I saw the icons of my generation trashed, pounded, run over.
Sunlight, Madge, we were soaking in it. That box that held our Kisses
was flat. Lifestyle came undone so that life was hanging on by the grate
and style underfoot. What happened is everywhere.
"The future is in plastics," said the man in The Graduate, and it is.
One night last century, I dreamt I sat on a high wall, an open book
on the ground and the sea rose. Be careful the book! I called.
The water came anyway. What is precious and who cares and how much?
To each her own footwear in the apocalypse. It’s not just the litter, it’s the latter.
But some people notice. Someone took these pictures.
In Australia, fire eats the houses.
In Venice, someone's couch was swept into high water.
Tourists looted the Vuitton store and swam away with the goods.
Since Tom Waits isn't dead I call out. What am I seeing?
Misery’s the river of the soul, he says. Everybody row.
The young are out mopping, because there's no school when
there's no school. And the old, well, it doesn’t matter how tired and dazed you are
when you’re up to your knees. All you can do is wait. The tide will turn.
Sunlight. The real thing. Until the next siren. Fire and water and fire and so on.
Sisyphus that old trooper. Sisyphus is us.
I SAID TO THE SUN,
"Good morning, I love you. But please can you also go to Venice?"
They are drowned from exhaustion, mopping up.
'We are down on our knees', their mayor said. And as if too much
feeling added 'but only when praying.'
The sun was not political. She said, "I’ve been here
since the beginning but I’m not alone.
The sky is my company and the ocean is riled
and there is unholy steam from the ground.
I should stop my breathing in California,
Australia, across the Amazon they don’t want me.
The earth is my mirror. Cracked and dark. Or soaked.
Wherever I go, I am too much, and not enough."
And the sun shone weakly. Which was not enough.
Didn’t know if she was coming or going
and she was both.
A voice said, "remember, when your Republic really gets into trouble
there is only one way out: SAY YOU'RE SORRY
THEN BUILD A SPECTACULAR CHURCH, GRAND
ENOUGH TO CATCH THE EYE OF THE MADONNA! It works!"
I looked at the watercolor of Salute Cathedral built by plague survivors
in 1631. That floor I'd stood on with its mesmeric tiles.
Today, locals stream in for Festa della Madonna,
If I were down to my last pennies of hope, would I fling one into a flood
and make a wish? Throw a coin and see which side faces up? Look there?
My eyes are open and on the sky. What we love cannot save us.
The sun is down now and searing the other side.
And I am writing from the present to say,
"Goodnight, dear friend. I hope you find some
peace tonight, though you turn and turn."
THE NIGHT THE RHINOS CAME
The night the rhinos came we had nowhere else to look.
They were not accusatory, but trotted towards us like big dogs.
One turned her face left to show us her profile,
batted one eye at ours and fluttered there. To watch
a three-thousand-pound animal flutter makes a great gape of awe.
The children shrieked: He's looking at me!
For size is often male,
and scares or flatters us with its attention.
But she has nothing to do with that.
And trots away.
If this were a dance, a dream meeting,
we might bow and leave her.
But someone among us here is dreaming
power, will buy a rifle,
run out and begin the killing,
is already having nightmares, planning
an illustrious future.
It's still possible to love
how small we are
in the face of her face
and our fragility.
"The Future” was published in “The Litter I See Project” in February 2020.
The voice quoted in stanza 5 of “I Said to the Sun” is Cat Bauer’s from her blog "Venetian Cat, The Venice Blog: Venice, The Veneto and Beyond”
November 23, 2013
“The Night the Rhinos Came” was commissioned for the symposium “Rhinoceros: Luxury’s Fragile Frontier” which was held in Venice, Italy in 2018 and published in the exhibition catalogue. It was also published in Canthius in 2019. In 2021, it will be included in a special issue of Luxury: History, Culture, and Consumption focused on the Venice symposium and edited by Catherine Kovesi.
Ronna Bloom is a teacher, writing coach, and the author of six books of poetry. Her most recent book, The More, was published by Pedlar Press in 2017 and long listed for the City of Toronto Book Award. Her poems have been recorded by the CNIB and translated into Spanish, Bangla, and Chinese. She is currently Poet in Community at the University of Toronto and developed the first poet in residence program at Sinai Health which ran from 2012-2019. Ronna runs workshops and gives talks on poetry, spontaneity, and awareness through writing.
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