EXPLODED VIEW

While he slept, I read my father’s books,

brought home from the furnace,

traced the diagrams—channels, ladles of iron,

 

oxygen lances—trying to follow

the metal’s path, to follow the work

that took him each night into the dark,

 

flame to the coal’s dark, the dark

gone bright while the rest of us slept.

The door closed like a storybook . . .

 

While he worked, the furnace flamed

in dream, and I tried to follow

through the swarm of yellowjackets,

 

hot wings of iron, but they were just

outlines in my dream, dream,

not iron, not fire in the dark—just spray

 

from one rare story I tried to follow.

I tried to follow, but even he

didn’t want to go, not even

 

in story, the blanks in the books’

diagrams all ash, all flame. All silence,

he seemed to say. But silence

 

is a furnace, too, where work

disappears, where breath is turned

to iron. And night is a furnace, too,

 

where sleep, where dark are burned away

like words until the books are blank,

and there’s nothing left to follow.

 

I tried, listening as he eased the stairs,

clicked the door, then drove away,

his engine lost in the trains’ low drone,

 

strained to hear him turning,

ten miles away, pages in the book of iron,

the story he told by not telling,

 

the dark in which the furnace always rests.

So, the furnace is a father, too,

whose story you cannot follow,

 

a shadow sitting loud in the dark,

while the quiet hardens in his lungs,

 

and the father is a story, too,

you cannot follow,

a book fed slowly to the fire,

 

a fire, worked, at last,

to two black tongues of iron.

MAYFLOWER

For John Earl Reese, a 16-year-old, shot by Klansmen

through the window of a café in Mayflower, Texas,

where he was dancing, October 22, 1955.

 

                       Before the bird’s song

                       you hear its quiet

 

                       which becomes part of the song

                       and lives on after,

 

                       struck notes bright

                       in silence

 

                       as the room’s damp—

                       wallpaper and wall

 

                       muffling the high cicadas’

                       whine, mumbling

 

                       talk from another room—

                       hangs like the thought

 

                       of a roof in the midst of rain

                       long after the joists

 

                       have been brought down.

                       So the quiet

 

                       syllables crowded

                       full-throats once the talkers

 

                       have gone away,

                       and a young man’s voice

 

                       becomes a young man’s

                       silence, all

 

                       he did not say,

                       which nothing keeps

 

                       saying in the empty room

                       between the pines

 

                       that hold the quiet

                       of the song he cannot sing,

 

                       the sound of a room

                       without sound

 

                       in the middle of what

                       anyone can hear.