self-effacing vegetable, questioning, introspective, peeling itself away, or merely radiating halos like lake ripples. I consider it the eternal outsider, the middle child, the sad analysand of the vegetable kingdom. Glorified only in France (otherwise silent sustainer of soups & stews), unloved for itself alone—no wonder it draws our tears! Then I think again how the outer peel resembles paper, how soul & skin merge into one, how each peeling strips bare a heart which in turn turns skin…
6
A poet in a world without onions,
in a world without apples
regards the earth as a great fruit.
Far off, galaxies glitter like currants.
The whole edible universe drops
to his watering mouth…
Think of generations of mystics
salivating for the fruit of god,
of poets yearning to inhabit apples,
of the sea, that dark fruit,
closing much more quickly than a wound,
of the nameless galaxies of astronomers,
hoping that the cosmos will ripen
& their eyes will become tongues…
7
For the taste of the fruit
is the tongue’s dream,
& the apple’s red
is the passion of the eye.
8
If a woman wants to be a poet,
she must dwell in the house of the tomato.
9
It is not an emptiness,
the fruit between your legs,
but the long hall of history,
& dreams are coming down the hall
by moonlight.
10
They push up through the loam
like lips of mushrooms.
11
(Artichoke, after Child): Holding the heart base up, rotate it slowly with your left hand against the blade of a knife held firmly in your right hand to remove all pieces of ambition & expose the pale surface of the heart. Frequently rub the cut portions with gall. Drop each heart as it is finished into acidulated water. The choke can be removed after cooking.
12
(Artichoke, after Neruda)
It is green at the artichoke heart,
but remember the times
you flayed
leaf after leaf,
hoarding the pale silver paste
behind the fortresses of your teeth,
tonguing the vinaigrette,
only to find the husk of a worm
at the artichoke heart?
The palate reels like a wronged lover.
Was all that sweetness counterfeit?
Must you vomit back
world after vegetable world
for the sake of one worm
in the green garden of the heart?
13
But the poem about bananas has not yet been written. Southerners worry a lot about bananas. Their skin. And nearly everyone worries about the size of bananas, as if that had anything to do with flavor. Small bananas are sometimes quite sweet. But bananas are like poets: they only want to be told how great they are. Green bananas want to be told they’re ripe. According to Freud, girls envy bananas. In America, chocolate syrup & whipped cream have been known to enhance the flavor of bananas. This is called a banana split.
14
The rice is pregnant.
It swells past its old transparency.
Hard, translucent worlds inside the grains
open like fans. It is raining rice!
The peasants stand under oiled
rice paper umbrellas cheering.
Someone is scattering rice from the sky!
Chopper blades mash the clouds.
The sky browns like cheese soufflé.
Rice grains puff & pop open.
“What have we done to deserve this?”
the peasants cry. Even the babies
are cheering. Cheers slide from their lips
like spittle. Old men kick their clogs
into the air & run in the rice paddies
barefoot. This is a monsoon! A wedding!
Each grain has a tiny invisible parachute.
Each grain is a rain drop.
“They have sent us rice!” the mothers scream,
opening their throats to the smoke…
15
Here should be a picture of my favorite apple.
It is also a nude & bottle.
It is also a landscape.
There are no such things as still lives.
16
In general, modern poetry requires (underline one): a) more fruit; b) less fruit; c) more vegetables; d) less vegetables; e) all of the above; f) none of the above.
17
Astonishment of apples. Every fall.
But only Italians are into grapes,
calling them eggs .
O my eggs,
branching off my family tree,
my father used to pluck you,
leaving bare