hum
I
a vanishing byline cites in magic ink all that
old-timey disappearing acts, the way we would have
wanted them to have been —
vanishing skies haunted by lines
by what isn’t seen
from the center of an apple’s rot
mapped to not a turn in the timeline nor
an ever-ever land all sticky with bright
chance, an animated elephant on a screen reflected
in a child’s eyes shining
before and after a hum
beyond logic, beyond eyesight’s
reach —
a hum for being outside with you
all broken-shadowed and snappily done-up
knackered at the end of the weather — a hum
angling along the california coast, a shadow
shattered, echo of a missile’s
yawn in straitened daylight
in the hungering holes of our masquerade
of mythlessness, our
groping around in the grass, in the sand
in the stunned light
for an our
or an oar
and making like a moth
a shroud of emptiness
for lunch
and the hum renders the names of the dead
and the hum reads the names of the dead
in a lawnmower voice that echoes sense sent less
echoes earth’s sorrows
II
the voices on the stones, the fog
over the bridge of the built
(at land’s edge) and billed to
“And Brooklyn of
Ample hills
Was mine”
Built to that old body voice musing
and grasping
at the center of any silence — that hum
of our and the inconsolable
each wail and tear and dried spout
taken to give the clock its time, calendar’s march
every name in history, every abscess
and gleaming streams of light ride along the
engine’s smooth and silver surface — old Hollywood
numbers — forgettings made of mineral and
bone translated indefensibly beneath blue plastic tarp
beyond a rushing object’s howl, beyond a shadow
banana peel in wait, snake-like
at the foot of a black hole
nestled close beneath all is the hum
III
enclosed between all is the hum
a hum, a black river, a return
collapse of a margin where a center
would claim its flow
its black river burdened with birth
with birds and friends of the unnamed air and
earth and water —
a hum, a black river flows
through the grooved earth
through a curved finger’s beckon
through the heart of the heard
the space of the spine
a hum, a black river flows
from who knows where — a silence made of shrugs
a hum of question born
how it slithers in the grass, poison tongue
poised tongue, poisoned taste, slick and several
a hum, a tongue, a snake in every road
as if the rationale were your bitter b(s)alm’s moan
walking with my mother through concrete wilds
a whistle burnt in the already-archive, infinity from
another time — a hum, a tongue
its road a river, a rose, a descent
IV
austere screams along the highway
scare coyotes toward the shore
snowy white egrets mind the mudflats
dart their bills ‘neath the surface for a bite
over a little hill we strut and watch
sanity shrug toward the bay
where all of accident congeals in a whimper
with a voice like a bench on which a crow sits for a minute
while Death swims off to open seas
with each premature name in its teeth
every tooth in history, every [in] heaven
the poet itself like there’s a snake in the road
wind in the treetops makes
the leaves bend and sing
V
the nose an upturned handle, waiting to be grasped
like a translation
like a humming stone
the curl and the turn and the flare
and the whole and the bulb of the flesh
the mask the human makes of the world’s
grasp on the flesh is its own food, more or less, leathery
human-shaped worms wriggle over heart’s compress
you give your shadow company by walking beneath the trees
from anytime ‘til infinity
the hum, the static
you’d think sense would collapse before
nearly anything at all, maybe two three
tillaquils or an empty sash, scrubjay’s
line of flight or squawk, whatever’s left of
yesterday’s talk
a vanishing byline cites in magic ink all that
old-timey disappearing acts, the way we would have
wanted them to have been —
vanishing skies haunted by lines
by what isn’t seen
from the center of an apple’s rot
mapped to not a turn in the timeline nor
an ever-ever land all sticky with bright
chance, an animated elephant on a screen reflected
in a child’s eyes shining
before and after a hum
beyond logic, beyond eyesight’s
reach —
a hum for being outside with you
all broken-shadowed and snappily done-up
knackered at the end of the weather — a hum
angling along the california coast, a shadow
shattered, echo of a missile’s
yawn in straitened daylight
in the hungering holes of our masquerade
of mythlessness, our
groping around in the grass, in the sand
in the stunned light
for an our
or an oar
and making like a moth
a shroud of emptiness
for lunch
and the hum renders the names of the dead
and the hum reads the names of the dead
in a lawnmower voice that echoes sense sent less
echoes earth’s sorrows
II
the voices on the stones, the fog
over the bridge of the built
(at land’s edge) and billed to
“And Brooklyn of
Ample hills
Was mine”
Built to that old body voice musing
and grasping
at the center of any silence — that hum
of our and the inconsolable
each wail and tear and dried spout
taken to give the clock its time, calendar’s march
every name in history, every abscess
and gleaming streams of light ride along the
engine’s smooth and silver surface — old Hollywood
numbers — forgettings made of mineral and
bone translated indefensibly beneath blue plastic tarp
beyond a rushing object’s howl, beyond a shadow
banana peel in wait, snake-like
at the foot of a black hole
nestled close beneath all is the hum
III
enclosed between all is the hum
a hum, a black river, a return
collapse of a margin where a center
would claim its flow
its black river burdened with birth
with birds and friends of the unnamed air and
earth and water —
a hum, a black river flows
through the grooved earth
through a curved finger’s beckon
through the heart of the heard
the space of the spine
a hum, a black river flows
from who knows where — a silence made of shrugs
a hum of question born
how it slithers in the grass, poison tongue
poised tongue, poisoned taste, slick and several
a hum, a tongue, a snake in every road
as if the rationale were your bitter b(s)alm’s moan
walking with my mother through concrete wilds
a whistle burnt in the already-archive, infinity from
another time — a hum, a tongue
its road a river, a rose, a descent
IV
austere screams along the highway
scare coyotes toward the shore
snowy white egrets mind the mudflats
dart their bills ‘neath the surface for a bite
over a little hill we strut and watch
sanity shrug toward the bay
where all of accident congeals in a whimper
with a voice like a bench on which a crow sits for a minute
while Death swims off to open seas
with each premature name in its teeth
every tooth in history, every [in] heaven
the poet itself like there’s a snake in the road
wind in the treetops makes
the leaves bend and sing
V
the nose an upturned handle, waiting to be grasped
like a translation
like a humming stone
the curl and the turn and the flare
and the whole and the bulb of the flesh
the mask the human makes of the world’s
grasp on the flesh is its own food, more or less, leathery
human-shaped worms wriggle over heart’s compress
you give your shadow company by walking beneath the trees
from anytime ‘til infinity
the hum, the static
you’d think sense would collapse before
nearly anything at all, maybe two three
tillaquils or an empty sash, scrubjay’s
line of flight or squawk, whatever’s left of
yesterday’s talk
THE
END
-
Daniel Owen is
a poet, editor, and translator between Indonesian and English. Recent poems and
translations have been published in Long News, Modern Poetry in Translation,
Chicago Review, and Works and Days. Daniel edits and designs books
and participates in many processes of the Ugly Duckling Presse editorial collective
and is a PhD candidate in the Department of South & Southeast Asian Studies
at UC Berkeley. His translation of Afrizal Malna's Document Shredding Museum (World Poetry Books, 2024) was
awarded the 2024 National Translation Award in Poetry.
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