Wanted something, lost it,then found it in the yield curve,sensed the future’s plotted swoonor swag, one lone drunk sippingfrom the mermaid fountain,dark rush of clockscome to coerce evening,that misnomer—show me the daythat really ended at the level.I view the graph from above.It’s a line now,last red streak in the skybefore some recession settlesbeneath the concrete benchesof the esplanade. It’s cold.A couple leans on the rail.Are they taking a picture, or lookingat a picture they’ve just taken?Orange vesters clog the path ahead.To be safely seen or out to sell?I want to know exactly whatI’m staring at. Neon blue signin the window of the vision clinic.Song from shop speakers as I pass,one of those gold standards in whichlove must have been invented.I’m down here below the city,above water, climbing into the arcadewhere I refuse to make a purchase.I’m not carrying anything home tonight.No one I know is sick enoughfor balloons, or if they’re sick,they’re not telling. Of course,the answer’s always flowers.Who wouldn’t mind some lifein this room the leaves blow into?What do you call it? Some say foyer,but it’s nothing so romantic, just one doorwith another door beyond it.
Greenspan
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- May 9, 2023
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“Greenspan” from WE SAILED ON THE LAKE: by Bill Carty.
Published by BUNNY on May 09, 2023.
Copyright © 2023 by Bill Carty.
All rights reserved.
Reproduced by Poetry Daily with permission.
Bill Carty is the author of Huge Cloudy (Octopus Books, 2019), which was long-listed for The Believer Book Award.
His poems have appeared in the 32 Poems, Best American Poetry, Denver Quarterly, Iterant, jubilat, Kenyon Review, Paperbag, and other journals. He has received poetry fellowships from the Fine Arts Work Center in Provincetown, Artist Trust, Hugo House, and was awarded the Emily Dickinson Award from the Poetry Society of America.
Originally from coastal Maine, Bill now lives in Seattle, where he is Senior Editor at Poetry Northwest. He teaches at Hugo House, the UW Robinson Center for Young Scholars, and Edmonds College.
We Sailed on the Lake, Bill Carty’s second collection of poetry, consists of lyrics of spiraling awareness. As a signal lamp, unused, mirrors the sky, these poems reflect approaching storms, near-misses, and the violence inherent in nature, country, and economy.
The poems in We Sailed on the Lake are closely observed, finding unexpected affinities within urban and natural environments alike. As one poem states, “to cross the lake / you’ve got to make each step / pertain to the water,” and these poems explore relationality in many forms, moving from gentrifying cities to coastal beaches, from the sculptures of antiquity to YouTube searches, cataloging passing days “of which light is the measure.”
Alternating longer, occasionally narrative poems with short lyrics, this collection plays with time and ideas of promise, from youth to parenthood, noting how the self negotiates the artifices, be they technological or of self-design, that infringe upon reality and experience.
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