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Koethe - North Point North

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Koethe North Point North
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North Point North: New and Selected Poems showcases the work of an important contemporary American poet, winner of the prestigious Kingsley-Tufts Award for Poetry. The volume opens with twenty-one new poems, some of which have appeared in The New Yorker, American Poetry Review, the New Republic, the Paris Review, and the Kenyon Review, among other periodicals, and in The Best American Poems 2001, edited by Robert Hass and David Lehman. Following are selections from Koethes five earlier collections of poems: Blue Vents, Domes, The Late Wisconsin Spring, The Constructor, and Falling Water. Together these poems create a remarkable and powerful new volume, a milestone in this gifted poets career.

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In memory of
my father
and Robert Jones

Contents
New Poems
A N OTE ON C HRONOLOGY
Some of the poems in Domes (1973) were first published in book form in Blue Vents (1968). Those that I have chosen to reprint here are included in the selections from Blue Vents . Both Falling Water (1997) and The Constructor (1999) comprise poems written between 1985 and 1996, arranged into two books along broadly thematic lines. Though The Constructor was published after Falling Water , the poems in it are on average earlier than the poems in the latter book, and to reflect this I have placed the selections from The Constructor before those from Falling Water .
N EW P OEMS
I used to like connections: Leaves floating on the water Like faces floating on the surface of a dream, On the surface of a swimming pool Once the holocaust was complete. And then I passed through stages of belief And unbelief, desire and restraint.

I found myself repeating certain themes Ad interim, until they began to seem quaint And I began to feel myself a victim of coincidence, Inhabiting a film whose real title was my name Inhabiting a realm of fabulous constructions Made entirely of words, all words I should have known, and should have connected Until they meant whatever I might mean. But theyre just fragments really, No more than that. A coast away, And then across an ocean fifty years away, I felt an ashen figure gliding through the leaves Bewitchment of intelligence by leaves A body floating clothed, facedown, A not-so-old philosopher dying in his bed At least I thought I felt those things. But then the line went dead And I was back here in the cave, another ghost Inhabiting the fourth part of the soul And waiting, and still waiting, for the sun to come up. Tell them Ive had a wonderful life. Tell Mr.

DeMille Im ready for my close-up.

for Henri Cole
1. Hotel Solferino I was somewhere else, then here. I have photographs to prove it, and new clothes. Somewhere else: call it an idea Lingering in the air like the faint smell of a rose Insensibly near; Or call it a small hotel Towards the end of Via Solferino, With a window open to the sun And the sounds of automobiles on the street below And a distant bell. Call it any time but now , Only call it unreal.

In times small room Whatever lies beyond its borders Couldnt have been, like an imaginary perfume Nobody knows how To even dream of again. I suppose it was an ordinary day In the extraordinary world where Nothing ever happens, when in something like the way A poem begins I entered upon a street Id never imagined before, all the while Concealed by that close sense of self I know now is my true home, and by a passive style That seemed to repeat My name, that tried to consume My entire world, that brought me to the entry Of a small hotel where an image Of my own face stared at me from another country, From another room. 2. Expulsion from the Garden Its hard to remember one was ever there, Or what was supposed to be so great about it. Each morning a newly minted sun rose In a new sky, and birdsong filled the air. There were all these things to name, and no sex.

The children took what God had given them A world held in common, a form of life Without sin or moral complexity, A vernal paradise complete with snakes And sold it all for a song, for the glory Of the knowledge contained in the fatal apple. At any rate, thats the official story. In Masaccios fresco in the Brancacci Chapel The figures are smaller than youd expect And lack context, and seem all the more tragic. The Garden is implicit in their faces, Depicted through the evasive magic Of the unpresented. Eves arm is slack And hides her sex. There isnt much to see Beyond that, for the important questions, The questions to which one constantly comes back, Arent about their lost, undepicted home, But the ones framed by their distorted mouths: What are we now? What will we become? Think of it as whatever state preceded The present moment, this prison of the self.

The idea of the Garden is the idea Of something tangible which has receded Into stories, into poetry. As one ages, it becomes less a matter Of great intervals than of minor moments Much like todays, which times strange geometry Has rendered unreal. And yet the question, Raised anew each day, is the same one, Though the person raising it isnt the same: What am I now? What have I become? 3. Duomo Something hung in the air, settled in my mind And stayed there. I sometimes wonder What I set about to find, and what intention, However tentative, hid behind the veil That evening in the dormitory, and is hiding still Behind each days interrogation, each successive station On this road Ive followed now for almost forty years. It isnt poetry, for the poems are just a pretext For a condition I have no name for, floating beyond language Like the thought of heaven, but less defined.

I kept it to myself until I thought it spoke to me In my own voice, in words in which I recognized my name. I wasnt there. The streets Id walked through just a week ago Were empty, there was silence in the square In front of the cathedral, and the light in the Galleria Was the clear light of a dream, of a fixed flame. The places I had seen were places on a page. The person I had been was sitting in a room, Dreaming of a distant city and a different room And a moment when the world seemed old again, and strange. I find it hard to talk about myself directly.

The things I say are true, and yet they feel like exercises In evasion, with the ground shifting beneath my feet As the subject changes with each changing phrase. The cathedral wasnt tall, but it dominated the square Like a Gothic wedding cake, its elaborate facade Masking a plain interior, much simpler than Chartres or Notre Dames. Standing in the vault I had the sense of being somewhere else, Of being someone else, of floating free of the contingencies Of personality and circumstance that bore my name. I went outside and climbed the stairs to the roof. Behind the spires the old stone shapes gave way to office towers and factories And then the suburbs beyond, all melting into air, into mere air, Leaving just the earth, and the thought of something watching from afar. I climbed back down and went inside.

The sense of dislocation That Id felt at first felt fainter now, as things resumed their proper order. There were vendors selling guidebooks, and people talking. Somewhere in the gloom a prayer began. I stared up at the dome One last time, and then walked out into the sunlight And the anonymity and freedom of the crowded square.

There are two choirs, one poised in space, Compelled by summer and the noise of cars Obscured behind the green abundance of the leaves. The other one is abstract, kept alive by words Deflected from their courses, gathered And assembled in the anonymity of someones room.

Their crescendos mount like mountains of desire, Like bodies floating through a spectral haze Of unimagined sounds, until the masks drop, And the face of winter gazes on the August day That spans the gap between the unseen and the seen. The academies of delight seem colder now, The chancellors of a single thought Distracted by inchoate swarms of feelings Streaming like collegians through the hollow colonnades. Fish swim in the rivers. Olives ripen on the trees. And the wind comes pouring through the valley Like the flowing monologue of the mirror, Celebrating the rocks and hills beyond the window. The clouds are stones set in the inner sky Where the nights and days distill their contradictions, The piano is the minor of a dream, and distant Fires transmit their codes from ridge to ridge.

It is a pageant of the wistful and the real, sound And sense, archaic figures and the eyes that see them In absentia. Morning is a different dream, Waking to the embarrassment of a face, To a paradox created in the semblance of a person Who remains a pessimist of the imagination, Caught up in the coarse mesh of thought Through which life flows, and is celebrated.

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