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Bob Hicok

Toward Accuracy

We’re high enough that what I call fog might be cloud.
Not Everest high, or Chomuolungma, “Mother Goddess
of the World.” If we named things what they are,
our sentences would be monsoons, long rains of sound.
Morning is “the time I suspect I am a horse,” dusk
“the light which treats our shadows like taffy.”
The number of times my name changes in a day,
from “looking at the world with eyes of wood rasps”
to “feathers have replaced my bones,” rules out
the wearing of name tags: I wear a chalk board,
thesaurus, that book of whispers, of meaning sex.
“There’s a woman who smokes a cigarette
now and then, who picks tobacco off her tongue
as something moves along the fault line
of the horizon, knees pulled to her chest,
her breath wearing a dress of smoke”
is one way I think of you when I think of you.
And when I think of you, “wants to be a candle”
isn’t romantic but accurate, wicked light
leans in, away, writhes to get out of, to leap harder

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For Three Whose Reflex was Yes

Nobody I know is a god. A mother and son
fall into the river's million hands, the river's
smash and grab. They go under, climb the ropeless
water up, wave, open their mouths and scream
wet silences as they slide back under.
A man jumps in to save them, leaves the edge
as a needle into the river's muddy sinews, a woman
jumps in to save his vanishing and the mother
and son and is stripped by the flood, her pants
drowning right beside her, another man jumps in
to save them all and a woman jumps in after him
to save them all plus one, cars arrive and people
get out and leap into the river, the river's being filled
with whatever's in their pockets and their hands
and their eyes, with nickels and dollar bills
and bibles and sunsets, the beautiful brush strokes
of this beautifully dying day, people pile
like a river inside the river, they keep coming
and diving in, they keep feeding their breath
to the water, which is less, which is thinned,

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The Semantics of Flowers on Memorial Day

Historians will tell you my uncle
wouldn't have called it World War II
or the Great War plus One or Tombstone

over My Head. All of this language
came later. He and his buddies
knew it as get my ass outta here

or fucking trench foot and of course
sex please now. Petunias are an apology
for ignorance, my confidence

that saying high-density bombing
or chunks of brain in cold coffee
even suggests the athleticism

of his flinch or how casually
he picked the pieces out.
Geraniums symbolize the secrets

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In Michael Robins’s Class Minus One

At the desk where the boy sat, he sees the Chicago River.
It raises its hand.
It asks if metaphor should burn.
He says fire is the basis for all forms of the mouth.
He asks, why did you fill the boy with your going?
I didn't know a boy had been added to me, the river says.
Would you have given him back if you knew?
I think so, the river says, I have so many boys in me,
I'm worn out stroking eyes looking up at the day.
Have you written a poem for us? he asks the river,
and the river reads its poem,
and the other students tell the river
it sounds like a poem the boy would have written,
that they smell the boy's cigarettes
in the poem, they feel his teeth
biting the page.
And the river asks, did this boy dream of horses?
because I suddenly dream of horses, I suddenly dream.
They're in a circle and the river says, I've never understood
round things, why would leaving come back

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In the Loop

I heard from people after the shootings. People
I knew well or barely or not at all. Largely
the same message: how horrible it was, how little
there was to say about how horrible it was.
People wrote, called, mostly e-mailed
because they know I teach at Virginia Tech,
to say, there’s nothing to say. Eventually
I answered these messages: there’s nothing
to say back except of course there’s nothing
to say, thank you for your willingness
to say it. Because this was about nothing.
A boy who felt that he was nothing,
who erased and entered that erasure, and guns
that are good for nothing, and talk of guns
that is good for nothing, and spring
that is good for flowers, and Jesus for some,
and scotch for others, and “and” for me
in this poem, “and” that is good
for sewing the minutes together, which otherwise
go about going away, bereft of us and us

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After Working Sixty Hours Again for What Reason

The best job I had was moving a stone
from one side of the road to the other.
This required a permit which required
a bribe. The bribe took all my salary.
Yet because I hadn’t finished the job
I had no salary, and to pay the bribe
I took a job moving the stone
the other way. Because the official
wanted his bribe, he gave me a permit
for the second job. When I pointed out
that the work would be best completed
if I did nothing, he complimented
my brain and wrote a letter
to my employer suggesting promotion
on stationery bearing the wings
of a raptor spread in flight
over a mountain smaller than the bird.
My boss, fearing my intelligence,
paid me to sleep on the sofa
and take lunch with the official

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A Private Public Space

You can’t trust lesbians. You invite them

to your party and they don’t come,
they’re too busy tending vaginal
flowers, hating football, walking their golden
and chocolate labs. X gave me a poem

in which she was in love with a woman
and the church but the church
couldn’t accept four breasts in one bed.
When I asked if our coworkers knew,

she dropped her head and I said nothing
for years until this morning I realized
no one reads poems: my secrets and hers
are safe in verse. I knew she’d have enjoyed

the Beaujolais and I want to meet Dianne,
Mona Lisa, Betty, Alice,
the name’s been changed

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Calling Him Back from Layoff

I called a man today. After he said
hello and I said hello came a pause
during which it would have been

confusing to say hello again so I said
how are you doing and guess what, he said
fine and wondered aloud how I was

and it turns out I’m OK. He
was on the couch watching cars
painted with ads for Budweiser follow cars

painted with ads for Tide around an oval
that’s a metaphor for life because
most of us run out of gas and settle

for getting drunk in the stands
and shouting at someone in a t-shirt
we want kraut on our dog. I said

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Other Lives And Dimensions And Finally A Love Poem

My left hand will live longer than my right. The rivers
of my palms tell me so.
Never argue with rivers. Never expect your lives to finish
at the same time. I think

praying, I think clapping is how hands mourn. I think
staying up and waiting
for paintings to sigh is science. In another dimension this
is exactly what's happening,

it's what they write grants about: the chromodynamics
of mournful Whistlers,
the audible sorrow and beta decay of Old Battersea Bridge.
I like the idea of different

theres and elsewheres, an Idaho known for bluegrass,
a Bronx where people talk
like violets smell. Perhaps I am somewhere patient, somehow
kind, perhaps in the nook

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Feeling The Draft

We were young and it was an accomplishment
to have a body. No one said this. No one
said much beyond “throw me that sky” or
“can the lake sleep over?” The lake could not.
The lake was sent home and I ate too many
beets, went around with beet-blood tongue
worrying about my draft card-burning brother
going to war. Other brothers became holes
at first base at war, then a few holes
Harleying back from war in their always
it seemed green jackets with pockets galore
and flaps for I wondered bullets, I wondered
how to worship these giants. None of them
wanted to talk to me or anyone it seemed
but the river or certain un-helmeted curves
at high speed, I had my body
and flung it over branches and fences
toward my coming sullenness as the gravity
of girls’ hips began and my brother
marched off to march against the war.

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