There's a lesson here

a thread to catch onto

We've been given the machine

but where are the instructions;

it feels like a decoy,

a magic trick

We have our eyes on the cards

but where are his hands

Am I the only one looking at his hands?

It's like we missed the punchline

because we were too hung up on the details

The sheep follow in fear of the unknown

staying together in safety,

even off a cliff

Are we ever going to see it?

That we are all swimming in the same bowl of cereal,

when all along we thought we had our own bowls.

Lauren Nolan wrote 'There's a lesson here' in the collection titled 'The Thread', 2024.

Where i-95 meets the Pike,
a ponderous thunderhead flowered;

stewed a minute, then flipped
like a flash card, tattered
edges crinkling in, linings so dark
with excessive bright

that, standing, waiting, at the overpass edge,
the onlooker couldn’t decide
until the end, or even then,
what was revealed and what had been hidden.

All around the chatter consumes us. The viscount tells of his latest safari. The shipping mogul embraces the bare shoulder of his young wife. The Rothschild cousin plays with her hair and giggles. A small crowd assembles around the ambassador from Luxembourg who balances a pear upon his nose while Zelda’s laughter rises above it all. I follow Fitzgerald through the tinkling of glasses. Someone turns to compliment him on a recent novel and laments that more writers do not understand the ways of the wealthy. Later we sip cocktails at a corner of the balcony enjoying one of those perfect evenings only the rich can afford. At times he seems fragile, on the brink of disappearing. We gaze out over the Mediterranean. The yachts swaying in the harbor. The lights flickering across the bay. He closes his eyes, takes a deep breath and drifts far from it all, imagining what it might be like it if he were actually here.

Old Green stops to say goodbye,
retiring after 43 years.
No green coveralls today.
Dressed in street clothes
hair slicked back
he even manages a shy smile
as I shake his hand.

The Company gave him an aerial photo
of the plant, and all the guys
sign their names around it
and Good Luck.
All you can see is the roof
and the parking lots
and the tiny, tiny cars.
As hard as you look
you'll never find him.

I used to think all poets were Byronic--
Mad, bad and dangerous to know.
And then I met a few. Yes it's ironic--
I used to think all poets were Byronic.
They're mostly wicked as a ginless tonic.
And wild as pension plans. Not long ago.
I used to think all poets were Byronic--
Mad, bad and dangerous to know.

Even after letting go
of the last bird
I hesitate

There is something
in this empty cage
that never gets released

Gardens are also good places
to sulk. You pass beds of
spiky voodoo lilies
and trip over the roots
of a sweet gum tree,
in search of medieval
plants whose leaves,
when they drop off
turn into birds
if they fall on land,
and colored carp if they
plop into water.

Suddenly the archetypal
human desire for peace
with every other species
wells up in you. The lion
and the lamb cuddling up.
The snake and the snail, kissing.
Even the prick of the thistle,
queen of the weeds, revives
your secret belief
in perpetual spring,
your faith that for every hurt
there is a leaf to cure it.

‘Old friend, what are you looking for?
After those many years abroad you come
With images you tended
Under foreign skies
Far away from your own land.’

‘I look for my old garden;
The trees come only to my waist,
The hills seem low as terraces;
Yet when I was a child
I played there on the grass
Underneath great shadows
And used to run across the slopes
For hours and hours, breathless.’

‘My old friend, rest a little.
You will soon get used to it.
Together we will climb
The hill paths that you know;
Together we will sit and rest
Underneath the plane trees’ dome;
Little by little they’ll come back to you.’

‘I look for my old house,
The house with the tall windows
Darkened by the ivy,
And for that ancient column
The landmark of the sailor.
How can I get into this hutch?
The roof’s below my shoulders
And however far I look
I see men on their knees;
You’d say that they were praying.’

‘My old friend, can’t you hear me?
You will soon get used to it.
Here is your house in front of you,
And at this door will soon come knocking
Your friends and your relations
To give you a fine welcome.’

‘Why is your voice so far away?
Raise your head a little higher
That I may grasp the words you say,
For as you speak you seem to grow
Shorter still and shorter
As though you were sinking down into the ground.’

‘My old friend, just think a little.
You will soon get used to it;
Your homesickness has built for you
A non-existent land with laws
Outside the earth and man.’

‘Now I hear nothing,—not a sound.
My last friend too has sunk and gone.
How strange it is, this levelling
All around from time to time:
They pass and mow here
Thousands of scythe-bearing chariots.’

Not, exactly, green:
closer to bronze
preserved in kind brine,

something retrieved
from a Greco-Roman wreck,
patinated and oddly

muscular. We cannot
know what his fantastic
legs were like—

though evidence
suggests eight
complexly folded

scuttling works
of armament, crowned
by the foreclaws’

gesture of menace
and power. A gull’s
gobbled the center,

leaving this chamber
—size of a demitasse—
open to reveal

a shocking, Giotto blue.
Though it smells
of seaweed and ruin,

this little traveling case
comes with such lavish lining!
Imagine breathing

surrounded by
the brilliant rinse
of summer’s firmament.

What color is
the underside of skin?
Not so bad, to die,

if we could be opened
into this—
if the smallest chambers

of ourselves,
similarly,
revealed some sky.

Come, children, gather round my knee;
Something is about to be.
Tonight’s December Thirty-first,
Something is about to burst.
The clock is crouching, dark and small,
Like a time bomb in the hall.
Hark! It’s midnight, children dear.
Duck! Here comes another year.

In those years, people will say, we lost track
of the meaning of we, of you
we found ourselves
reduced to I
and the whole thing became
silly, ironic, terrible:
we were trying to live a personal life
and yes, that was the only life
we could bear witness to

But the great dark birds of history screamed and plunged
into our personal weather
They were headed somewhere else but their beaks and pinions
drove
along the shore, through the rags of fog
where we stood, saying I

Ancient Chinese poets made frequent allusions to the great works of the past, borrowing symbols, metaphors, and entire lines from well-known poems. The three poems we've translated span nearly a thousand years and deliberately repeat the image of a magpie flying beneath the moon: https://chinesepoetry.substack.com/p/the-moon-and-the-magpie

We love these poems a lot. All comments are welcome, and you are more than welcome to subscribe to our Substack, where we will periodically update with new translations of ancient Chinese poems.

Children’s voices in the orchard
Between the blossom- and the fruit-time:
Golden head, crimson head,
Between the green tip and the root.
Black wing, brown wing, hover over;
Twenty years and the spring is over;
To-day grieves, to-morrow grieves,
Cover me over, light-in-leaves;
Golden head, black wing,
Cling, swing,
Spring, sing,
Swing up into the apple-tree.

Otter enters river without falter – what a
supple slider out of holt and into water!

This shape-shifter’s a sheer breath-taker, a
sure heart-stopper – but you’ll only ever spot
a shadow-flutter, bubble-skein, and never
(almost never) actual otter.

This swift swimmer's a silver-miner - with
trout its ore it bores each black pool deep
and deeper, delves up-current steep and
steeper, turns the water inside-out, then
inside-outer.

Ever dreamed of being otter? That
utter underwater thunderbolter, that
shimmering twister?

Run to the riverbank, otter-dreamer, slip
your skin and change your matter, pour
your outer being into otter – and enter
now as otter without falter into water.

Only way is to fuck
like you’re stalling

the body’s departure
from doing

what bodies will do:
end. Call it back

from its route
to extinction.

Tether
it to its own

underbelly, the land
of living. Speak

its basement desire.
If you can do that,

well, then
you’ve done a thing.

Young sex
misunderstands metaphor.

To the young,
the dying

of the light,
is mere abstraction.

Light is not light.
It means anything else.

But bodies
that have beget bodies?

Bodies that have buried
the bodies

that made them?
Bodies that have buried

the bodies
they have beget?

They know what
multiplies and disappears.

They know what light means.
I fuck like a last request.

Like I’m saying:
maybe reconsider your departure?

I make you feel
like we have choice

in all this. Which is
the real romance:

this witnessing. This rally
against your finitude

when you’re too tired
for the front line.

​

from TriQuarterly, issue 162 (2022)

There are trees and they are on fire. There are hummingbirds and they are on fire. There are graves and they are on fire and the things coming out of the graves are on fire. The house you grew up in is on fire. There is a gigantic trebuchet on fire on the edge of a crater and the crater is on fire. There is a complex system of tunnels deep underneath the surface with only one entrance and one exit and the entire system is filled with fire. There is a wooden cage we’re trapped in, too large to see, and it is on fire. There are jaguars on fire. Wolves. Spiders. Wolf-spiders on fire. If there were people. If our fathers were alive. If we had a daughter. Fire to the edges. Fire in the river beds. Fire between the mattresses of the bed you were born in. Fire in your mother’s belly. There is a little boy wearing a fire shirt holding a baby lamb. There is a little girl in a fire skirt asking if she can ride the baby lamb like a horse. There is you on top of me with thighs of fire while a hot red fog hovers in your hair. There is me on top of you wearing a fire shirt and then pulling the fire shirt over my head and tossing it like a fireball through the fog at a new kind of dinosaur. There are meteorites disintegrating in the atmosphere just a few thousand feet above us and tiny fireballs are falling down around us, pooling around us, forming a kind of fire lake which then forms a kind of fire cloud. There is this feeling I get when I am with you. There is our future house burning like a star on the hill. There is our dark flickering shadow. There is my hand on fire in your hand on fire, my body on fire above your body on fire, our tongues made of ash. We are rocks on a distant and uninhabitable planet. We have our whole life ahead of us.

published in Scary, No Scary (2009)

I came into the world a young man
Then I broke me off
Still the sea and clouds are Pegasus colors
My heart is Pegasus colors but to get there I must go back
Back to the time before I was a woman
Before I broke me off to make a flattened lap
And placed thereon a young man
Where I myself could have dangled
And how I begged him enter there
My broken young man parts
And how I let the mystery collapse
With rugged young man puncture
And how I begged him turn me Pegasus colors
And please to put a sunset there
And gone forever was my feeling snake
And in its place dark letters
And me the softest of all
And me so skinless I could no longer be naked
And me I had to de-banshee
And me I dressed myself
I made a poison suit
I darned it out of myths
Some of the myths were beautiful
Some turned ugly in the making
The myth of the slender girl
The myth of the fat one
The myth of rescue
The myth of young men
The myth of the hair in their eyes
The myth of how beauty would save them
The myth of me and who I must become
The myth of what I am not
And the horses who are no myth
How they do not need to turn Pegasus
They are winged in their un-myth
They holy up the ground
I must holy up the ground
I sanctify the ground and say fuck it
I say fuck it in a way that does not invite death
I say fuck it and fall down no new holes
And I ride an unwinged horse
And I unbecome myself
And I strip my poison suit
And wear my crown of fuck its

​

published in Poetry, Dec 2014

I took a self-timed portrait as Diana.
I took the plot toward the falls.

I took myself. In braided laurels
the naked day arranged its light around my ears

to make my face a knife.
As I bathed I watched the white line

of my figure skirt with light strained
through the false aperture of pines.

I wasn’t alone. I kept company with myth
because even my solitude has memories.

Even my whiteness has an ombudsman
eager to strip me of tenor while calling

the woods unmarked. By the pool stood
a tree with bark thickened in labial strips

around its oblong hollow. The falls, a bugle
announcing itself and pulling the sound

into two ribbons of river. I made me
the hunter watching from the trees

and then I killed him. That’s the point
of hunting.

​

published in Bat City Review, issue 14

Suppose an alchemist extracted
a bright elixir out of jet:
Tincturing it with polished fur
and pouring it out as light refracted
out of blackness, what he'd get
would be a liquid thing like her.

Twas on a lofty vase’s side,
Where China’s gayest art had dyed
The azure flowers that blow;
Demurest of the tabby kind,
The pensive Selima, reclined,
Gazed on the lake below.

Her conscious tail her joy declared;
The fair round face, the snowy beard,
The velvet of her paws,
Her coat, that with the tortoise vies,
Her ears of jet, and emerald eyes,
She saw; and purred applause.

Still had she gazed; but ’midst the tide
Two angel forms were seen to glide, The genii of the stream;
Their scaly armour’s Tyrian hue
Through richest purple to the view
Betrayed a golden gleam.

The hapless nymph with wonder saw;
A whisker first and then a claw,
With many an ardent wish,
She stretched in vain to reach the prize.
What female heart can gold despise?
What cat’s averse to fish?

Presumptuous maid! with looks intent
Again she stretch’d, again she bent,
Nor knew the gulf between.
(Malignant Fate sat by, and smiled)
The slippery verge her feet beguiled,
She tumbled headlong in.
Eight times emerging from the flood
She mewed to every watery god,
Some speedy aid to send.
No dolphin came, no Nereid stirred;
Nor cruel Tom, nor Susan heard;
A Favourite has no friend!

From hence, ye beauties, undeceived,
Know, one false step is ne’er retrieved,
And be with caution bold.
Not all that tempts your wandering eyes
And heedless hearts, is lawful prize;
Nor all that glisters, gold.

That night your great guns, unawares,
Shook all our coffins as we lay,
And broke the chancel window-squares,
We thought it was the Judgement-day

And sat upright. While drearisome
Arose the howl of wakened hounds:
The mouse let fall the altar-crumb,
The worms drew back into the mounds,

The glebe cow drooled. Till God called, ‘No;
It’s gunnery practice out at sea
Just as before you went below;
The world is as it used to be:

‘All nations striving strong to make
Red war yet redder. Mad as hatters
They do no more for Christés sake
Than you who are helpless in such matters.

‘That this is not the judgement-hour
For some of them’s a blessed thing,
For if it were they’d have to scour
Hell’s floor for so much threatening…

‘Ha, ha. It will be warmer when
I blow the trumpet (if indeed
I ever do; for you are men,
And rest eternal sorely need).’

So down we lay again. ‘I wonder,
Will the world ever saner be,’
Said one, ‘than when He sent us under
In our indifferent century!’

And many a skeleton shook his head.
‘Instead of preaching forty year,’
My neighbour Parson Thirdly said,
‘I wish I had stuck to pipes and beer.’

Again the guns disturbed the hour,
Roaring their readiness to avenge,
As far inland as Stourton Tower,
And Camelot, and starlit Stonehenge.

Sit down. Inhale. Exhale.
The gun will wait. The lake will wait.
The tall gall in the small seductive vial
will wait will wait:
will wait a week: will wait through April.
You do not have to die this certain day.
Death will abide, will pamper your postponement.
I assure you death will wait. Death has
a lot of time. Death can
attend to you tomorrow. Or next week. Death is
just down the street; is a most obliging neighbor;
can meet you any moment.

You need not die today.
Stay here--through pout or pain or peskyness.
Stay here. See what the news is going to be tomorrow.

Graves grow no green that you can use.
Remember, green's your color. You are Spring.

Fish (fly-replete, in depth of June,

Dawdling away their wat'ry noon)

Ponder deep wisdom, dark or clear,

Each secret fishy hope or fear.

Fish say, they have their Stream and Pond;

But is there anything Beyond?

This life cannot be All, they swear,

For how unpleasant, if it were!

One may not doubt that, somehow, Good

Shall come of Water and of Mud;

And, sure, the reverent eye must see

A Purpose in Liquidity.

We darkly know, by Faith we cry,

The future is not Wholly Dry.

Mud unto mud!—Death eddies near—

Not here the appointed End, not here!

But somewhere, beyond Space and Time,

Is wetter water, slimier slime!

And there (they trust) there swimmeth One

Who swam ere rivers were begun,

Immense, of fishy form and mind,

Squamous, omnipotent, and kind;

And under that Almighty Fin,

The littlest fish may enter in.

Oh! never fly conceals a hook,

Fish say, in the Eternal Brook,

But more than mundane weeds are there,

And mud, celestially fair;

Fat caterpillars drift around,

And Paradisal grubs are found;

Unfading moths, immortal flies,

And the worm that never dies.

And in that Heaven of all their wish,

There shall be no more land, say fish.

Out of every hundred people

those who always know better:
fifty-two.

Unsure of every step:
almost all the rest.

Ready to help,
if it doesn't take long:
forty-nine.

Always good,
because they cannot be otherwise:
four—well, maybe five.

Able to admire without envy:
eighteen.

Led to error
by youth (which passes):
sixty, plus or minus.

Those not to be messed with:
forty and four.

Living in constant fear
of someone or something:
seventy-seven.

Capable of happiness:
twenty-some-odd at most.

Harmless alone,
turning savage in crowds:
more than half, for sure.

Cruel
when forced by circumstances:
it's better not to know,
not even approximately.

Wise in hindsight:
not many more
than wise in foresight.

Getting nothing out of life except things:
thirty
(though I would like to be wrong).

Doubled over in pain
and without a flashlight in the dark:
eighty-three, sooner or later.

Those who are just:
quite a few at thirty-five.

But if it takes effort to understand:
three.

Worthy of empathy: ninety-nine.

Mortal:
one hundred out of one hundred—
a figure that has never varied yet.