No metaphor in Obudu

Condensed from warm shadows,
She appeared with silent ox-eyes, yellowed;
Her feverish infant sweating,
Head pressed on flaccid breast.
I bid her sit; and so we sat
Side by side on a wooden bench
In the warm evening shadows.

Slowly, she undid the drape
That held the babe against her breast,
Pulled off the woolen cap;
His curls matted with feverish brine.
He had his mother’s eyes,
Yellow to the core.
Shallow pants of airy puffs
Stroked his jaundiced palate.

In this last hour of this last day
I begged a course of drugs,
Slipped the packet of pills
Into the mother’s moist palm.
When we boarded the bus, I wondered
Which would run out first—
The ten-day supply of medication or
The tiny racing heart?

In vain I searched my mind
For metaphors, just one;
But none crystallized in the grey
Matter of my cerebrum,
None sprung forth as Athena
From the tightness in my chest.

2012©Brian T. Maurer

November Snow

With falling snow
A certain silence descends
And for a moment
Behind the white curtain
Time stops.
All of that which makes up a life
Those things of burning importance
Suddenly seem of no importance now.
Only the snow
The snow descends,
Obliterating the sea of senses;
Only the snow
The snow descends,
White-washing the world
In numbness.

2012©Brian T. Maurer

The Supplicant

I sit at priestly table
Imbibing an early lunch
Of chicken soup and bread,
A heel now bruised, unleavened,
Remnant of last night’s supper.
On tiny tapping pads
The supplicant approaches,
Stands beside my chair,
Eyes turned toward heaven—
The smell of chicken soup.
The supplicant rises to place
Both paws, crossed, on my thigh,
Penitent eyes pleading
Forgiveness and a crumb.
Reluctantly, I break the bread,
Dip a morsel in the broth
Then hold it out before the nose.
This offering of bread and soup
Is measured in one gulp.
The supplicant drops down
On all four paws again;
Pink tongue licks her muzzle.
Renewed, patiently she waits.
“Only one host per communicant,”
I liturgically intone.
Nonplussed, she trots to
The far end of the table
Seeking sustenance from
Another priest.

10/25/12

The Open Boat

On a silken sea of flotsam and jetsam
I sit, surveying the restless waves:
The sea breathes easily
In late morning sun.
From overhead a gull descends,
Circles my head thrice,
Peruses the debris,
And moves on.

Languidly I lie
Across the thwarts of this
Weathered wooden boat,
Baked by the heat of
The climbing yellow sun.

Waves rise, waves fall;
Like a curious kitten
The ever-restless sea bats
The beaten boat about,
This boat that surges and sucks
In a sea of flotsam and jetsam.

An anchor might do;
Still, far from shore
The water is deep,
A sturdy dock now of no use.
Here, in the realm of open sea,
Amidst flotsam and jetsam,
Only the boat and I remain,
Cast adrift, awaiting redemption.

2012 © Brian T. Maurer

La Pluie

"La Pluie" by Vincent Van Gogh, 1889

La Pluie

Even the most sublime canvas
Is but a selective window—
We see what we choose to see,
And the greatest artist
Still filters light and color
Through selective rods and cones.
The rain pours down,
Saturating a freshly plowed field
Bounded by a low wall;
A muddy path traverses the base,
Mountains hover in the distance—
A simple scene captured from
A second-story bedroom view.
What the artist left out,
That which the retina chose to ignore,
Were the wrought iron bars
Embedded in the open window—
No bars embedded in the window of his soul—
At least, he refused to acknowledge them,
Or spared us the pain.

Copyright 2012 © Brian T. Maurer

Easter Vigil

Not her usual peppy self
The puppy lags behind on leash.
Halfway out the morning trek
She squats: a gush of slimy blood.

That afternoon we set out,
The dog remains behind,
Lying in her corner bed,
Eyes half glazed, belly rumbling.

We cross the concrete bridge,
Bushwack through the woods,
Wander along an ancient bluff
Above the rushing river.

We find a forest trail,
Follow it up a steep incline,
March down a dirt path
Into an unknown ravine.

I recognize finally the brook.
The blue-blazed trail we sought
Leads us up the ridge
And to the cliffs beyond.

I point out the old railroad bed,
Where formerly it snaked through town,
The school, the mill, the pub,
Our house tucked beneath the pines.

The wind bites hard,
Watering our eyes.
We turn and descend
Back through the forest.

Near the river’s edge
Without warning they appear:
Hoards of yellow parasols
Among the mottled green:

Trout lilies, nearly a month early.
Spring beauties, fairy spuds,
A stand of whit squirrel corn,
Seasonably out of season.

Back home, from her sick-bed,
At the sound of footsteps,
Cold-nosed, the pup is risen
To dance and bark our return.

2012 © Brian T. Maurer

Huntingdon, 2012

On the middle shelf of the corner hutch in the second floor Margaret E. Baker Room of the Richard Calhoun Baker Guest House on the campus of Juniata College in Huntingdon, Pennsylvania, there sit six books. Wedged between Edna St. Vincent Millay’s Make Bright the Arrows and Davis’ Disraeli, stands Hervey Allen’s novel Anthony Adverse. It opens with a quote by Sir Thomas Browne: “There is something in us that can be without us, and will be after us, though indeed it hath no history of what it was before us, and cannot tell how it entered into us.”

In the beginning was the hill,
And the hill was long and arduous,
A continual rise that never wavered
And grew steeper close to the crest.
The hill was Part One, First Act,
Testing Ground, Ground Zero.
Here was the place
Where harriers were hewn,
The defeated crestfallen.
The hill divided the men from the boys.
Hah!—we all were boys back then,
Young and strong and fast and free.
And now we all are men,
Come home to pay homage
To the hill that broke and choked
And shaped and molded and melded
And burned and turned us
Into what we have become:
Older men, seasoned men,
Wiser men, and yes, tender men.

At the top of Moore Street
Stands stately Founders Hall,
Formerly “The Building,” edifice original
Of Brethren Normal School,
Now surrounded by a score of brethren.
Together they form this bucolic
Ivy League college devoid of ivy:
Swigart, Oller, Brumbaugh, Ellis;
Good, von Liebig, Carnegie, Beeghly,
North, South, Sherwood, Cloister.

Together we gathered this too early spring,
Hooded brethren huddled beneath
Wide umbrellas to ward off the rain,
To witness the thinclads stride
Round the circular track that runs forever.
Parker shattered Bailey’s 3K record
Set a mere two years before.
Woods bested her own by 19 seconds.
Mandley took first in the hurdles,
McCoy the hundred.
While across the field next the grandstand
An ancient yellow willow watched and wept.

Once we were young,
Our faces shone as these faces shine,
Once we dreamt dreams,
Ran hard, set records, slept well.

We have come back to this place,
To this spacetime dimension,
To witness the prowess of young men,
To applaud the strength of their stride,
To marvel at the joy on their faces,
To mourn the passing of their youth.

We have come back to this place
To bear witness of the world beyond its walls,
Stories of success, stories of defeat,
Stories of imperfect journeys
That render life perfect in our minds.
We return to minister to mind-lost mothers,
We come back to mourn fallen fathers,
We come home to bury our dead
And take our place in line.

Spring came a month early this year.
Snowdrops and crocuses, already withered,
Gave way to forsythia and flowering crabapple.
Patches of pink petals adorned the sidewalks.
We arose early and set out for morning coffee,
Sauntering down side streets
Baptized with cherry blossoms.

In the beginning there was the hill,
And the hill, high and holy, still
Rises to rocky outcrops that overlook
The river that courses through eternal time.
At the base of the cliffs along the river
Runs a set of parallel steel tracks
Along which we once in our youth ran
Till our toenails blackened with blood.
Once more we pause at the crest of the hill
And listen for a sacred whistle, long and low.

2012 © Brian T. Maurer

"Crabapple Blossoms" by Brian T. Maurer

The Old Guitarist

“The Old Guitarist”

You, who have played out
Your song of songs
Over the course of a long life,
Now sit just so,
Caressing the feminine form
In your spent loins,
Short-term memory
Memory no more,
Recalling only
A litany of loves
Lost long ago.
Proteinaceous plaques
Pockmark synaptic pathways
Devoid of roadsigns.
Whole notes give way
To a slurred run of final rest.

2012 © Brian T. Maurer

"The Old Guitarist" by Pablo Picasso, 1903

A marriage of humanity and medicine

Medical practice lay a-bed,
With fever to the core;
Sickness festered in her head,
While death passed by the door.

A string of suitors, all untrue,
Had left her bed of pain,
Parties of the third did woo—
Though not for love, but gain.

Big Pharma promised wonder drugs,
To ease the maiden’s plight,
True colors shown: this band of thugs,
Had raped her in the night.

So there she lay upon the cot,
Delirious, forsaken;
If she once had, she now had not—
Her very soul was shaken.

An ancient door eased open;
Humanity crept in
With tender thoughts unspoken
For dying medicine.

He slipped a hand in her hand,
Caressed the feverish brow;
He lingered by the night-stand,
Then turned the lantern low.

Humanity kept vigil
Close by throughout the night;
The heartbeat, once so feeble,
Had strengthened by first light.

When medicine awoke,
She stared into a face
That whispered words of comfort
And emanated grace.

So medicine was married,
Humanity, the groom;
Their grateful patients tarried
At tables in the room.

Now this is but a fable,
It never came to be—
Though fictions often lead to facts,
And blind men sometimes see.

2012 © Brian T. Maurer