Venezia, its musical key of brick and shade
And the canals in rejoining polyphony
Sweeten the dour Church-ear.  
From the impasto knife and loose brushwork,
A thumb-smear of waves and gently-bristled strife
Rise to assumption of the cloud-submerged bay,
Mural of cristallo, only-light without landscape,
Made too from the winds of Murano,
Its clayed blowpipe of waterways molding
The lagoon of blown glass and bouquet of colored sea-shadows.

The Tiber lies on its side, like the lion and fox,
Licking its paws at empire’s dust,
A drifting gaze of water that already foresees
The swift-run northward to Romagna,
Where the veined fur of the roe will succumb…
A ripple twitches like one dark claw of the Borgia…

The watercolors of the Arno are a fresco
On the wet plaster of the lips of Firenze, Tuscan fire-dream.
Or like the warring leg in curve of counterpoise,
Sprung foot-forward to the daring world
And arm slung down in stone-victory
From this valley, too much like Elah,
With taunting eyes turned from the Medici toward Rome.

late last night i walked alone along the desolate shore
of Monet’s pond at Giverny the pale moon
sometimes obscured by impasto clouds
the waterlilies those treacherous waterlilies
screaming in agony
Saskia, Rembrandt’s wife, was there
naked and weeping, her hair and body
wet and slimy draped in orange pond algae
Cezanne crouched nearby cursing and slashing canvases
with a butcher’s knife before tossing them into a fire
when he finished he made fierce love to Saskia
who sang an old Dutch love song as he did
Rembrandt was in deep conversation with Monet
in a puddle of passing moonlight
and didn’t seemed to mind, anything
to stop her endless wailing I heard him say
Monet says Titian’s mistress is now a mermaid
who lives beneath my betraying waterlilies which is why they cry
and why I keep painting them no one makes love like her
just look at Titian’s Madonnas
Van Gogh stumbles in from a dung-filled alley, bleeding badly
from the bullet wound in his abdomen,
where the rich kids from Auvers tormented and shot him
just for the fun of it, Vermeer bankrupt and gaunt
steps from behind a tree and asks if it’s suicide or the new art
Vincent says let the people believe that tragic ending
it’s a dramatic final brushstroke to my life even if untrue
but I love the blackbirds and my wheat fields and blue irises
way too much to spill my guts on them cadmium red maybe
my left ear lobe maybe but never my guts
where’s de Kooning anyhow he yells the *******
borrowed my paintbrush and never returned it
now I’ll have to paint with the tongue of Gauguin’s old shoe
Caravaggio floats by face up caressed by the wet palms of the weeping lilies
he’s burning up with fever delirious screaming
where’s my ship where’s my ship
they’re all on the ship my paintings
my paintings will redeem me the Pope knows
I only killed one man
Monet strokes his beard like Moses Rembrandt
says it happens to all of us even our wives and
mistresses perhaps it’s the lead in our *****
it’s not suicide it’s not homicide it’s the madness of living too much
Rothko appears, a translucent ghost inside a mist salving his slashed wrist
with Monet’s pond water Mark washing washing
the healing water the Giverny water dancing with pran the giver of life
that’s what Monet was painting at the end
using the palette from the other side
pran transmitted through the wailing
of the waterlilies the siren’s song
that lures artists to their death
and then washes them clean for the next go
to pick up where they left off, alone
with his whiskey bottle Jackson ******* hurls paint clots
at Rembrandt’s Still Life with Peacocks
those two dead peacocks they’re all dead peacocks
floating belly up under Monet’s footbridge
all the color gone from their plumage
drink the water Jackson or better yet
let Cezanne rip out your diseased liver
and wrap it carefully in a weeping waterlily
and float it out into the middle of the pond
where the forgiving moonlight and the mermaids
and Monet’s eyes now dim with cataracts
can help it filter out the poison of living
too much and then you too Jackson
will make painterly love to Saskia and she will
daub your diseased body in Titian’s blue
and her husband’s gold and Vincent’s sunflower yellows
and send you back into the world
where you will continue to splash us all  
as we lie flat on the ground hands and legs intertwined
our faces and bodies your canvas more willing than ever
Jackson, you’ll turn us into a unified field of smashed hues not just from here but from where you stand one foot on the other side
get us all raging drunk Jackson in that myth you longed for
splatter us in the tinted mess of the mystery you raged at
and had to settle for drunken oblivion instead
drink deeply the mystic-hued water of Giverny
Vincent and Paul and Mark and Jackson
and when you come back
spit it out on our parched souls

blood from our wounds paints a picture
admired only as it hangs on a wall
smell, touch, taste, and sound
all futile in this moment
sight only, is what guides us
far away we stood, admiring the red saturated strokes that told our story
an impasto of textures, you didn't need to touch to understand
reaching out
we watched paralyzed version of ourselves
fall into recollection
of the pain, the joy, and the solace we once knew

Loneliness is a sketchwork of pen and ink of iron gall,
Brushed over in brown wash of wood soot from oak,
Disguised then under tempera of golden-ratio of yolk,
Flared over with fiery oils to the smoke-blurred brink, sfumato,
Or pigment of the fresco, a shade of off-life, languid as watercolor,
Or from the too-fondly-felt impasto knife.

But bares its bones in the light-dark cleft of Caravaggio,
With diminutions of death and the storm’s dark imbroglio,
And sunlight as flesh made into soul,
The skin stretched whole around the world.

Each sky is just a sketch
Of loneliness, left unsigned,
By every hand.

Rigid, impasto clouds
Stick out of the sky
Like Van Gogh
Put them there himself
Sky peaking between
Buildings and towers
Pushed and pulled
Twisted and ripped apart
Like fabric tearing slowly
Moved by the breeze
Invisible currents slicing
A silent cacophony of air
I reach up and feel
Solid, dried paint crackles
Under my finger tips
I pull my hand away
Digits stained white and blue and gray

Shifting streets and their buildings
Pulsing and moving and shaking
Jagged and prickly corners
Edges of windows glint
Like drops of blood
On the edge of a sword
Walls and sidewalks
Rough like a giant cat's tongue
The skyscrapers carve the landscape
Into a distorted forest
An amalgamation of today
And yesterday and the day before that
I reach forward and feel
I pull back in shock
Fingers pricked and knees scraped

THE NOWHERE & EVERYWHERE OF IT ALL

Without a second glance
I step into the book.

I have Great Expectations.

Just pop in to be Pip
yet again.

I hide in the full stop
at a page's end.

Nip in between
the space between

word & word.

My mother's voice
seeks me out.

I leave just as Miss Havisham  goes
wooooosh!!!!

Or I step surreptitiously
into a Jack B. Yeats

becoming pigment
becoming paint.

Here being blue.
Now being red.

Thinking thick impasto thoughts.

Shape shifting from horse
to rider to sea.

There is nothing
I can not be.

"Dónall...Dónall...where...have you been!"

"Nowhere..!" I say

( and sotto sotto voce )

everywhere....everywhere.

even the roots of your hair are warm
amid this dandruff winter.
tribal tracks stretch to melt with your sun belly, warm
twist tongues like bristles  
impasto scars left
behind in soft places
planting harvest in your nail bed.
between motions,
we fall into warm rays.
Stretch our backs- stooped roofs
a rat a tat cat caught in sunlight
tips of fingers crafted
like a porcelain milk bowl
the haven above your lips shatter
fits of grinding dreams.
fall back asleep to black and white sounds
and that **** street lamp:
our room’s own star
moon tucks away behind
clouds like specific uncertainty
curves the blanket upon the handle of our hips

THE NOWHERE & EVERYWHERE OF IT ALL

Without a second glance
I step into the book.

I have Great Expectations.

Just pop in to be Pip
yet again.

I hide in the full stop
at a page's end.

Nip in between
the space between

word & word.

My mother's voice
seeks me out.

I leave just as Miss Havisham  goes
wooooosh!!!!

Or I step surreptitiously
into a Jack B. Yeats

becoming pigment
becoming paint.

Here being blue.
Now being red.

Thinking thick impasto thoughts.

Shape shifting from horse
to rider to sea.

There is nothing
I can not be.

"Dónall...Dónall...where...have you been!"

"Nowhere..!" I say

( and sotto sotto voce )

"...everywhere....everywhere..."

Charcoal, silver, sea-blue clouds muscle up
in clumps of dark impasto, caking the arch
of the spherical nave of the northwestern sky.
Cloaked in clusters of paler blue, the gods

of Olympia push eastward. They buckle under
the weight of this mortal firmament that hems
them in with the force of towering thunderheads.
Perhaps only Titanic heroes can survive the

titillating sizzle of lightning strikes. Naked
filaments of electricity hurl holograms of color:
a tangle of negative ions, radical brush strokes,
and Nietzsche's will-to power. Eradicate and destroy.

Golden-green fields of ripened wheat ripple
in the dying sunset, the final line that fierce
Titanic warriors dare not cross. They no
longer belong to the Earth: The mortal-divine

divide that once made them flourish now opens
into an absurdly widening chasm. No landing
place, no welcome space. Redundancy redounds.
So they don their ancient armor and pointed helmets

again, swinging butcher-sharp broadswords
in the sky. Achilles drags his blood-smeared blade
through the clouds around and around Priam’s
blood-rich frame, mocking the way Hector's

ravaged corpse circled mindlessly in the sands
of Troy. Today, such hate-hewed heroics are but
buried shards, fragments battered with blatant
disregard. Now, these violent vistas lie visible

only to the Tiresiases of millennia past. Savagery
has sown the wind, reaped the whirlwind: cyclones
of blind, wild urges cutting up moral character
into bite-sized portions. Rank desolation flees,

sublimated, subjugated to the mind's many-
splendored mansions of poetry. Homer chants
hymns to Troy, to the Hades-bound heroes, experts
in evisceration, in swift evasion, in black-blood death.

The glory of war today rots into nothingness,
sputtering under charcoal clouds pouring rain.
Once Leda waddled behind Zeus like an imprinted
cygnet. No longer. Below the sunset, humans hover

free above their handiwork, suffering from the humid
heat, striving to attain a semblance of household pride.
Their gods-slain ghosts adorn the family crest, as they enlarge
the world's unbelieving chasm with each new shock of wheat.

The blue of a glacial lake lures the hiker to its shores.
He shivers from the water's icy touch.

Reflected on the lake's mirrored surface,
blue mountains rise to the sky.

Sky, too, is blue, a paler version,
burned daily by the sun.

Blue impasto cakes the canvases of Van Gogh.
He marries blue to yellow on his sacred color wheel.

Wallace Stevens wrote "The Man With the Blue Guitar."
It is a modernist classic. Who reads the poem now?

Joni Mitchell sang "Blue" -- Songs are like tattoos/
You know I've been to sea before.

Bluebells, blueberries, blue wings on the jay.
Who says this is not nature's true color?

The dead turn blue before they creak into rigor mortis.
Blue eyes shed tears at the loss of the living.

Blue sapphires glitter in the blue-blood world of high fashion.
Blue blooms the hue of life. No one blinks twice at it.