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LIFE ON MARS
BOOKS BY TRACY K. SMITH
The Body’s Question
Duende
Life on Mars
LIFE ON MARS
POEMS
TRACY K. SMITH
GRAYWOLF PRESS
Copyright © 2011 by Tracy K. Smith
The author and Graywolf Press have provided this e-book to you for your personal use only. You may not make this e-book publicly available in any way. Copyright infringement is against the law. If you believe the copy of this e-book you are reading infringes on the author’s copyright, please notify Graywolf Press at: us.macmillanusa.com/piracy.
This publication is made possible by funding provided in part by a grant from the Minnesota State Arts Board, through an appropriation by the Minnesota State Legislature, a grant from the National Endowment for the Arts, and private funders. Significant support has also been provided by Target; the McKnight Foundation; and other generous contributions from foundations, corporations, and individuals. To these organizations and individuals we offer our heartfelt thanks.
Published by Graywolf Press
250 Third Avenue North, Suite 600
Minneapolis, Minnesota 55401
All rights reserved.
www.graywolfpress.org
Published in the United States of America
ISBN 978-1-55597-584-5
Ebook ISBN 978-1-55597-659-0
10 12 14 16 15 13 11 9
Library of Congress Control Number: 2011920674
Cover design: Kyle G. Hunter
Cover photo: “Cone Nebula Close Up” © STScI
for Raf
CONTENTS
The Weather in Space
ONE
Sci-Fi
My God, It’s Full of Stars
The Universe Is a House Party
The Museum of Obsolescence
Cathedral Kitsch
At Some Point, They’ll Want to Know What It Was Like
It & Co.
The Largeness We Can’t See
Don’t You Wonder, Sometimes?
Savior Machine
The Soul
The Universe: Original Motion Picture Soundtrack
TWO
The Speed of Belief
It’s Not
THREE
Life on Mars
Solstice
No-Fly Zone
Challenger
Ransom
They May Love All That He Has Chosen and Hate All That He Has Rejected
FOUR
The Universe as Primal Scream
Everything That Ever Was
Aubade
Field Guide
Eggs Norwegian
The Good Life
Willed in Autumn
Song
Alternate Take
Sacrament
When Your Small Form Tumbled into Me
Us & Co.
LIFE ON MARS
THE WEATHER IN SPACE
Is God being or pure force? The wind
Or what commands it? When our lives slow
And we can hold all that we love, it sprawls
In our laps like a gangly doll. When the storm
Kicks up and nothing is ours, we go chasing
After all we’re certain to lose, so alive—
Faces radiant with panic.
ONE
SCI-FI
There will be no edges, but curves.
Clean lines pointing only forward.
History, with its hard spine & dog-eared
Corners, will be replaced with nuance,
Just like the dinosaurs gave way
To mounds and mounds of ice.
Women will still be women, but
The distinction will be empty. Sex,
Having outlived every threat, will gratify
Only the mind, which is where it will exist.
For kicks, we’ll dance for ourselves
Before mirrors studded with golden bulbs.
The oldest among us will recognize that glow—
But the word sun will have been re-assigned
To a Standard Uranium-Neutralizing device
Found in households and nursing homes.
And yes, we’ll live to be much older, thanks
To popular consensus. Weightless, unhinged,
Eons from even our own moon, we’ll drift
In the haze of space, which will be, once
And for all, scrutable and safe.
MY GOD, IT’S FULL OF STARS
1.
We like to think of it as parallel to what we know,
Only bigger. One man against the authorities.
Or one man against a city of zombies. One man
Who is not, in fact, a man, sent to understand
The caravan of men now chasing him like red ants
Let loose down the pants of America. Man on the run.
Man with a ship to catch, a payload to drop,
This message going out to all of space…. Though
Maybe it’s more like life below the sea: silent,
Buoyant, bizarrely benign. Relics
Of an outmoded design. Some like to imagine
A cosmic mother watching through a spray of stars,
Mouthing yes, yes as we toddle toward the light,
Biting her lip if we teeter at some ledge. Longing
To sweep us to her breast, she hopes for the best
While the father storms through adjacent rooms
Ranting with the force of Kingdom Come,
Not caring anymore what might snap us in its jaw.
Sometimes, what I see is a library in a rural community.
All the tall shelves in the big open room. And the pencils
In a cup at Circulation, gnawed on by the entire population.
The books have lived here all along, belonging
For weeks at a time to one or another in the brief sequence
Of family names, speaking (at night mostly) to a face,
A pair of eyes. The most remarkable lies.
2.
Charlton Heston is waiting to be let in. He asked once politely.
A second time with force from the diaphragm. The third time,
He did it like Moses: arms raised high, face an apocryphal white.
Shirt crisp, suit trim, he stoops a little coming in,
Then grows tall. He scans the room. He stands until I gesture,
Then he sits. Birds commence their evening chatter. Someone fires
Charcoals out below. He’ll take a whiskey if I have it. Water if I don’t.
I ask him to start from the beginning, but he goes only halfway back.
That was the future once, he says. Before the world went upside down.
Hero, survivor, God’s right hand man, I know he sees the blank
Surface of the moon where I see a language built from brick and bone.
He sits straight in his seat, takes a long, slow high-thespian breath,
Then lets it go. For all I know, I was the last true man on this earth. And:
May I smoke? The voices outside soften. Planes jet past heading off or back.
Someone cries that she does not want to go to bed. Footsteps overhead.
A fountain in the neighbor’s yard babbles to itself, an
d the night air
Lifts the sound indoors. It was another time, he says, picking up again.
We were pioneers. Will you fight to stay alive here, riding the earth
Toward God-knows-where? I think of Atlantis buried under ice, gone
One day from sight, the shore from which it rose now glacial and stark.
Our eyes adjust to the dark.
3.
Perhaps the great error is believing we’re alone,
That the others have come and gone—a momentary blip—
When all along, space might be choc-full of traffic,
Bursting at the seams with energy we neither feel
Nor see, flush against us, living, dying, deciding,
Setting solid feet down on planets everywhere,
Bowing to the great stars that command, pitching stones
At whatever are their moons. They live wondering
If they are the only ones, knowing only the wish to know,
And the great black distance they—we—flicker in.
Maybe the dead know, their eyes widening at last,
Seeing the high beams of a million galaxies flick on
At twilight. Hearing the engines flare, the horns
One notch below bedlam, like a radio without a dial.
Wide open, so everything floods in at once.
And sealed tight, so nothing escapes. Not even time,
Which should curl in on itself and loop around like smoke.
So that I might be sitting now beside my father
As he raises a lit match to the bowl of his pipe
For the first time in the winter of 1959.
4.
In those last scenes of Kubrick’s 2001
When Dave is whisked into the center of space,
Which unfurls in an aurora of orgasmic light
Before opening wide, like a jungle orchid
For a love-struck bee, then goes liquid,
Paint-in-water, and then gauze wafting out and off,
Before, finally, the night tide, luminescent
And vague, swirls in, and on and on….
In those last scenes, as he floats
Above Jupiter’s vast canyons and seas,
Over the lava strewn plains and mountains
Packed in ice, that whole time, he doesn’t blink.
In his little ship, blind to what he rides, whisked
Across the wide-screen of unparcelled time,
Who knows what blazes through his mind?
Is it still his life he moves through, or does
That end at the end of what he can name?
On set, it’s shot after shot till Kubrick is happy,
Then the costumes go back on their racks
And the great gleaming set goes black.
5.
When my father worked on the Hubble Telescope, he said
They operated like surgeons: scrubbed and sheathed
In papery green, the room a clean cold, and bright white.
He’d read Larry Niven at home, and drink scotch on the rocks,
His eyes exhausted and pink. These were the Reagan years,
When we lived with our finger on The Button and struggled
To view our enemies as children. My father spent whole seasons
Bowing before the oracle-eye, hungry for what it would find.
His face lit-up whenever anyone asked, and his arms would rise
As if he were weightless, perfectly at ease in the never-ending
Night of space. On the ground, we tied postcards to balloons
For peace. Prince Charles married Lady Di. Rock Hudson died.
We learned new words for things. The decade changed.
The first few pictures came back blurred, and I felt ashamed
For all the cheerful engineers, my father and his tribe. The second time,
The optics jibed. We saw to the edge of all there is—
So brutal and alive it seemed to comprehend us back.
THE UNIVERSE IS A HOUSE PARTY
The universe is expanding. Look: postcards
And panties, bottles with lipstick on the rim,
Orphan socks and napkins dried into knots.
Quickly, wordlessly, all of it whisked into file
With radio waves from a generation ago
Drifting to the edge of what doesn’t end,
Like the air inside a balloon. Is it bright?
Will our eyes crimp shut? Is it molten, atomic,
A conflagration of suns? It sounds like the kind of party
Your neighbors forget to invite you to: bass throbbing
Through walls, and everyone thudding around drunk
On the roof. We grind lenses to an impossible strength,
Point them toward the future, and dream of beings
We’ll welcome with indefatigable hospitality:
How marvelous you’ve come! We won’t flinch
At the pinprick mouths, the nubbin limbs. We’ll rise,
Gracile, robust. Mi casa es su casa. Never more sincere.
Seeing us, they’ll know exactly what we mean.
Of course, it’s ours. If it’s anyone’s, it’s ours.
THE MUSEUM OF OBSOLESCENCE
So much we once coveted. So much
That would have saved us, but lived,
Instead, its own quick span, returning
To uselessness with the mute acquiescence
Of shed skin. It watches us watch it:
Our faulty eyes, our telltale heat, hearts
Ticking through our shirts. We’re here
To titter at the gimcracks, the naïve tools,
The replicas of replicas stacked like bricks.
There’s green money, and oil in drums.
Pots of honey pilfered from a tomb. Books
Recounting the wars, maps of fizzled stars.
In the south wing, there’s a small room
And he’ll describe the old beliefs. If you
Laugh, he’ll lower his head to his hands
And sigh. When he dies, they’ll replace him
With a video looping on ad infinitum.
Special installations come and go. “Love”
Was up for a season, followed by “Illness,”
Concepts difficult to grasp. The last thing you see
(After a mirror—someone’s idea of a joke?)
Is an image of the old planet taken from space.
Outside, vendors hawk t-shirts, three for eight.
CATHEDRAL KITSCH
Does God love gold?
Does He shine back
At Himself from walls
Like these, leafed
In the earth’s softest wealth?
Women light candles,
Pray into their fistful of beads.
Cameras spit human light
Into the vast holy dark,
And what glistens back
Is high up and cold. I feel
Man here. The same wish
That named the planets.
Man with his shoes and tools,
His insistence to prove we exist
Just like God, in the large
And the small, the great
And the frayed. In the chords
That rise from the tall brass pipes,
And the chorus of crushed cans
Someone drags over cobbles
In the secular street.
AT SOME POINT, THEY’LL WANT TO KNOW WHAT IT WAS LIKE
There was something about how it felt. Not just the during—
That rough churn of bulk and breath, limb and tooth, the mass of us,
The quickness we made and rode—but mostly the before.
The waiting, knowing what would become. Pang. Pleasure then pain.
Then the underwater ride of after. Thrown-off like a coat over a bridge.
&
nbsp; Somehow you’d just give away what you’d die without. You just gave.
The best was having nothing. No hope. No name in the throat.
And finding the breath in you, the body, to ask.
IT & CO.
We are a part of It. Not guests.
Is It us, or what contains us?
How can It be anything but an idea,
Something teetering on the spine
Of the number i? It is elegant
But coy. It avoids the blunt ends
Of our fingers as we point. We
Have gone looking for It everywhere:
In Bibles and bandwidth, blooming
Like a wound from the ocean floor.
Still, It resists the matter of false vs. real.
Unconvinced by our zeal, It is un-
Appeasable. It is like some novels:
Vast and unreadable.
THE LARGENESS WE CAN’T SEE
When our laughter skids across the floor
Like beads yanked from some girl’s throat,
What waits where the laughter gathers?
And later, when our saw-toothed breaths
Lay us down on a bed of leaves, what feeds
With ceaseless focus on the leaves?
It’s solid, yet permeable, like a mood.
Like God, it has no face. Like lust,
It flickers on without a prick of guilt.
We move in and out of rooms, leaving
Our dust, our voices pooled on sills.
We hurry from door to door in a downpour
Of days. Old trees inch up, their trunks thick
With new rings. All that we see grows
Into the ground. And all we live blind to
Leans its deathless heft to our ears
and sings.
DON’T YOU WONDER, SOMETIMES?
1.
After dark, stars glisten like ice, and the distance they span