Warren Falcon (04/23/52 - xxxx / Spartanburg, South Carolina, USA)
Biography of Warren Falcon
From The Encampment Of Heartstrife, A Sampler Of Poems As A Biography
I think poetry must
I think it must
stay open all night
In beautiful cellars - Thomas Merton
Childness let's have us honey,
flame intended, names smeared
upon the glass, an accidental
pane, hands touching it delicate
as trespass, what is allowed
lace of vision.
I have broken my back lifting
all these my loves up to heaven.
I was reaching for god then - not your fault - a lavender
boy early befriended by crows, already resigned to what
was given and what was to come, a softball between the
eyes, your attempt to guide me toward those diamond
thighs which, you often repeated, were everywhere waiting.
I blink still before you, head down, focused on 'Lion's Teeth.' **
I am your hard mystery, and soft, not so fast for I am fat
and cannot round the bases quick. I am your inherited meek,
a burden to shake into a sliding man furious for home.
At four I pluck a wild strawberry you point to,
all authority and accidental grace, revealing much,
still dew wet, sticky to the touch, opening sourness
deserving my frown. You laugh at my dawning smile
for its sweetness slowly yielding, a surprise gift
for what will always unite us, your fear that I will
suffer, too, your fate, untended desire gone to wildness
brought low beneath branches, slow embrace of
cradle-gentle boughs entangling legs and light
between the greater shadows,
and shadows shall win the day.
upon my chaste return, sunburned,
churned by the Atlantic, I will have
discovered a haunting sound again,
an animal music of the air, the lungs,
screams really, gulls falling by arrows
of blue which, blue, saturate sky and sea
to learn the heart again
avoid the narrows
at the island's end
where feet are easily
mistaken for doves and
large currents beckon
compel them to descend
On with the boring center line
endlessly dividing though broken
on purpose suggesting a way to veer.
No guide needed here.
Fear is the drive shaft
and longing turns the wheel
Life, dear Barcelona, is sweet..
One endures long enough to break through thunder,
a taut belly, a smooth place for lips to land.
One may reach a Pure Land which has no logic,
the tedious seasons of a long life endured.
Still, one gathers names of each joven prince
passed beneath loving, yes, arduous hands.
Again, upon Kingfisher's wings I blow these kisses,
this music, your patient ear awaiting the purist pearl,
for you were once the bequeathed, escaped girl
without fear of oceans, this one between us which
now must be overflown to reach you.
- N. Nightingale, Empress of Contrails
That one day the book shall be written,
Odysseus come smiling through the door.
That I shall live forevermore free of provision,
be delivered presently into good, rich life
and unto the richer world, my Lover so long
turning turning turning in distance away from,
yet to manage a caress, a smooch which
neither dismisses nor fully embraces.
It is I that am and shall be erased into this
Love which shall then in time be erased as
well in the greater Sun, and that Shining
too shall be erased. Then we shall all be
scattered, or I shall be only, embrace by
embrace, toward erasure no longer effortful.
I sift draft by draft rough toward world
now slowing in spite of parentheses these
provisional postulations of 'the good life'
to come. Eventually. There is only this
that I am living now. And my hands feel,
even perhaps are, strapped to this wheel
that turns me as turns Beloved Earth,
the Sun, too, each dreaming
near to but apart from each.
My reach is
here on my tongue,
in my fingers here
grasping words from mind.
I am ever behind in this chase,
now am further from Love,
Space, than ever
though my heart
is swollen from
Still, World, accept my blessing.
I send this message aloft on kingfisher wings
“Poetry, alas, grows more and more distant. What commonly goes by the name of 'culture' forgets the poem [or distorts it into 'popular' dissemblances]. This is because poetry does not easily suffer the demand for clarity, the passive audience, the simple message. The poem is an intransigent exercise. It is devoid of mediation and hostile to media.”
- Alain Badiou, “Language, Thought, Poetry”
& so seeking
the thick tome
of half century
blood & steel
snort into green
hope in spite of
all that has gone
before in spite
even once a year
other holy days
gone too, wild
for gelt “all melt
open it up
opens to its
the poem there
at the breech
HOWLs as do
I/we all (just
to remind) when
the blue water
flame over an
as the faceless
& my/our own
burden for blades
drop fall still
hard upon me/us
as does the mid
mad century drop
fall into this
I hear Blaser
from the room
of the living
the in-breathing forced
the out breathing stretched
extending into air & irony
“The clown of dignity sits in his tree.
The clown of games hangs there, too.
Which is which or where they go -
the point is to make others see -
that two men in a tree is clearly
the same as poetry” - Robin Blaser
DESIGN - FABRICATE - INSTALL
the subject matter
is not new
& not the sorrow
old as the first cave
bearing first fire
in human hand, the
expiring artist torn
from blank sky to
an expectant wall
a herd there
one day we too will
fill the earth as
hooves have done
capture sun & be
& so come to such
an edge of ruin
Heavy let me pass
lets me pass I
limp up 4 steel
steps push in to
the Way of Peace
take my usual place
settle rattled by
icon image & pewter
vision of what
is not any longer
there the wear of
a half century not
to compare that of
20 centuries past
what can last or
come from all that
so sit me hard down
upon the wood get
to the book at hand
the known & the new
mystery which emerges
from the white plastic
packed in bubble
wrap which is a
before the tree
is trimmed the
grim task to sort
each broken globe,
from the survivors
(I AM ONE) so sad a
mystery still remains
how they do break in
darkness stored in
attic high untouched
by light, my hand,
the supple hold of
green limbs everly.
I cannot toss them
away (pretty all the
more because pitiful
I AM) any-old-way
so take/return them
to the woods where
the tree is yearly
cut/trimmed & so
scatter them upon
the needles' brown
those the welder makes
just out the door now
kneeling as I have knelled
(once & do still) a fat
boy betaken by mysteries'
brokenness & safe return
to pines though
hard on supposes
& orphan spheres
I adhere to a bard or
two the good few of words
& what of them of absence
be made though presenting
Rodriquez 13 kneeling
Erotic stance w/
pewter hands the
welder removes his
mask, stands, a
handsome face w/
gold teeth unbroken
as ornaments were
once & forever
broken - eats his
past his truck I
notice the side
then of it says
DESIGN - FABRICATE - INSTALL
I think: the history
of religions is this
just, only the sign
reads MODERN STEEL
not Postmodern as it
now should to be precise
true to an age bereft
on Stagg Street thrust
once again into Christmas
- deer & such - though
Celtic too - Cernunnos
snorts from forests rough
deeply onto a green where
sits beside a silver stream
an orphaned god abandoned
carved upon stone with bronze
(before steel) but still
(the god is) stone fearing
it is no longer
real yet sentinel to
“an archaic authority” (Julia Kristeva)
Let me then work
my poem (all of
them) around in
what can be said
without such drama
of centuries past
& to come
lines ending in Stillness
a suggested Vastness from
which each comes/returns:
Cave - Image - Sky - Expanse - Singular Branch & Many
Plenty Are Stillnesses Advances Even In The Rot The
Dissolve From Clot Toward What It Is Or Was & Always
Proper-Name-Enough-For-Me - STILLNESS
I am taken with such at which
I stare which holds my gaze with
shades of It & of Itself, that is,
is a death or like unto it -
or in need of It (Breath) now
having been only once (Rilke)
who (it seems) becomes/relents
known form though (It is) returned
or re-rested to Itself beyond Christmas
and yet and yet
the kneeling boy
in the evergreen
the shattered orn-
aments ever gleam
the needles' net
a permanence enough
gold-leafed & trumpeting
from “Poetry's Dark Night” by Jacques Maritain
“Each time the human mind puts itself to a difficult task, it begins its conquest of new fields and especially of its proper spiritual universe by bringing with all this a certain amount of dis- turbance, of disaster. The human being seems to become disorganized; and sometimes in fact it happens that crises of growth end unhappily. But they are, in any case, crises of growth.
At the time of Gerard de Nerval and of Delacroix, this is what happens: so much had people examined the consciousness of art within themselves, that they ended by touching at last the one consuming thing crouched at the depths; a thing which art does not enclose any more than the world encloses God and which takes us beyond all sense of where we are going. The moment arrives, in the course of the 19th Century, when poetry begins to take consciousness of itself insofar as it is poetry. Then, in a few decades, there is a series of discoveries, setbacks, catastrophes, and revelations, the importance of which, it seems to me, cannot be exaggerated. And that is only the beginning. This contact with self-awareness, this reflexive spirituality was needed in order finally to deliver poetry among us. I think that what has happened for poetry since Baudelaire has an historical importance equal in the domain of art to that of the greatest epochs of revolution and renewal in physics and astronomy in the domain of science.
I suppose that Baudelaire's situation would be described with sufficient accuracy if we should say that he appears to be in continuity with the best in romanticism by the deepening of the consciousness of the art, but that in reality he marks a discontinuity, an enormous transformation, because at the same time it is of the poetry, it is of itself as poetry that poetry achieves awareness in him.”
“not to be named is to be lost in light” - Blaser
Spicer told me once from
the other side
while I was humming
Edith Piaf about
a rosiness so very
well o're the real
the spice garden
the backyard spread
before the orchard
on our personal
never once climbed
so enamored of the
bees at work
their Queen of
the Hill (Duncan)
and the Apple
not to be
or any other
May to come
permitted at last
to the meadow
with Robert (here too)
enjoined me to leave
Cryptics For Cripples And Cantors
“The rest, ” he sneered, “are
matters not concerned; broken Maker or
broken meter the world wags on,
not one stone
in the House
qua qua qua
sisk boom ba
near the corner
but o not I
not I when
the clot broke
no help at all
as I stood pale
pale, paler still,
bleeding out from
upon a tailor's
wall, he too
no help at all
call the cops
It closes me in
again to recall
qua qua qua
amongst the forgotten roses
where one is hungover in the
supposes with which one perpetually
begins, that one can never finish
like this, pissed, which goes on,
which goes on and still on,
“I can't go on but must (adjusting
the truss) because I am losing
my hair and so on and ever on”
dot dot dot into eternity should
one believe in such, but one may
use the idea of such, eternity
- -go forward or behind, wince at
the word- -living in the blue rind
of sky crumbling onto nether
shore where relentless waves
tease relentless wind disturbing
a lone relentless tern tracing
uremic rims of foam
“tanti tanti non avessi conosciuto
la morte tanta n'avesse disfatta
quando solo uno sarebbe sufficiente”
[“so many so many I had not known
death had undone so many”
when only this one would do]
shall I call then eternity
a home for shells, a curve
in space? disgrace myself
yet again with belief, any
one, believe that such shores
are a where after all, a place
to shelter, each wave somewhere
by someone or something counted
as is every hair numbered
counted still? they fall as
do waves into crescendos
rainbows should the sun
so shine for what is left
to comb of shore and hair
is a disturbance of
the forlorn redactions
of what is perceived,
felt, spilt upon the
and so I must wear a hat but let us not go then
you and I patiently into all that but when come
time proper, a hair fall caught in a shaft of sun
light, the endless comb over undone, wind blown
upon the shore, then we shall speak of it sure,
now then here then
remembering too the chaffing bloody garters
“Il sedile del water fredda, crudele,
l'aria amara come i vapori di Aetna,
ingannevole Empedocle inciampa
in ombre mormorio dei secoli',
un bugiardo che sarebbe un immortale ora
immortally un meno scandalo
uno d'oro sandalo”
fulminante E.P. defunto perennemente denunciando
[“The toilet seat cold, cruel,
the air bitter as Aetna's vapors,
deceptive Empedocles stumbles
into the centuries' murmuring shadows,
a liar who would be an immortal now
immortally a scandal minus
one golden sandal”]:
“With usura hath no man a sh*thouse of good stone
each block cut smooth and well fitting
that delight might cover their face,
hath no man a painted paradise on his outhouse wall
harpes et luthes sans benfit d'un laxatif”
[harps and Luther without benefit of a laxative]
is much to
tin, & more
while not for-
heat also to
be given account
amounts much into
in the end
blunted can of
bells then speak
in violent swings
side to side the
hard knock shocks
into, quakes into
dance of iron
so many dawns
times so many
goings down of
the arms too
to introduce some
for we (loves)
were many day-ed
we merrily played
harming no one,
the god you insisted
be excluded from
all our nakedness
times the many
the black or
back into lapis
lapses into what
self is (a bell
faces which are
eyes which now
glaze with love/
the lips curved
out to ring
as if to kiss
bring all them
back, so many,
to me now
once was laughter
each of each
rounds in too too
secure now rafters
“Let him not be another's who can be his own.”
Refugee from the American South.
Now loud-but-reverent mouthed in
New York City.
Leave the world to the scoundrels!
As I get older, my relationship to ground is problematic. Balance is no longer an assumption that delivers. Is it the room that leans or is it me? My sense of place has never been too pleasantly real or here (but for parentheses happy-enough and for these I am indeed thankful) , and place has been and still is found more in sound, a very early childhood thing, in what I hear by ear or eye when I read. Totem in this my life is the book and it's associated familiars. And now, older than I have ever been, which is a painfully obvious tautology standing long at the urinal waiting, waiting, a poem may arrive more quickly than other flow, poetry has taken on an urgency which orients me, grieves me, and leaves me somewhat in relation to light though I burn the midnight oil to work a poem from the darkness, and my eyes can no longer focus...but, it's ground work. Gives some heft, makes some meaning. Still, can't say I have traveled light. Not really. But heart's the better for the journey forced, or freely taken, pockets full of pieces.
Soon be ground myself, though.
“Folded and reserved, the modern poem harbors a central silence. This pure silence interrupts the ambient cacophony [that masks our banalities]. The poem injects silence into the texture of language. And, from there, it moves toward an unprecedented affirmation. This silence is an operation. In this sense, the poem says the opposite of what Wittgenstein says about silence. It says: this thing that cannot be spoken of in the language of consensus; I create silence in order to say it. I isolate this speech from the world. And when it is spoken again, it will always be for the first time...This is always why the poem, in its very words, requires an operation of silence.”
- Alain Badiou, “Language, Thought, Poetry”
...quiet blue interior, Our Lady stands
firm too, graceful, veiled, lightning
strike all around, roars outside nothing
against palpable blue softness, the Host -
firm suchness upon Old World table, flowers
fresh poised in ecstatic trance, golden
mouth Chalice open full of shadow,
hungry mouths to feed
...enter a child a school boy soaked
bare feet uniform darker blue stain run
rain-wind-storm sheltered now the Virgin
place cool upon feet, where is this school
unseen on only road the way to las grutas
...bow before the Host, genuflect small
delicate hands palms white kneel on creaking
wood kneeler kiss fingers holy traces
...I have come from afar
from godless City enveloped in
my own importance trapped my own
motions no purpose knees or hands
now come to monstrance find this
muddy miracle with marigolds
...sun breaks through, child walks
tio's house I follow tongueless, a
burro 2 miles mud, flood, to caves,
springs, boy Anselmo out front, little
heels press little pony grey, one
eye brown the other blue, Golondrina,
his name, The Swallow, do not ask why
beneath the bluing sky flush with bird
song in waters red we tread on
me a distance behind
...arrive tearing springs caves erupt
full dark overhang a place for prayer
not for my knees but Anselmo's on black
root kneel holds hard to a limb “don't
fall in” I shout suddenly shaken nothing
within to hold to
All are barefoot there: beasts, boy
...returned little chapel blue
an offering for Our Lady - muddy
shoes - receives all things
arms outward extend blessing
blue cool shadows quiet there
where mud may me dry
In chipped vases
altar flowers bright
Done with City
Which goes first?
The All Blue
Leave Taking, After Matsuo Basho, Circa 1978
“There is a blessed fidelity in things.
Graceless things grow lovely with good uses.” - John Tarrant
Expecting more rain.
Not yet light though 6 a.m.,
night still over the barn.
From the porch, high wind.
The moon, a corner of it,
rides comfortably in clouds.
Clouds moving over mountains,
their night work -
some rain in the buckets.
things feel their boundaries,
robes of autumn rain.
Back to bed,
Noises in these old walls -
mice search for food or string,
bird stretching its wings.
Soon these things I must leave -
wood smoke, frayed rope coil,
finger prints on faded walls' wrong color.
Last flights -
on the sill
gently waving webs.
A fertile shelter.
Many nights I have wrestled here.
Some mornings have
broken into me like thunder.
I have shed skin after skin.
These I leave behind.
Some warmth they may
provide for the mice,
rags for the moths to eat.
I note now from yesterday the grace of
animals who hold me in their long gaze:
I watch the playful dog Oakley chase the none too
amused peacock Stanley who chases back the quiet
dusk and the dog, piercing shrieks, high shrill barks
echo back from the close woods, the muted stream.
Llama looks up from her evening feed of field greens.
Sees me. I wave (silly enchanted human) making loud
smooch sounds, a call for her to come to me which she
does, walking slowly, blinks through a mist by long
eyelashes purled rising silently while I read my book
foolishly, head down in the midst of all this gratuitous
beauty springing slow surprise - veiled field, wet,
soft, an unexpected llama looking long at me,
taking me in,
raiment mist at the hem of the darkening woods.
Requisite red barn, old, leans against the ribbon
of ground fog hovering, a wire fence almost invisible,
gray wire in white cloud between me and that cloud
and that great llama attracted (I like to think)
by my kissing sounds, her ope't eyes
wide and bestowing near me now
the small head always tilting one side to the other,
little mouth a posed curiosity chewing like a child,
the long graceful neck, shagged soft fur thickly flowing,
disappears into tall grass.
I am victim of my own infatuation for all
my lip smacks and cooing and waving of hands,
one more fool for love fooled yet again.
I note here for the record that I have actually lost
the desire to chase, at least outwardly; rather, my
chase is inner (as always) .
I open my zen poetry book attempting to come
to enlightenment by proximity, and why not?
who's to say, rubbing elbows, “it can't be done”
or “is cheating”? Enlightenment IS cheating, how
dare any being escape the itch, the play and
pain, the desire in chase and surcease craving
release as does the field let go a fine white
mist into space which
any trace of
THIEF! I scream,
The animals (not Stanley come) come running sweetly to me.
Well, of course, I think.
Open my book, read first thing meets zenny eye:
Where's my bear suit?
I think that stars are cold in their enviable far
light, unattainable bottles lined up, glinting totems
on altar shelves, pretty behind a dark and mysterious
Bar that is open all night. I need their remote stellar
indifference, their inhuman capacity to be undisturbed
by anything other than gravity, and something-somewhere
light years close-enough going nova. Then are they affected.
Recall what I wrote the other day on a job application
asking me what my career goals are for the future (I'm
61 years of age) :
I'm going to go nova one day.
Feels so good to admit that to someone else,
a distant star for all I know. For now I remain,
rather, a simile then a metaphor then, really,
a black star - energy trapped, still I must be
smart and good-looking enough in yesterday's
Autumn field, and this memory, all aroma and
chirp, to attract such unexpected and
unreasoned animal grace.
I read now a yellowed manuscript, an old chase,
an itch returned red, inflamed, my own words
writ 30 years ago sitting on a cold stone wall
by the frozen river, West 142nd Street, hearing
cars and human shouting up the street behind me,
Setcho poems***in my pocket, this my earnest
response to him from icy fingers, my shaking pen
What's will when
the window slams shut?
Just old cake thrown on the street
Why try be happy/sad?
don't affect it
disinfect your mind
Who's somebody's darlin'?
Setcho, zen master & poet, writes:
After so very many years, it's pointless to
look back on it.
Give this looking back a rest!
A clear breeze the world over
- what limit could it have?
Loose Train Haiku Or Similar - New York To Philly - A Train Journal
Nearing Princeton Station
What a wonderful world
this New Jersey is!
Blue train engines!
Just turning Autumn leaves
The opposing train
Old graves by a lake
Old woman passing in aisle
Fleeting sign outside explains -
Loose Train Hokku-no-renga
For the blind woman
on the train every
journey is inner
She touches my shoulder,
moves just one seat ahead
feels the winter collar
metal ring pinned
to its shoulder
smiles when she touches it
dark rings of her eyes
light up momentarily
What universes are in the heads all around me
While reading zen master Ummon,
famous for his one word responses
to pupils questions about the nature
of mind, I happen to look up, see young,
clean-cut preppie reading Wall Street
Journal large bold print:
YES-BUT-TERS DON'T JUST KILL IDEAS.
Congruence of Ummon and General Motors
ad strikes me. I see in mind's eye, so real:
Ummon enters train car, walks up to preppie,
taps shoulder, thunders in ear,
I chuckle, smugly 'stinking of enlightenment, '
pleased, translating, 'kill ideas to get to
the 'thing itself 'or the 'no thing.'
Suddenly Ummon turns, smacks me hard
with his KATZ stick, BAM! And he is correct,
of course, to slam me. Arrogance along the
way, no matter how 'apparently' fitting my
zenny smartness, deserves a hard
I humbly return to my book
just write what is seen from the
Hokku-no-renga Close To Philly:
off the square
in the darkest cells
those forms bursting forth
In Prison Window
a jelly jar, water pours
man hands arranging
a little green vine
View upon entering Philly
the hairline of God
City garden by tracks
A scarecrow even there
Plastic milk jug for a head!
Passing glimpse over bridge -
railing beside a stream
a thin student reading Nietzsche -
“He who can grasp me,
let him grasp me.
However, I am not your crutch.”
- Friedrich Nietzsche from Thus Spake Zarathustra
On the other hand I have only tried
to survive, swollen small, myself,
find ways to be in it at all, appalled
hero shrunk to size, compensation
for grandness, a player 'pon an acre
of God on yon Calvin's hill - ol' John
yawning counts his sins a school
boy his sums, insistent dirt
(because it's there) persistent
cleaning his nails;
but tilled I Bible,
preferred work that,
off at last from
roller holy hill,
a love affair oracular, called,
the Word out-wrung, wrenched,
I always the winch and never the Bride.
Again poetic little feet tracing circles, little breaths that may make a one
I, Minimus, tongue in cheek, creak oar, row out too
into the Homeric sea, not old Greek singer, long of breath,
but as Winslow, local seer, his paints, straw hat consigned
to mistook heroics, pure accident, not to check radio
maritime, ask captain if row boat worthy of even an
American sea, projected too, can go a-row row rowing,
claw oar into wave tips' whitecaps safe perimeters,
smell of earth nasal-yet to keep oriented to dirt.
Have, instead, reaped I redundant whirlwind
play America the Fool again, naively trusting my
and country's, destiny are one, always good in spite
of Melville's long eloquent 'discantus supra librum' -
above the book - more truing than any, to spoil it,
the projected 'pluribus unum' thing, for Mayflower
folks tripping lightly between the hawthorns,
their imported gardens and God, irritant tomahawks
'can only turn out swell, ' thought they like waves
gathering in sea full of themselves individually,
Destined, they then and do think, to break just for,
O America, thee.
And now come poets each century heavier than
before, heavier than the other few, this new one, too,
only bards, a real few, to bar, board up the big gaps,
O great light gaping torn off, oft thee sung,
slung over shoulder, hauled, the burden,
o the load
it is now become
VISUAL BIO. Spare:
Little blur of a photo,1979, apt image-
The 'striving-after' poet, much younger days,
Some months recovering from food poisoning,
Once again exiled to roses, reading Lorca
& Rilke in a park, Medellin, Colombia, South America.
Long in exile,
dizzy with The Path,
human beauty broken there beside,
in every field shy flowers want all
our windows and stoops to proudly
present themselves upon.
This only now but happy do I discover.
And I am old, my scent upon the wind
down human lanes where even dogs
take pleasure from the air, where
children play and narrow water flows
and petal by petal night and day the
joyous moon swoons in the liquor of
splash upon stones happy to be worn.
There, almost within reach, the blossoming
tree brightens between darker bricks to truly
dwell. It is for me a shy son of mists to see
in spite of big chunks missing, lost, wasted,
torn out, that the Celestial World is not as
it appears to most, It yearns for much needed
hardness for spirits without shoes still long
to be bread that they may dwell in our finitude.
To them then I am a daffodil dandy at a rusty
gate where heaven and hell conjoin. There
where the thinned road ends vague statues
sway out of focus lamenting their redaction
to stone, no river to move them petal by petal,
unable to move at all, for movement is not nothing.
Even pretty Buddhas pretending eternity
cannot move by themselves alone in need
of human feet and arms. In this way then
they become like me for I too will be
borne by men or wind to the grave no
longer able to move on my own.
Nothing to lose, this rag of selves.
With what glory remains of hungry pockets,
I skip forward singing, La La La, a willful
don, a lord of nothing-much, poems a'pocket,
knowing it's all a shell game but I'm clever
having learned something from all the dice
rolled knowing that here and there (Heaven)
weight matters and that there is more to here
than there. Wised up now I always pack a
change of draws, a piece of broken mirror in
my pocket to gaze within practicing my smiles
to fool the gullible gods who think they are
smiling at themselves.
If stopped and questioned at the Gate to
Yellow Spring, I'll blame you, old Ghost
of too many former selves, a meandering
rumor still muttering the old hymns, who
grants me permission the entrance to boldly storm.
Midnight In Dostoevsky
“Alyosha, I shall set off from here...loving
with one’s inside, with one’s stomach...”
turns in on
the bone bruise
the gut punch
each hand a
bottle of gin
a back pocket
brine of men
“If, after your kiss, he goes away
untouched, mocking at you, do not
let that be a stumbling-block to you.
It shows his time has not yet come”
of pitch 1st
of scalp on
Monk Midnight Leaps
While City Sleeps
A Frightful Mess
Bliss For Want
Of Affection This
Of Spinning Night
“The centripetal force on our planet is still
fearfully strong...I know I shall fall on the
ground and kiss those stones”
**Quotation marked passages are from
The Brothers Karamazov by Fyodor Dostoevsky
Response To Bernadette Mayer's 'First Turn To Me...'
“you appear without notice and with flowers
I fall for it and we become missionaries
we lie together one night, exhausted couplets
and don't make love. does this mean we've had enough? ”
- Bernadette Mayer
Failing the Grand Coniunctio
this is the only one we know
the one where we eat dirt
and swallow, are filled and
swell belly up a meal to be
eaten when the Messiah comes
Leviathan is our heavenly bridegroom
presses the banquet table with elbows
manners forsaken in the end
yanks at sallow meat forsaking
the wine which has turned
no First Wedding miracle can
be repeated - no do-overs here
Candles burn on as always, false promises
All the doors are marked EXIT
Still we must try
at the Feast
make small talk
all the while thinking
This is it?
Angels without knees
aprons spotless starched
as beards of saints
complain of humans
the stains they leave
between the fork
and spoon obscenely
one angel to another:
They call it love
what we are supposed
sublimely to sing of
but frankly all that
pushing and shoving
faces in agony the
cries and curses all
that pulling at flesh
bruised as the moon
this can't be love
We stand without legs
the better for it but
for these we must attend
bent over their plates
greedy to have at each
other again to marriage
beds one last time
And then the singing
songs about dirt
about longing to return
how all hurts there
from “And The Daylight Separated The Mad Boy From His Shadow - Cancion for Garcia Lorca”
The mad boy
writes feeble colors
the halt the lame the
mute which within
around which intends
distorts (in your glass
traps light to
the mad world
thus take our
place with clowns who
know tomatoes thrown
and juggler's (bare necked)
You are the maestro here
whom I trail behind at respectful
murdered by the too ordinary
So long to image
to suffer on dear
bruised M the
void of course
o bring me
beauty no matter
created by His
You, dear, will read
of my heterosexual shadow
a great lover who serenades
Her in the terrible contradiction
of the moon caught
in bare tree limns strophes
just outside Her window
the fool below in rouge
head hung, singing
heart's tin can
tied to belt loop behind
of his ragged pants
to be filled with
in the dirty lane
he leans his
Does not it all bear
the familiar arc say
of just-dawn color
mauve-play at the liminal
curve where sky beseeches
bounded space to give
its shapeless-nest a
Cause, a nape conformed
convex from Orbis what
has been scored by breath
pressed upon it?
Who then falsely may decree
any matted clot, spark-charged,
blood engorged, who may not
body-charge ahead and into
'other' merge so must be flung
expunged behind neglected Moon
or plunged through the bruised
ring of abjected Space?
Hear me now
Give form to
now dust me (I am)
Here me how
“Are you hungry? ” - Poems for Departure
“Who has twisted us like this, so that -
no matter what we do - we have the bearing
of a man going away...so we live,
forever saying farewell.” - Rainer Maria Rilke
Out of hearing
the last sense
to go sing to me
now before ears
take leave and I
shall have no more
need for words,
sounds, even these
my sighs heard as
I hear you drop
the soap in the bath
I imagine you bending
vague in the steam to
find the bar by scent
as you wash away
your own which has
so compelled me
again and again
into much life
So gladly the
cleave to this
I say aloud
though you may
not hear my plea
from where I sit
multiplied with grief
for leaving all this
now upon crumbling
I wait with this
sense of what
is unfolding just
out of reach,
with herbal scent
bath, my heart
to speak of it
to one side
tilted to hear
all news of
you that is
left in there
from the bath
reaching for the
towel, soft, obeying
daily habit, wipes you
dry, each cleft, the pit
of my longing rubbed
I am caught up in this
vision without glasses
squinting for what is
real or not though you
are faced to mine as I
obediently move my
shaking hand to your
belly, the scar there,
edges still hot
to the touch
Much there is I will
make of this moment,
drying your back as I
have daily done -
began the rite
the towel easily un-
little mouths many
natural in me
with the wiping.
I am become
free now of
to this my task
to last this minute
or two, to linger,
become a touch
I am right now to speak
of this, retrieving the soap
which clings one strand
your hair tangled there,
a cypher I read
with joy grown
long into cleaner
a leaf upon the
blown in through
the night window
I bring it to
you calling to
me from the
as you pack
“Are you hungry? ”
With this anniversary I accept my
avian better half, though the human
half be allergic to feathers, wedded
to an inhaler, plumage still embraced
in spite of divided self.
The hard beak gently preens eyelashes
one by one each hair.
The odd eye-stare, the bobbing, the
jerky head especially when walking
less so when hopping, do you even notice?
the head tips to one side then
It is all
sound that is out of
I sing to windows from forests,
to rooftops from street puddles.
I bathe in mirrors of sky.
Trite to say it, grand to do it.
Rumor has it that I once was a reptile.
And so too are you, disguised, two legs
thickly-meated of the ubiquitous hairs
everywhere inflated eyes up front,
not much perspective or balance,
like a weak pine you fall more than I
and when I do it's on purpose (unless
it's for love) without complaint of the
air which never fails - air, that is.
Just to be clear.
Just to be clear, I am at home wherever I
land scanning available horizons which are
also always home.
High, low. Vertical is the thing. And spin.
Speed goes without saying.
Greatly fond of drift, I am easy in the
I will not speak of dawn's greatness,
how you quickly forget.
You say that I repeat myself often,
am limited in expression to only a few notes,
clipped patterns in the song, the cryptic
call always an ellipsis. Boring, you say.
Interpretations, really, it's all in the
inflection after all the years now - Now.
There's always the dancing too
in powder blue without shoes or
need of them
claws nicely do the
deed is done the changeling comes
note that I am singing to you how
the way it's done.
I tell you the weather but do you listen?
For love, shall I say it again?
I shall say it again.
For love I leave calligraphy in guano
but you do not read it much less see that
are its messages all around.
And still I am with you trying
to wake you. I peck. I scratch.
I even dance again, a frenzy brightly
ruffled, boasting to impress:
I can lay an egg! You?
Words only? Brittle sticks
but none to land on, or perch,
standing on one leg,
head beneath a wing.
I am so tired.
I can't close my eyes, what wings also are for.
We lay together, two wrecks, Love,
wooden ships conjoined by forces
too great, too objective to blame.
We stretch beside a shoreline,
eels play in the one rib of our
opened selves, our rarer fingers
gesture horizon to stars, even
Sun/Moon, entwine before and behind
centering a presumably expanding
circumference curving inwardly
toward itself which is an affection,
a longing, a bottom upon which
even God can lay hidden from secret
admirers such are mirrors whose
surfaces are rarely breached.
But there is reach.
Many ways to say the word “love”
which, redundant to say,
and we are returned to some notion
Platonic beyond higher math
I wish you, Love,
beyond/within all Voids
- is the Void one or plurality? -
a painter on a near shore to
paint what we have become.
One (he must be) beautiful,
a man, radiant, who raises
a thumb to rearrange
~~~~~~~~~~~~~~~~the moving line~~~~~~~~~~~~~~~~~~
of the sea where we without
breadth heave each our separate
selves and each other into,
squint, a promontory, shear,
one eye to gauge, the other
allow a thumb's scan, by any
other intent, acknowledgement
of worth perceived:
“Though they are all white with black and grey scoring,
the range is far from a whisper, and this new development
makes the painting itself the form.”
“A bird seems to have
passed through the impasto with cream-colored screams and
bitter claw marks.” - O'Hara about Cy Twomby's paintings
Waves/wayward clocks (become)
adrift migrant birds, scores,
always cry at the unending feast.
We are not the least of these
but know ourselves too beyond
bondage to time which is to say
hunger” in spite of rhythm
Love, let us live without
the sun go up the
sun go down,
turn and return
Let the painter lonely be
pinned to shore with
his paints, his brushes,
his thumb-gauged vision
in relation to ourselves,
and Void, without intended
rhyme trued, true to ourselves.
Nature, too, is true.
May he use the color blue.
Tubes of it.
We once were that, too -
Vaulted. Now become
in the making
is made at all)
but is aporetic
a sky of
we are then a
churned by storm
Here come the wild birds again
'...descend and of the curveship lend a myth to God.' - Hart Crane
The boys, seven falling: Jamey Rodemayer, Tyler Clementi,
Raymond Chase, Asher Brown, Billy Lucas, Seth Walsh, Justin Aaberg
Even the pigeons on my stoop are silent now.
One mourning dove coos tenderly for these who
have taken their own lives publicly on our behalf,
for those many gone before them, broken hearts
enraged, no more to engage the unpersuaded
world which, one of them, one of the public ones,
in spite of murmuring wharves, in spite of amorous
dark alleys bitter in the pitch of the last hateful
American Century, Hart Crane, wrote before his leap
from the ship beside the phallic curve where Cuba
meets the lisping sea, took his tongue away which
sang of chill dawns breaking upon bridges whose
spans still freely splinter light returning hungover
from the night wharves, grottoes, and denim World
Wars, industrial embraces crushing every man and
now another one abandons his fingers and fiddling
to scattering light, takes flight from ledges to
edge close to an embrace no longer forbidden -
'And so it was I entered the broken world
to trace the visionary company of love...'
I am the itinerant priest who sits at meager feasts.
Suffering congregants, forlorn over their starfish and soup,
ask about dreams, confess to anguish, ask what should be done.
Here at my confessional I can only plead mercy upon the boys
who have jumped from bridges, hung themselves, cut, sliced their
compulsive hands, exploded hearts, leaping dears eyes ablaze in
thrall of antlers, trembling flanks strong to fly decrying the
violent hunt which always ends in a death bequeathing these
chopped bits to me and to others like me who remain at table,
plates before, to stare at what is to be later scattered, sown,
these pieces in and for Love-without-name still a stain upon
confused local deities and their wild-eyed supplicants.
But there is no stain upon the promiscuous sea.
Not to worry.
I am the man most pursued in last night's dream.
That emaciated thing at my back keeps tracking me.
I remain just out of reach. Classic. Even there,
as here, I am escaping something, a life time of
practice in this 'Kingdom of the Canker'.
It was no banker who followed me last night
but a starved lacklove rejected by 'Canker' and, well,
by me. Who'd want that part, all start and no finish?
Replenishment has often enough meant hiding out
and a demand that it keep at least 5 arm lengths away.
I will try, I tell it, to look at it but I find its presence
most disturbing, its handful of leaves continually
proffered leaves me in a quandary. What do they
mean, this offering, though my father was a lumberjack?
Perhaps this is a track of sorts to follow for an end
to the mystery. I am stumped.
Again, not to worry.
After a life time (now almost 60 years) of identity crises,
which is a low grade fever in the personality, such is poetry.
I am very weary of it as I now move into yet another identity,
OLD MAN. And who gives a damn in that new
'Kingdom of the Cracked & Crank'? Invisibility awaits, or worse,
Do I become that thing which follows me in my sleep,
leprously white, pale wanderer of the empty pockets,
eyes dark and full of something deeply known?
I am not yet ready to know such things though the
dream indicates that I am for it is very near.
How can I expect the culture to pretend to be interested,
it having pushed the thing even farther away than I ever
could? And since this has turned too goddamned
confessional I do confess that I am beginning to lose
heart for it, all this pushing, this running away, which is
perhaps good news to the very few who know me truly.
I sit on the cultural dunce stool in my corner of the room
reading, reading, tracing, tracing the chase of 'logos'
through time. No rhyme or reason can I make with my
earnest forefinger. Still malingering shadows of what is
in those dark eyes just over there dim my creased page.
I pull at curtains to close out tighter whatever daylight those
eyes may bring to my knowing.
I am such a monk.
I live hard unto myself.
I daily sacrifice goats on an alabster altar to
the blood thirsty deity both in me and who dwells
just outside my door.
Grace, yet, daily unfolds, usually in the coffee cup, first sip,
and morning prayer without too much buyer's remorse which,
I am convinced, is what that first squall of the just born infant
is about...'So much for corporeality...desiring only the womb.
I could not read the fine print of the contract writ small in
capillaries, that upon me there will be a vice, a clutch of
alien air, a fall into too much light and clouds of Mercurochrome.
I regret me I regret me I regret me...'
One adjusts. Continually. The persona is adaptation
appearing to be solid but sleep reveals the neutrality
of the animal. Dreams tell us otherwise when we remember
them as it takes an ego to witness, to remember.
They reveal that we are caught up into something
so much greater than flush and stir. It's a wonder we make
do as much as we do and still call ourselves by name,
our family a species of animal, 'homo sapiens'.
I regret self pity. I'd reject it if I could
but it adheres, last resort of old coots born
honestly into it no matter the copious Mercurochrome baths,
the smelling salts obviating the needed nipple.
What is all this singing bathed in tears born of tremendous desire
and fear? Whose arms would hold fast and safe, embracement
against the brace of all us we fallen stars who do burn out brightly
or, more like me, privately in quarters counting days as if each is
the last until that dread thing finally comes in, after a life time of
daily threats and close escapes, with hopeful relief? Hopefully
there will be no buyer's remorse for purchase of Death.
''Here, '' I'll try to say 'ponst that day',
(one must become Shakespearean in such company,
last payment on the installment plan) ,
''Here's breath for you. I tried to use it well.''
Today the Market reports a run on Mercurochrome.
Birth goes on. I am for rebirth, a dirth of days
makes me suddenly Hindu, foregoing gurus and
bindu point. I've made my own here.
Still, methinks I'll have your ear for a little while longer,
a handful of leaves only for my thanks, one foot well
into 'Cracked and Crank', the drunk tank a memory
worn out. Doubt is my companion.
Love, too. No remorse there.
Buys me time, aftershave and
loads of underwear for the trickles ahead.
Thank the gods for all that.
Oh. And one last good cigar.
Making Things Right In Exile - After the Chinese Poet, Po Chui
He rests awhile in the wide orchard
where bright plum flowers rain. He
unrolls his pallet to sleep inside
the humming glade.
“Raiment, ” he writes in his sleepy
head, “of leaves and bees. An old man
puts the best plum in his sleeve to
bring home to his bitter wife.”
“Why strive when nature is bounteous
and all ills can be made right with
wet sweetness? ”
- Warren Falcon
All these my poems, my efforts, are
lovingly dedicated to my mother and father,
Geneva & Warren:
From childhood our song:
Hurry awake sleepy bee
Softly sings the breeze
To sweetness we are called
when the sun high shall be
freshened with tears our departing
behind the barred door wait
a lock of wound hair
silk pouch of my gated heart
it will be a hard arrow to pierce it
To read more prose and poses you may go here:
Warren Falcon's Works:
Small Favors of Mourning. Chapbook. Bartram's Ear Press. 1977
You're Toothless, I'm Beerless. Let's Fall In Love! And Other Unlikely Love Poems But Sings The Heart True. Chapbook. Published under the nom de plume, Norman Nightingale. Friendless Phrase Press. 1979.
Bucolic Bouncers At The Belly Dancers Ball (published under the nom de plume, Norman Nightingale) . Chapbook. Cortical Canticle Press,2006)
The Cathected Poems of Norman Nightingale. Unexpurgated Edition, Norman Nightingale. Chapbook. Cortical Canticle Press,2008.
A Boy Thief Stealing Circus Hours, New and Selected Poems. Warren Falcon. Chapbook. Cortical Cantical Press,2010.
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- Are You Hungry? A Poem For Departure
[from early poems,1970's, youthful attempts at voice]
Fogs of summer
Through the green
Stalks Will shake
From the corn and
With their tassels
Make an infant's