REASONS TO LIVE
The guy with the beautiful waist-length Byronic hair
stands braced in black fish-nets, silver tutu, and high heels
playing his violin without a trace of irony
at the entrance of 24th and Mission
where I’m elbowing through the suits and prostitutes
to get on the 5:13 to Richmond.
Ruby music spills like the blood I’ve been carrying in test-tubes all day,
sweet as raisins and almonds at a Jewish wedding.
That, too, is a reason to live
even when the long tunnel feels endless
and the months stretch out between real kisses.
All of us commuters read so we don’t have to feel
tons of dark water, pressing down on us,
and the steel-lace bridge arcing impossible miles above,
carrying a million cars, a million tiny drivers
like a battalion of sperm aimed at the ovum of evening,
slivers of sun shooting into their tired eyes,
making them wince with beauty. Music is the day’s blood,
it weaves under and over the roar of the train,
the way thought plays its sweet percussion in our wrists and throats
even while we sit so quietly, we can hear the small sounds our hearts make
when they have finished breaking themselves
against the rock of the impossible and the beautiful.
Mother-in-law, musician, friend—you know how hard I tried
to make a bridge, to make a tunnel
between one man and one woman
or between the human and divine in both of us,
between spirit and animal. That I failed is beside the point.
Now I struggle to make the daily trek
between Oakland and the Mission,
and I’m ferried along, I’m even helped
by these currents of invisible music
and the humans who strive in the city—when I turn
to find something beautiful, it is always at my side.
Greed is also a saving grace. I still
want more, you know; another love, another
go-round, and in the meantime more
light, more freedom,
more music that gives the feeling of flying.
—from Rattle #21, Summer 2004
Alison Luterman: “I write poems, eavesdrop, loiter, teach, and pull weeds, in no particular order.” (website)