Ruby Clocks
Am I still a stone, or a world made of redness? I have no resistance to sunlight with the mind of a scholar, the spirit of an artist, and the raging heart of a warrior.
How astonishing it is that language can almost mean, and frightening that it does not quite.  Love, we say, God, we say, Rome and Michiko, we write, and the words get it all wrong.  We say bread and it means according to which nation.  French has no word for home, and we have no word for strict pleasure.  A people in northern India is dying out because their ancient tongue has no words for endearment.  I dream of lost vocabularies that might express some of what we no longer can.  Maybe the Etruscan texts would finally explain why the couples on their tombs are smiling.  And maybe not. When the thousands of mysterious Sumerian tablets were translated, they seemed to be business records.  But what if they are poems or psalms?  My joy is the same as twelve Ethiopian goats standing silent in the morning light. O Lord, thou art slabs of salt and ingots of copper, as grand as ripe barley lithe under the wind’s labor. Her breasts are six white oxen loaded with bolts of long-fibered Egyptian cotton.  My love is a hundred pitchers of honey.  Shiploads of thuya are what my body wants to say to your body.  Giraffes are this desire in the dark.  Perhaps the spiral Minoan script is not language but a map.  What we feel most has no name but amber, archers, cinnamon, horses, and birds.
  1. How astonishing it is that language can almost mean,
    and frightening that it does not quite.  Love, we say,
    God, we say, Rome and Michiko, we write, and the words
    get it all wrong.  We say bread and it means according
    to which nation.  French has no word for home,
    and we have no word for strict pleasure.  A people
    in northern India is dying out because their ancient
    tongue has no words for endearment.  I dream of lost
    vocabularies that might express some of what
    we no longer can.  Maybe the Etruscan texts would
    finally explain why the couples on their tombs
    are smiling.  And maybe not. When the thousands
    of mysterious Sumerian tablets were translated,
    they seemed to be business records.  But what if they
    are poems or psalms?  My joy is the same as twelve
    Ethiopian goats standing silent in the morning light.
    O Lord, thou art slabs of salt and ingots of copper,
    as grand as ripe barley lithe under the wind’s labor.
    Her breasts are six white oxen loaded with bolts
    of long-fibered Egyptian cotton.  My love is a hundred
    pitchers of honey.  Shiploads of thuya are what
    my body wants to say to your body.  Giraffes are this
    desire in the dark.  Perhaps the spiral Minoan script
    is not language but a map.  What we feel most has
    no name but amber, archers, cinnamon, horses, and birds.

  1. 70 notesTimestamp: Tuesday 2012/08/07 22:27:00Via: parksteppSource: apoetreflectsancientdialectfertilityforgottenforgotten dialect of the heartgreat firesheartinannajack gilbertknopflilithlovepoemsexual lovesexualitysumeriansumerian tabletwarfareishtar
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    How astonishing it is that language can almost mean, and frightening that it does not quite. Love, we say, God, we say,...
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    apoetreflects:
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    a great blog I personally follow
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    — Jack Gilbert, The Great Fires: Poems 1982-1992 (Alfred A. Knopf, 1995). Image: Lilith, ancient Sumerian tablet, circa:...
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