Toplight hammered down by shadowless noon,
A palindrome of midnight, retrograde
From last month’s solstice in smoke and flame,
In molten glares from chrome or glass. I feel
Fever from the cars I pass, delirium
Trembling out from the radiators.
The dog-day romance seems to be physical,
As young free lances come into their own,
Sunbrowned, imperial in few clothes,
Heat-struck adulthood a subject to youth
And fitful as traffic, the mind pure jumble
But for that secret overriding voice
Advising and persuading at each crossroads;
The struggle toward freedom to forge a day.
Smoke; flame; oiled, gray-brown air.
Jackhammers and first gear on the avenues;
Stuntmen driving taxicabs; patient, blue,
Hippo aggressiveness of a bus, nudging
Aside the sedans. And the peculiar
Fascination of a row of workshops
The dark interiors with skylight sunstripes;
A figure walking in slow motion among
Pistons; rough justice of a die cutter;
A helmeted diver, wielding acetylene,
Crouched over some work of sunken treasure
That sparkles gold at a probe from his torch . . . .
Seismic shocks interrupt this dreama stampede
Of transports flat out to make the light,
Mack truck, Diamond Reo, a nameless tanker,
IT International, a Seatrain destined
For the Port Authority docksone more
Corrugated block to pile on the rest,
Red, green, gray, and blue, waiting for a ship
In the Grancolombiana line . . . .
The seagoing city radiates invisibly
Over the world, a documentary sublime.
Lunch hour, even the foods are fast, potluck
In the melting pot: the Italian girl
With a carton of chicken; Puerto Rican folding
A pizza; the black woman with an egg roll;
A crop-headed secretary in round,
Metal spectacles eats plain yogurt (she’s
Already mantis thin) and devours glamour
Mags . . . . Our crowd scene, a moving fresco:
But is it really there? The adversary
Today is named Random. How capture all this
Without being taken captive in turn,
Install it as something more than backdrop,
As a necessity, not a sundry?
Suppose just an awareness of the way
Living details might be felt as vision
Is vision, full, all there ever wasthis
Instant palindromic noon, the joined hands
Of the clock, end and beginning . . . . Surely
The first to consider imagining stars
Constellations had already done as much,
Just by making some brilliant connections;
Mind crowned itself in a round of leaps from point
To point across the empty stage of night . . . .
* * * * *
Now as a pigeon banks, descends, hovers,
And drops on asphalt with back-thrust wings,
Comes a desire to be lifted in the balance,
Rise to some highest point and then be met
By a fierce new light haloing lashes shatter
Into spears of aurora, naked eye become
Prismatic at last and given to see in kind
All the transformed inhabitants forever go
About their errands, on a new scale: the rainbow
Is the emblem for this moment filtering through
The body’s meshwork nerves, and a heartbeat impulse
All around puts troops of feet in step with music,
Persistent, availing, that disregards the frayed
Years, vagaries, downfall among trash, accident,
Loss; or because it knows these rushes upward
On something like heartbreak into the only sky,
Air aspirant with fractioned voices, feverfew
Of the sensed illusion, higher ground, progressions
Sounded in the spheresso each step takes them further,
Sceptered, into daytime, saluting the outcome.
There is a fire that surpasses the known burning,
Its phoenix center a couple that must be there,
Blast furnace, dynamo, engendering a city,
Phosphor spines that bend and meet to weld, to fuse
As a divining rodsluicings, spillway, braid,
Chorded basses that set myriad threads afire,
Newborn limbs and reach of the proven tendon now
Let go into empowered brilliance, rayed showers,
The garden regained. In this light the place appears:
Hands that rise or fall, muted gestures of welcome
And good-bye, face that turns and comes forward to claim
A smile latent in the afternoon air, vague crowds
Falling down streets without character toward
An offered covenantlove that gives them each a name.
Alfred Corn, “Fire: The People” from Stake: Poems 1972-1992 (Washington: Counterpoint Press, 1999). Copyright © 1999 by Alfred Corn. Reprinted with the permission of the author.
Source: Poetry (July 1977).
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