http://www.albany.edu/offcourse 
         http://offcourse.org
         ISSN 1556-4975
		
Published by Ricardo and Isabel Nirenberg since 1998
quite like any other fountain, 
          the pumas and eagles quite like others,
          our children, galloping across that August, quite like any other children – but no, no,
          they are the transilluminating forces we see by, see
          the rapture hidden like a Constantinople ruby in our rib cages, 
          while other children merely absorb sun,
          and you quite like other women, but, but,
          other women bring down kingdoms, sell real estate,
          think of their toenails upon waking,
          other women negotiate with pope-kings,
          other women do not wince as mustache hairs graze their labia but forbid me to shave,
          other women are strangers,
          they have not given some other 17 years
          to me, primed me with sweet oil,
          as if washing down an old Cutlass
        in preparation for a longer voyage.
Everyone has their own volcano
          into which loathed enemies are shoved.
          Their own octopus escape plan.
          Their own anxious relationship with blenders.
          Their own ardor for the airplane emergency exit door handle.
          Their own fear of certain dreams, which, c’mon,
          is like fearing a movie or a theme park ride,
          but we all know people who, yeah, do.
          Everyone loves a different gun,
          a different bullet, models of machete and torch.
          There’s no telling what anyone will do,
          choose vanilla over mocha, evil over
          not-so-evil, Montana over Miami.
          My accountant speaks a language only he knows.
          Over over under, up over underneath.
          Everyone has their own ideas about wild pigs.
          Just pigs, right?, we love barbecue and bacon, but
          these tusked beasts, they’ll gut you in the woods
          with a single jackknife throw of their
          head-torso-haunch artillery, a single thrash
          of angry pig muscle and teeth you never
          saw coming, you thought it was merely
          something we’d have no problem cutting up,
          smoking, frying, and having with bagels
        and mimosas.
Of all things I wish 
          I’d realized that Santa was a ghost,
          the GI Joes were ectoplasmic residue,
          the Douglas fir was the cry of the poltergeist
          (German: poltern = “to crash about,” 
          drunkenly perhaps, or 
          dizzy from shock, + Geist = “ghost” but also 
          spirit, mind, will, unexpressed essence, 
          left to wander and ricochet),
          because belief is white bread 
          in the belly before bed.
But meh – just as I could never accept
          the orphic mythology 
          of highway signs, 
          roadside memorials’ titan factor, 
          the mythopoeia of healing (blood 
          just stopping its burble 
          on its own, like a baby giraffe 
          immediately figuring out how to stand, 
          still wet from its old life). 
I couldn’t even believe in lies,
          the worlds at war 
          in the trees of Sayville, stranded 
          parachutists squabbling like crows,
          this is the semblance of what it’s like 
          to miss the old clocks, as if 
          I’d ever believe time 
          would someday be no longer measured in gears, 
but I miss books now, too, and even
          saw one recently, in an airtight museum case,
          its own little Sleeping Beauty coffin, 
          kissing strictly forbidden. Who,
I ask you, would believe 
  in a comet you could walk on,
  or a hamburger you’d just as soon not eat?
  I swear, even 
  the great bag of hammers
  I supposedly resemble 
  carries, when I look,
  the copper pipe lengths of every bathroom
  I never locked myself inside. 
Author Michael Atkinson tells us "As for me, my first book of poems, One Hundred Children Waiting for a Train (Word Works, 2001), won the Washington Prize. My poems have been in The Threepenny Review, Ontario Review, Crazyhorse, Prairie Schooner, New Letters, Michigan Quarterly Review, Chicago Review, and elsewhere, including the Louise Gluck-edited Best American Poetry 1993. I teach at Long Island University."