after making love :: stephen dunn

No one should ask the other
“What were you thinking?”

No one, that is,
who doesn’t want to hear about the past

and its inhabitants,
or the strange loneliness of the present

filled, even as it may be, with pleasure,
or those snapshots

of the future, different heads
on different bodies.

Some people actually desire honesty.
They must never have broken

into their own solitary houses
after having misplaced the key,

never seen with an intruder’s eyes
what is theirs.

emergings :: stephen dunn

Let’s say men and women begin
as slime, and some of us crawl
out of the sea, and fall into circumstance
fraught with danger, and cannot survive,
but do, slithering into a cave
where the stories evolve, first as pictures
on the walls, then as grunts that turn
into something like words. For years,
though, biology reigns. Our bodies go
this way or that. Our culinary wisdom
is to eat more than get eaten.
Our good sense is to follow a guess.
Let’s say sometimes the accidental
is the beginning of possibility.
We discover that when we’re most afraid,
when catastrophe looms, opportunities abound.
We learn the power of slings and stones.
And the best storyteller emerges
from all of those wishing to explain.
Let’s say he knows we need someone
to admire, and says a hero is a person
who blunders into an open cave,
and that it takes courage to blunder.
Let’s say he also says something about
the beauty of slime. His story lives
for a while because of its memorable turns,
its strange moral fervor, while the others’—
merely accurate and true—disappear.

happiness :: stephen dunn

A state you must dare not enter
   with hopes of staying
quicksand in the marshes, and all

the roads leading to a castle
   that doesn’t exist.
But there it is, as promised,

with its perfect bridge above
   the crocodiles
and its doors forever open.

sweetness :: stephen dunn

Just when it has seemed I couldn’t bear
   one more friend
waking with a tumor, one more maniac

with a perfect reason, often a sweetness
   has come
and changed nothing in the world

except the way I stumbled through it,
   for a while lost
in the ignorance of loving

someone or something, the world shrunk
   to mouth-size,
hand-size, and never seeming small.

I acknowledge there is no sweetness
   that doesn’t leave a stain,
no sweetness that’s ever sufficiently sweet ….

Tonight a friend called to say his lover
   was killed in a car
he was driving. His voice was low

and guttural, he repeated what he needed
   to repeat, and I repeated
the one or two words we have for such grief

until we were speaking only in tones.
   Often a sweetness comes
as if on loan, stays just long enough

to make sense of what it means to be alive,
   then returns to its dark
source. As for me, I don’t care

where it’s been, or what bitter road
   it’s traveled
to come so far, to taste so good.

Courtesy of A.S.

history :: stephen dunn

It’s like this, the king marries
a commoner, and the populace cheers.
She doesn’t even know how to curtsy,
but he loves her manners in bed.
Why doesn’t the king do what his father did,
the king’s mother wonders—
those peasant girls brought in
through that secret entrance, that’s how
a kingdom works best. But marriage!
The king’s mother won’t come out
of her room, and a strange democracy
radiates throughout the land,
which causes widespread dreaming,
a general hopefulness. This is,
of course, how people get hurt,
how history gets its ziggy shape.
The king locks his wife in the tower
because she’s begun to ride
her horse far into the woods.
How unqueenly to come back
to the castle like that,
so sweaty and flushed. The only answer,
his mother decides, is stricter rules—
no whispering in the corridors,
no gaiety in the fields.
The king announces his wife is very tired
and has decided to lie down,
and issues an edict that all things yours
are once again his.
This is the kind of law
history loves, which contains
its own demise. The villagers conspire
for years, waiting for the right time,
which never arrives. There’s only
that one person, not exactly brave,
but too unhappy to be reasonable,
who crosses the moat, scales the walls.

the imagined :: stephen dunn

If the imagined woman makes the real woman
seem bare-boned, hardly existent, lacking in
gracefulness and intellect and pulchritude,
and if you come to realize the imagined woman
can only satisfy your imagination, whereas
the real woman with all her limitations
can often make you feel good, how, in spite
of knowing this, does the imagined woman
keep getting into your bedroom, and joining you
at dinner, why is it that you always bring her along
on vacations when the real woman is shopping,
or figuring the best way to the museum?

                                    And if the real woman

has an imagined man, as she must, someone
probably with her at this very moment, in fact
doing and saying everything she’s ever wanted,
would you want to know that he slips in
to her life every day from a secret doorway
she’s made for him, that he’s present even when
you’re eating your omelette at breakfast,
or do you prefer how she goes about the house
as she does, as if there were just the two of you?
Isn’t her silence, finally, loving? And yours
not entirely self-serving? Hasn’t the time come,

               once again, not to talk about it?

thoughts from the poet via The New Yorker

the room :: stephen dunn

The room has no choice.
Everything that’s spoken in it
it absorbs. And it must put up with

the bad flirt, the overly perfumed,
the many murderers of mood—
with whoever chooses to walk in.

If there’s a crowd, one person
is certain to be concealing a sadness,
another will have abandoned a dream,

at least one will be a special agent
for his own cause. And always
there’s a functionary,

somberly listing what he does.
The room plays no favorites.
Like its windows, it does nothing

but accommodate shades
of light and dark. After everyone leaves
(its entrance, of course, is an exit),

the room will need to be imagined
by someone, perhaps some me
walking away now, who comes alive

when most removed. He’ll know
from experience how deceptive
silence can be. This is when the walls

start to breathe as if reclaiming the air,
when the withheld spills forth,
when even the chairs start to talk.