To refer to your heart as The Penguinery
To bronze your heart-shaped knees
To run numbers up the flagpole
To vespertine Maria
To chia-pet the fairway and to shrinky-dink the admiral
To love your colorized body even more than the original
To knit cob-webs out of sugar cubes while the fulsome,
diegetic mergatroid
of space and time collapses
To drown in a library
To contain imaginary toads with real cherry bombs in them
To marry someone "special"
To deliver a papal bull to a Jägermeister girl
To bounce a check for veggie bacon at the local food co-op
To depants Maud Gonne or raffle off a politician, pick one
To drink its hot-dog water like a good fellow
To laminate the small of your back
To act as interim liaison to the Psychedelic Mole People
To huff on tractor fumes
To throw you in the casino pond when you've set yourself
on fire
To bootleg moonshine in a tuba
To smoke that ass
To come around for a second pass over Kankakee,
at midnight
To sew itself inside a patient
To be epicene in doorways
To page you at the ballet
To show your boyfriend something nifty,
over by the pie-safe
To define "mortician's dozen"
To age from 18 with a bullet straight to 40 at the buffet
To haul you to the Cineplex for the matinee interrogation
To watch your lips move while you read
To breathe when you breathe, sweet-pea
One of the most affecting parts of the chapter for me was the description of the wedding between Mnemosyne and Hermes - the union of tradition to ingenuity, to keep our feet in the past while looking towards the future. I thought this poem was a striking example of the two gods' virtues; the poem is structured traditionally, using lists and repetitions to achieve its music, but its actual content is unorthodox, silly, even nonsensical, seemingly chosen for fun. And yet there are snatches of legitimate tenderness and humanity tossed into the word-salad...Hermes, I'm sure, could grate on even the Olympians, but it was still he who carried their poems and love-letters.
Absolutely, Matt! This is a great example of that central relationship in the chapter. I can see the repetition and form functioning in those patterns "stitched" together that Hirshfield writes about. But there's this chaotic transformation of Hermes here as well.