Two Favorites

From Tony Hoagland's second book, Donkey Gospel (Graywolf Press):


When my father dies and comes back as a dog,
I already know what his favorite sound will be:
the soft, almost inaudible gasp
as the rubber lips of the refrigerator door
unstick, followed by that arctic
exhalation of cold air;
then the cracking of the ice-cube tray above the sink
and the quiet ching the cubes make
when dropped into a glass.
Unable to pronounce the name of his favorite drink, or to express
his preference for single malt,
he will utter one sharp bark
and point the wet black arrow of his nose
imperatively up
at the bottle on the shelf,
then seat himself before me,
trembling, expectant, water pouring
down the long pink dangle of his tongue
as the memory of pleasure from his former life
shakes him like a tail.
What I'll remember as I tower over him,
holding a dripping, whiskey-flavored cube
above his open mouth,
relishing the power rushing through my veins
the way it rushed through his,
what I'll remember as I stand there
is the hundred clever tricks
I taught myself to please him,
and for how long I mistakenly believed
that it was love he held concealed in his closed hand.


Just before she flew off like a swan
to her wealthy parents' summer home,
Bruce's college girlfriend asked him
to improve his expertise at oral sex,
and offered him some technical advice:

Use nothing but his tonguetip
to flick the light switch in his room
on and off a hundred times a day
until he grew fluent at the nuances
of force and latitude.

Imagine him at practice every evening,
more inspired than he ever was at algebra,
beads of sweat sprouting on his brow,
thinking, thirty-seven, thirty-eight,
seeing, in the tunnel vision of his mind's eye,
the quadratic equation of her climax
yield to the logic
of his simple math.

Maybe he unscrewed
the bulb from his apartment ceiling
so that passersby would not believe
a giant firefly was pulsing
its electric abdomen in 13 B.

Maybe, as he stood
two inches from the wall,
in darkness, fogging the old plaster
with his breath, he visualized the future
as a mansion standing on the shore
that he was rowing to
with his tongue's exhausted oar.

Of course, the girlfriend dumped him:
met someone, aprËs-ski, who,
using nothing but his nose
could identify the vintage of a Cabernet.

Sometimes we are asked
to get good at something we have
no talent for,
or we excel at something we will never
have the opportunity to prove.

Often we ask ourselves
to make absolute sense
out of what just happens,
and in this way, what we are practicing

is suffering,
which everybody practices,
but strangely few of us
grow graceful in.

The climaxes of suffering are complex,
costly, beautiful, but secret.
Bruce never played the light switch again.

So the avenues we walk down,
full of bodies wearing faces,
are full of hidden talent:
enough to make pianos moan,
sidewalks split,
streetlights deliriously flicker.


Anne-Davnes said...

oh man that second poem is beautiful. i had never ever thought that i could take credit for suffering. i love the constant attention to an electric buzz in that poem... this link from life, from living to man-made energy - something we put our hands in - the proof of and cause of our suffering. it's our technological signature. beautiful.

Collin said...

Good stuff, T!

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