Reel to Reel, Alan Shapiro’s twelfth collection of poetry, moves outward from the intimate spaces of family and romantic life to embrace not only the human realm of politics and culture but also the natural world, and even the outer spaces of the cosmos itself. In language richly nuanced yet accessible, these poems inhabit and explore fundamental questions of existence, such as time, mortality, consciousness, and matter. How did we get here? Why is there something rather than nothing? How do we live fully and lovingly as conscious creatures in an unconscious universe with no ultimate purpose or destination beyond returning to the abyss that spawned us? Shapiro brings his humor, imaginative intensity, characteristic syntactical energy, and generous heart to bear on these ultimate mysteries. In ways few poets have done, he writes from a premodern, primal sense of wonder about our postmodern world.
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Acknowledgments, ix,
ONE,
Wherever My Dead Go When I'm Not Remembering Them, 3,
Reel to Reel, 4,
The Family Bed, 7,
Wave, 8,
The Gate, 10,
Aging Lovers, 12,
The Cave, 14,
Thought Experiment, 16,
On Thumbing through Smith's Recognizable Patterns of Human Malformation, 18,
Taung Child, 21,
Gravity, 22,
In Winter, 24,
Disaster Movies, 26,
Beach Towel, 28,
Law of Motion, 30,
Absolute Zero, 32,
You, 34,
Emissary, 36,
Dialogue, 38,
TWO,
Homeric Turns, 43,
THREE,
The Bridge, 59,
Politics, 61,
Angel, 64,
The Open Door, 65,
Grace, 66,
Spooky Action at a Distance, 68,
Phantom, 70,
Saint Christopher, 71,
Whatever Else They're Singing, 72,
Scatter, 74,
Sun, 75,
The Not Lord, 76,
WHEREVER MY DEAD GO WHEN I'M NOT
REMEMBERING THEM
Not gone, not here, a fern trace in the stone
of living tissue it can somehow flourish from;
or the dried up channel and the absent current;
or maybe it's like a subway passenger
on a platform in a dim lit station late
at night between trains, after the trains have stopped—
ahead only the faintest rumbling of
the last one disappearing, and behind
the dark you're looking down for any hint
of light—where is it? why won't it come? you
wandering now along the yellow line,
restless, not knowing who you are, or even
where until you see it, there it is,
approaching, and you hurry to the spot
you don't know how you know is marked
for you, and you alone, as the door slides open
into your being once again my father,
my sister or brother, as if nothing's changed,
as if to be known were the destination.
Where are we going? What are we doing here?
you don't ask, you don't notice the blur of stations
we're racing past, the others out there watching
in the dim light, baffled,
who for a moment thought the train was theirs.
REEL TO REEL
Passed on to me after my brother's death,
My name in marker on the see-through plastic
Of the giant reel, on which the melody
But not the words of "Jeepers Creepers" breaks off
Halfway across the bridge into my voice
At nine, with two friends on the tape, three boys,
Three voices on the tape, three high-pitched in-
Distinguishable voices hamming it up
Together on some day I can't remember
In a far corner of the playroom where
My brother every evening sang the words
While the tape recorder played the melody,
Every evening no matter how tired he was,
No matter what else he needed to be doing,
Or wanted to do, despite the pleas, the sulks,
The tantrums, because he had a gift, she said,
And, fine, if he didn't want to honor it, fine,
His choice, he could kiss it goodbye, for all she cared,
But one day he'll realize what he's lost, one day
He'll wish he'd listened to her—one day, that one
Day each day shaken at him like a club.
Which voice is mine? Who's there with me? What's left
Of that day, of any day of all those years
In the cramped house: two reels, one thin, one fat,
And brown tape threaded through the housing, which,
When you hit record, sounded (if you said nothing)
Like water rushing far off underground,
Turning the reels too slow to ever see
The thin one fatten or the fat one thin.
And "Jeepers Creepers"—that was his specialty,
His show stopper, what he always opened with,
Her little Mel Tormé, her Buddy Greco,
So cute, so sexless, she could eat him up,
When he was on stage: the adorable red blazer
With bright white piping on the lapel, white pants,
White patent leather tap shoes, straw hat, and cane.
I see him when I hear the melody,
And somehow I hear every word he sang,
But not him singing on those evenings half
A century away, no single one
Of which I can remember anymore.
"Where'd you get those peepers, jeepers creepers,
Where'd you get those eyes" that hated me
Every evening as they couldn't not
Because I didn't have a voice or gift
To be alone inside the spotlight of,
No fear of any day that lay in wait
To make me sorry. "Gosh oh git up
How'd they get so lit up ... how'd they get that size ..."
The slow reels changed without appearing to.
"Woe, woe, woe is me, got to get my cheaters on"
The moment when the tune breaks into nothing,
No words, no music, the hush a sound of water
Rushing underground, until a boy
Laughs while two others wrestle for the mic,
And then all three are laughing, hamming it up—
"Heavens to Mergatroid!" "A wise guy, hey!"
Just that, those seconds, "gosh oh gee oh," just
The voices of a ghostly slapstick now
From reel to reel to ferry us across.
THE FAMILY BED
My sister first and then my brother woke
Inside the house they dreamed, and so the dream
House, which, in my dream, was the house in which
I found them now, was vanishing as they woke,
Was swallowing itself the way the picture did
Inside the switched off...
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