The trials went quite smoothly, almost flawlessly,
The models impeccably doing what binary switches
And if-then-else statements decreed,
But the researches noticed that
Just before they executed the final bit of code,
The models would invariably exhibit
A slight hesitation--almost imperceptible, infinitesimal even,
But clearly occurring, nonetheless.

They’d assumed, quite naturally, it was a mere matter of de-bugging,
Some misplaced comma or parentheses among the thousands,
But they reviewed the code any number of dozens of time,
Only to find it was clean as a whistle.
What’s more, they’d found that while the vacillation appeared
At the same point in the process,
It didn’t happen at exactly the same time;
Indeed, they cropped up, relatively speaking, months, even years apart.
One of the white coats jokingly referred to the pause
As the machines “Peggy Lee moment”
(You know, ‘Is that all there is?’)
But no one else involved the project saw the humor.
They’d decided to ignore or accept the quirk, though it was rumored
That it drove a few of the programmers to near-madness,
With one or two of their number bolting the project without notice,
Entering monasteries with the intent
Of shutting themselves off from the outside world
For the rest of their days, and its existence was buried
In reams of footnotes at the end of their final report
(Though as I said, the tale’s source is unclear,
And I am inclined to regard it as apocryphal.)

Above the Arctic Circle, where the Laplanders dwell,
A place where sunlight never melts the tundra’s icy shell
And Beelzebub himself eschews, strongly preferring Hell.
Yet evil is no stranger here
Due to a beast the natives fear:
The dragon of Parikkala.

The provincial church was burgled, a most confounding case
Church poor boxes relieved of gold and scattered ‘round the place
The cleric who resided there was gone without a trace.
‘Twas nothing the good priest would do
The evidence all pointed to
The dragon of Parikkala.

The sheriff was a bruiser by the name Jyl Purrakut
Rumored to be the owner of a house of ill repute
Such assertions (quite naturally) he’d angrily dispute:
Not down to me, he’d all but hiss,
You know who is to blame for this
The dragon of Parikkala.

Banker Aric Toskala charged outlandish interest rates,
And those who did not pay on time met most unhappy fates,
Tossed rudely from their homes and forced to sleep on sewer grates
Confronted, Aric explained why
It seems his brain was addled by
The dragon of Parikkala.

Young Jana Makkarainen, from a fine family in town
Was victimized unknowingly, her life turned upside-down
Resulting in a swelling underneath her simple gown.
My maidenhood, the girl would cry
Was cruelly stolen from me by
The dragon of Parikkala.

In this cold, humble northern burgh, sin is the soup du jour
Although the town folk, one and all, are wholly chaste and pure
And so a host of gloomy fates they stoically endure
Yet they are blameless in the least
The fault lies wholly with the beast
The dragon of Parikkala.