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poetry chapbook by John Samuel Tieman



Marco Polo Goes Home

Evening and it's been years. This time the harbor is called home. Finally. And at this distance it's finally clear: all who wanted him dead are dead. But the ones he loved -- a prince, the priest, a servant, the woman -- lost in all the miles. A few here remember his name; fewer still remember the day he left. Since then there's been only rumors. Rumors he's been seen in Persia. Rumors he's seen burning rocks. And for all that, he now carries only a bag, two boxes and scraps of a manuscript. One box for diamonds, one for rubies. In the bag, on the Khan's own gold he carries the Khan's safe-conduct pass.

The scraps are for the tales. The tales. But how can he tell them? How can he tell them that once he and he alone was asked by the very Khan himself to hold the golden stirrup as the Khan mounted then marched 200,000 to war, to die? Who will believe him? Who will believe in cities of millions? In rivers of vermilion jade?

He rests. He expects much. He knows he's wealthy. Still, it's been years since Venice. Children pass playing a game he doesn't recognize. It's only now he knows he's alone, that he's forgotten how to play, that he's forgotten how to go home from here, the final harbor.



Bitter Song For Her

Tonight, constellation pale as vapor,
musicians from Mazatlan singing
like a sorceress growing old ...

They sing of love, of course, which is
why I write: I brandish this planet
I stole and wait

for the echo of a tremolo;
an incantation speaks of how
the star was set by the soul of one

misloved. The gypsy knows
our self-imprisoned lives,
her ponderous bear dancing

upright at our slightest command.
And like this beast, that distant
land and its mendicants,

I sing to you of the mute siren,
the hymn of the doomed pilot's flight,
song the centurion hums

after he brings the vinegar



Aubade

Today, Phoebe, I begin a new poetry,
a simple verse.
I don't aspire
to some grand fanfare
one visits in white
and advances amid chords
of Mendelsshon's Wedding March.
I will write a poem that
begins right outside the house,
a poem that begins in the evening and,
like that path to the ancient gate, is
a crazy quiltwork of paving and moss.
I don't want a poetry that journeys
to Monte Carlo in a yacht.
I want a poem that begins
in your overgrown flowerbed and ends
in our daughter's old bike rusting in the garage;
I want to write lines that begin in
the fragrance of our freshly cut front lawn
and end in the flavor of water;
I just want a song
that begins in diminuendo
and ends with the touch of your hand.



In Winter

The schoolmaster stares out his window.
In the snow, the footprints lead
he forgets which way, in, out.
Yesterday his lover left.
The kids want to know
what's out there.



And this is how I knew I loved you.
Something told me you were near.
And suddenly, the subtle sounds,
I just knew the approach
of your high heels behind me,
that peculiar scratch
of nyloned thigh by nyloned thigh.
And I knew. I just knew.



Engagement In February

the last frost before spring
snowbirds huddle near the grate
near the dutch door

nameless
motionless birds
freeze to the wire in the sky

while we
speak of the next season
for the first time

now that we have come this far
we speak to the cold gray field
speak to the streets that named us

speak in voices the color of love
the color of the next warm rain
the color of the one road home



.
The House Poet

I pull up, pull
the brake and wonder
what brought me to this
my chores, my laundry, my
garage

I never understood
the word my
unless it modified
a periphery -- my
war, my liquor,
my passport

and now I am here in
this skin and it is true
the word home modified
by my and it is
no mistake, the grammar
perfect, each word
building
the next,
my street, my house, my wife



Copyright © 1998 by John Samuel Tieman

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