The Empress Of Contrails Writes Upon Darkness - Anxiety Of Influence (1) Poem by Warren Falcon

The Empress Of Contrails Writes Upon Darkness - Anxiety Of Influence (1)



for Anthros Del Mar

'the labyrinths that time creates vanish.

(only desert remains.)

the heart, fountain of desire, vanishes.

(only desert remains.) ' — from 'And After' by Federico Garcia Lorca

'In the deserts of the heart let the healing fountains start.' - W. H. Auden


I, on the other hand,

have lain down with

countless thousands.

My tent is worn out.

Love cries some blood

where tongues are root-ground,

utterance hard pounded,

soft tissue torn letter by letter,

tender verbs open to pain,

that which is paid for more

than alabaster embraces

and this strangling of waists.



My tent has drained more

of love's body than a mortuary.

Spikenard scented oils taint

fabric folds and flesh.

Rote, worn pillows are

hourly turned for teeth

or coins hoping to find

one true word for

love without name,

moths repelled instead

by flame, pillows reveal

nothing yet.

I turn them still.



Have I not spoken of tears

subtle parentheses of blame,

brine outlines punctuated,

thinly silked, easily taken

for wing-laced salt maps,

tongue lick sighs grown

weary with enunciating.



Nightly misspoken, the

flagons are tossed down.

Pleading echoes, the tents

are packed. Forgiving camels,

commas nailed to each hoof,

tread into cool unread darkness,

all that is within it -

a history of wax seals,

once important names,

broken pledges, lies still smooth,

their nuance-scripted smiles crisp,

predictable riffled pages

intent on cool gain upon

desert's shifting floor.



Oasis and cloaca,

love birds parched,

now moves caravansary

toward Heart's always

edited horizons.

There are many redactions

before the sun rises.



Perhaps my name goes

before me, my press,

the Empress of Contrails,

peacocks, accountants

in tow trailing tallies,

unsettled scores,

arrivals, departures,

ejaculations, rejections,

all faces hands have held

and, yearning beyond possibility,

hesitant dawn's mourning dove.



Men cry, Return, yet burns

no desert impervious to heat of

all kinds, even human, excepting

the heart, its capacities to startle.

Its dunes in vast stretches beat

for what moonlight cannot index

but only suggest:

breviaries, endless recounting

of causes - neglect, curses,

justifications, worst cases all,

just tent talk to scorpions

scribbling in silver shadows,

pitying serpents smug in their ability

to recite every skin they have shed

without regret unlike the men in veils;

their profane winds lightly perfumed

do the work of erasure well,

absolving memory.



What lies ahead shuffles in

cursives of sound confusing

the ear, a solitary traveler

compulsive for solar winds

stumbles it's own way.



No pressure for accuracy

nor to lose plume and ink

hiding what cannot be unwritten

A trail of brocaded skulls in time

returns to sand. One cannot see,

waving its goodbyes, the congealing

tint and quill.



Through ages, upon human vellum,

through cycles unending and same,

what heart heat bids,

I write best upon darkness,

eyes closed, tent

open to all who may,

supplicant,

come wandering in.

Tuesday, December 14, 2010
Topic(s) of this poem: desert
POET'S NOTES ABOUT THE POEM
An online review of this poem, the review's title -Of Oasis and Cloaca, Erotic Returns In the deserts of the heart let the healing fountains start. W. H. Auden Warren Falcon's poem, 'The Empress of Contrails Writes Upon Darkness - Anxiety of Influence, ' is a captivating exploration of love, desire, and the intricate workings of the human heart. The poem begins with a quote from Federico Garcia Lorca's 'And After, ' setting the tone for the emotional and introspective journey that follows. The Empress of Contrails, the speaker of the poem, describes herself as one who has experienced countless encounters of love. She paints a vivid image of her worn-out tent, stained with love-cries and traces of passion. The visceral language used, such as 'blood, ' 'tongues ground down to root words, ' and 'tender verbs opened to pain, ' conveys the raw intensity and physicality of these encounters. Through skillful imagery, Falcon explores the paradoxical nature of love. The tent, once a place of intimacy and connection, now serves as a mortuary where love's remnants are drained. The mention of spikenard-scented oils adds a sensual touch, emphasizing the lingering traces of desire. The line 'where I half expect to find teeth or coins' suggests that the speaker is searching for something lasting and true amidst transitory encounters. As the poem progresses, the imagery shifts from the tent to the concept of an oasis and a cloaca. The love birds, once parched, now find movement toward the 'heart's always winking horizons.' Here, Falcon beautifully captures the ever-changing nature of love and its ability to persist and renew. The Empress of Contrails reflects on her reputation and the impact of her experiences on those who encounter her. Her title and the imagery of peacocks trailing tallies and scores suggest a sense of control and power over others. However, behind this facade lies a vulnerability, signaled by the mention of yearning and hesitance. The poem delves into the emotional landscape with references to tears, blame, and the linguistic struggles of expressing one's feelings. The metaphor of the 'flagons tossed down' implies a release of pent-up emotions. Emphasizing the weight of words, Falcon adeptly captures the delicate nuances of communication and the frustration that arises in attempting to articulate profound emotions. The closing lines of the poem beautifully encapsulate the Empress's role as a writer. She writes best 'upon darkness, eyes closed, ' suggesting an inherent understanding of the complexities of the human experience. The image of the tent remaining open to all who may come wandering in signifies the Empress's willingness to invite others into her world, encouraging them to confront their own desires and fears. Overall, Warren Falcon's poem is a masterful blend of imagery, emotion, and introspection. The striking metaphors, vivid language, and exploration of the many facets of love make this a captivating read.
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Warren Falcon

Warren Falcon

Spartanburg, South Carolina, USA
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