Author: Robert Reeves

We proceed further back in time to the beginning of 1968.  I can remember all of this poem except the final verse.  I know there was one, & that it probably contained the word “opposites,” but that’s it.  The only thing that saves this from being a complete piece of shit is its deliciously clever rhyme scheme.  The content’s kinda Blakean, or intended as such.  I don’t have the title.


Without, within, the symbols spin

throughout the sky, until they spill

on Man, and cause his brain to pause

and start to kill.


The man steps down into the town

bearing a mighty case of steel,

the angry rod which faceless God

too cannot feel.


The casing speaks! the terror seeks

no more, but glories in the skin

of Heaven’s might.  To his delight

the brand is in.


So branded we are, you must see

that here-and-there must be our plight,

as new is old, as heat is cold,

as day is night.

Written in 1968 when I was not quite 16, this is another poem I’m very fond of, which sucks.  I love the way it sounds—so oracular & intense—but all the images are so private, they can’t possibly convey any meaning to anyone but me (& maybe to a couple other people who were around at the time, but I doubt it).  If any of you wanna take a stab at explaining them, I’ll send you a copy of my play Odysseus among the Suitors, which tells the same story in plain English.  The occasion for the poem was my return to the Boston area after a year in the West, to reencounter my former circle of friends & former girlfriend.  Everyone had moved on, including me, but I was still refusing to accept it.  “The Regret” is a second-draft title, & again, I don’t recall what the first one was.  I’m not sure, but I think “Eber” in part II is another name for the goddess of Change in part I.  Part II has the same rhyme scheme as Dylan Thomas’ “Author’s Prologue”—the first line rhymes with the last, the second with the next-to-last, & so on.


The Regret



Caught in arms, the arms, the woman

whose name is Change.

Two seats across, the window:

over the river,

spelled in adrenaline garlands at last,

Land City’s length at the second sitting,

flower-wassail over the river.


The woman, Change

will see you airborne,

your wrinkled byword

bastard of the gun.


Land City, workingpart of

the great machine—his, that’s yet the way

his was.  Unthinkable that she should come to that:

we have been alive

as long as alive has been alive,

she, reaping what fancy sends her,

bellied by strife, by Plan’s edges.


The chip-golden skylark

slashed to the logical fronts,

planed to feign

what externity was known.


In the century seventeen castle’s lady

looked like followings of dark dream,

cool to the touch which comforts with warmth,

fur white, sense of a myriad marble,

the cool anterooms of the outlook.


O as in the pit

I know what is the spasm

of what is beholding

my outstretched words.


You sat on the step.

I’m sorry I’ve seen you, you’re sorry I’m lost.

The blessing I offer for yours, O yours:

the blessing for what was once

dream-music, what was the moon’s infant,

become a rich and scarlet shadow

borne by phrases into the scarlet shadow.


Land City

come I to your threshold

often yet to cross

what is missing.


It remains to tell of childhood,

of this the donning of a baptist’s cape,

to twice affront the pleasure-columns

soft in earth’s appointment,

soft in a woman’s will for the reason

and struck upon gold-bordered homes.


Where have I left them

What can we

now become, but

seagull fragments?



The heavier God is past the arm

aloft with the pointing, east and fro,

to gather the closèd ring of space

in what I can travel;  then, pursue

the woman while wrestling at her face,

until solemn Future rays the crown

onto Eber’s omen, castle-caught.

My violence is good to blacken sheets

but so would be more to present light

that thin crescent-spot of rose-hue stain

imprinted thereon, more crime contain.

I’ll use safe medallions for my sight,

who’ll bear me along your pushing streets

and not then forsake me what I sought.

Eber, and the willer’s face is down,

my midnight arises on your face,

a conductor slapped by woman’s cue.

And all graces then, do they erase

the symbol of shock’s blue vertigo,

and suspend the spiral from alarm?

My old friend Henry, still in the Fold, thinks the Holy Spirit prompted me to remember yesterday’s poem.  Actually it’s always been part of my word-hoard (except for the title) as a poem I consider flawed but like anyway.  Going backward, still from my Catholic period but a year or so earlier, another rhymed poem (both endrhymed & internally), outrageously Hopkinsian or Charles Williams-ish, a pentameter sonnet in fact, to celebrate the wedding of two friends I met through Henry, one of whom has gone on to some modest success as an SF-fantasy author.  The title is the church in Ann Arbor, MI where the event took place.  Several chalices of wine were consecrated at once so everyone present could take communion “under both kinds.”  I was gonna say the meter limps in line 12, but it rather exceeds itself:  I’ve always read it as a hexameter, but never counted till today.  That “held shadowed hand” in the next line—trying to include both active & passive meanings of “held” by leaving out the “in”—is of course a blatant Hopkins ripoff.


St. Mary’s Chapel


The flame was in the starlight round the cups.

The cups turned up to face the flame.  The ground

concreted shouted steady hale.  Baled in a name

were sheaves of shadows waiting on the feast.

The least held high hope-glory, and hope’s priest

with hands like tongues red-tongued the cups with wine.

The Light and Line that cupped the circles full

looked, liked, and apprehended—took to sup

the friends that lightened.  Him they supped and sang.

Cup-calling, filling future round them rang.

Their bread in bowls was mounted up for souls.

While they took, each looked:  he found his own,

he found his food and friend held shadowed hand.

The company of stars lit up his land.

Last night I found myself reciting a forty-year-old poem in my head, a poem not written down anywhere (till now), a rhyming poem (& those 0f you who know me know how opposed to the use of traditional forms I am), a Christian poem (& again, you who know me know I am if anything violently anti-Christian), written at the Monastery of Christ in the Desert in Chama Canyon near Abiquiu, NM, at a time when I was seriously – though briefly – considering joining this branch of the Benedictine order, in July or thereabouts, 1972.  The poem’s title might be “Chama Canyon,” but it seems to me that was a replacement title, the original being lost in the mists of my odd memory.  I type it here for curiosity value & also because I think a few lines are fine poetry.  A lot of it, to be sure, makes me wince:  I would no longer, even if my life were threatened, put the words “girth” or “orison” in a poem, or use the impersonal “needs” which doesn’t agree with its ostensible plural subject.  It wasn’t the “beams” of the cross that pierced Jesus’ wrists either, it was nails through the beams.  Oh well.  The poem refers to the custom of gathering around a crude wooden statue of Mary at the end of the Compline service (the last liturgical hour of the day) & singing the Salve Regina, a beautiful poem in its own right.


Chama Canyon


These hills are hoed day after day,

a bit of work for bits of food.

In chapel after, rise to pay

rememberance to a bit of wood,

no longer life that leaned to wave

its bands of leaves by breezes swirled,

but meaning other life, which gave

a mother’s pity to the world.

From girth of carven log she looks

and wraps with love their orison

who move from work to psalter-books,

each one a thorn to crown her Son.

We offspring of the Spirit’s spouse,

whose beams have bored the eagle wrists,

we may not fly or flee this house

the while this round of life persists:

this while these wings must be for toil,

and pinions needs be bent to brood

on sprigs that straggle in the soil,

a bit of work for bits of food.