July 18th, 2010

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Colette Inez

THE TUNER

for E.C.

Choose how the forest
was deprived of a tree.
Blight, wind, fire?
I once lost a cantankerous man,
who tuned pianos.
Tall, an oak to me,
he goaded music from the keys.
I almost see him biting on his pipe,
tamping down the London Dock.
Blown back leaves, birds, moths,
the gestures here.
Pendulum, tool box auctioned off.
Summer roars another blast of green.
“I like to see a piano perspire,”
he’d say to me, slamming the lid
of the Baldwin.

from Rattle #32, Winter 2009

Read by Alan Fox

November 21st, 2008

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Colette Inez

STALKING ee IN THE FIFTIES

I knew him by his tonsure,
head bare as a Buddhist monk
or a bowl holding lower case letters

that poured out on a page.
I almost saw that spillage
running out of his hands as he unlatched

the gate of Patchin Place;
O, ee, I followed him down Sixth
in jacket weather, he, neatly made

and wearing tweed. At the bakery
he pointed to swirls of pastry. A baguette
poked out of his paper bag like a periscope.

I remember asters, mums at the florist. Purple, pink
peeped out of the wrappings.
In the deli he would pick

Genoese salami, sliced thin, my favorite,
or half-sour pickles, the color of lagoons
in Lamour, Hope, Crosby films?

Far from frangipani, ee turned towards Sixth,
his face a mask, and I followed like Old Dog Tray
pretending the letter I’d never mail:

Dear ee,
        Your “Somewhere I have never traveled”
charts my realm, too, even as I step from here to there,
too moony by half to ask for your autograph.
I failed to say I lived with Roethke’s “sadness of pencils”
in gray cubicles, carbon paper stains
on hands that itched to compose

more than shaky notes for poems after squabbling
with a lover, “glad and big.”
Moaning through rooms of maybe and no,

I wanted the impertinence of Edward Estlin C, to tease
like him

a sort of antic beauty of words reckoned on the page.
O, ee I wanted to leave

my lip prints on the flap of an envelope
holding the poems I’d never send,
though I could have left them at your door,

you were that near
when I stalked you back then
in love with your line

from Rattle #26, Winter 2006
Tribute to the Greatest Generation

October 29th, 2008

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Colette Inez

ADVICE TO A WRITER IMAGINING
CONCEPTION AND BIRTH

Look for a tree stump in the woods. Compare it to love,
examine the particulars, how your mother mounted
your father on Labor Day in a bungalow, Liberty, New York.

Describe a snowfall before your parents met. Take your time.
Leave out myth and literature. Relate it to life in an American
town, one with a rotating cocktail lounge.

Now imagine yourself as a parchment worm
wedged into a crevice to avoid attack. Liken your fear
to a clamp. How does it resemble the opal clam

from New South Wales? Speak up. Check it out.
Write a poem of departure in which you use the color blue,
a hue like the glow of fish cast ashore by a stormy sea.

Your parents are leaving town. They’ve rented a bungalow
in Liberty, New York. You’re not around to say: after dark,
exact change. You’re not even a tiny moonlet in a microscope,

a bluet in the woods. Contrast your nothingness to words
that start with “k”: killjoy, kisscurl, kelp. Are these words
comical in any special way? Say how you feel about kale.

Will you grow to leave it on your plate?
Your parents sit in a trance. They have just made love
and are counting snowflakes: uno, dos, tres…

Are they from Bogota, Colombia, and in New York on
a whim? You are about to divide. Say something about the
intricate coil of DNA. Double helix. Double Dutch. Jump in.

Make the leap. Now you’re a nation newly emerged.
Dispense with history, the transitory passions of people’s wants.
Words are dropping fast.

from Rattle #25, Summer 2005

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