safe as houses
seagulls are protesting / in the dawn skies / above the post office
we’re waiting / by the hot dog cart / for our buses to
Baltimore / Pittsburgh / Boston / Washington
it’s cold enough to snow / but the young Australian / is wearing an open / denim jacket / over a t-shirt
trying not to shiver / as he discusses college / with an Asian woman /
who has a British accent
no one knows where to stand / for which bus / so the affable coffee drinker / in his knit cap / says “Boston” / over and over again / to each person who approaches
the ride from Brooklyn / to Manhattan / was stereotypical / of the kind of New York / you don’t really see these days
vomit on the A train / (twice) / the smell of sewage / rising like a physical presence / from the grates in the street
that said / New York is cleaner now / safer / in every sense of the word
you can’t imagine the Velvets / blasting into the world / with this New York / as a launching pad
not when Katy Perry / stands five stories tall / in Times Square / next to an illuminated M&M
listening to Tom Waits’ Small Change
you’re sleeping close to me
holding one of my hands
in both of yours
there’s a candle on the dresser
another on the night table
a third behind the two Buddhas
on my map, our rivers
don’t meet anywhere
which just goes to show
it’s worth getting out
to see for yourself
the mapmakers can get it wrong
there could be just one big river
right off the edge of the page
sweet violence
can come with an open hand
or at the tip of a sharp tongue
it covers up the salty taste of tears
you call me “sweetheart” afterward
I can’t think of anything to say during dinner
that won’t sound like a lie
later, in bed, you lace your fingers in mine
I hold my breath like a condemned prisoner
my hair is turning gray on this diet of ashes
my tongue lies heavy in my mouth
I’m betraying the fading light beneath my skin
/ / /
It’s been a while since I finished a poem. I wrote this one at the Museum of Modern Art in New York today after seeing the “Sweet Violence” exhibit for the second time. Please go see it if you can.
Photo source
sing me a Haitian song
sing mules and horses on the mountainside
a calabash of river water to wash in
another to drink
sing to me of the climbing tree
four uncles on the summit waiting
for the return of the prodigal nephew
sing me an African rhythm
drawn from the source of the one true river
that became the ocean and surrounded the islands
sing to me of proud women with straight backs
burdens atop their heads as they appear and disappear
on the peaks and in the valleys
sing me a policeman’s song
a wide-brimmed hat his badge of office
his horse weary from climbing
sing me a Brooklyn dance, no music but the drum
to remake their lost island in an old meeting hall
filled with vegetable stew and mountain stories
sing me sixty-odd years since then
the boy once mesmerized by the drummer
returning to old ground as a man of the drum himself
/ / /
This poem is inspired by an interview I conducted with drummer Andrew Cyrille. You can hear the interview here.
post office, Sunset Park
digging on Mississippi John Hurt
the definite article
watching a guy try and fail
to zip his leather jacket
Italian-American bus driver tells
African-American postal clerk
he’s looking for Tony Bennet stamps
“I’m still stuck with these Kwanzaa stamps.”
“Lucky for you it’s Kwanzaa again.”
Laughter.
Mississippi John Hurt is singing about
fish and money. But not really.
Orion on Prospect Avenue
sharp sword dangling from his belt
swinging back and forth
above the Chinese grocery
the Middle Eastern restaurants
the yarn shop with its scarves-to-be
I’m walking up the hill wondering
just how far away those stars are
I know they’re not even near one another
Orion is a picture people made
from a story they invented
the cold, cloudless night
makes the hunter’s broad shoulders
stand out above the Catholic church
where tomorrow’s worshipers
will gather to hedge their bets
a little farther up the hill
is a three-story brick building
where rice is cooking and curry
with potatoes and carrots and onions
is bubbling on the stove
meanwhile the hunter stalks the avenue
in a city where people seldom look up at the sky
Jason Crane is the host of the The Jazz Session, the online jazz interview show. His first collection of poems, Unexpected Sunlight (FootHills Publishing, 2010) is now available. Named by the LA Times as one of 25 arts & culture people to follow on Twitter. (Read the full bio.)
My first poetry collection, Unexpected Sunlight, is now available. Get your copy!