The Yellow Swan

after James Merrill

At noon the pedaled swans afloat midstream
………. ………. or parked at the water’s rim
find the boy first in line or there before
there is a line, and always the nice boatman
lets him mount his favorite ride, whose name
………. ………. outwits both rust and wear.
………. He whispers: I love you Yellow Swan,

a secret he knows better than to share
………. ………. save in the hollow ear-
like curve of that arched neck whose bright reflection
breaks on rings of water as he climbs
between the wings and pedals from the pier,
………. ………. a young boy full of questions
………. weighing him down. The river foams,

For Grandfather

And then a rock dove, astonished midair, dove
from its own ghost that stamped upon the pane,
in dovetailed detail, a short-lived afterlife
before it all came avalanching down
and I was left to split the difference
between transparence and sheer emptiness.
Lifting a palm, I spread it on the pane

of your still-lifted palm, spreading in pain
behind the far side of the fading moon
of breath now misting up the wall of glass
which splits the terminal in half. Isfahan
nesfe jahan, you’d boast, lifting a glass.
If you’ve seen Isfahan, then you’ve seen half
the world. I’ll see you in the other half.

Composition with Red, Blue and Yellow

after Piet Mondrian

Some lines, right angles, and the primary colors
make out of almost nothing something lasting.
He’s found a new common denominator

in the poverty of paint. Sick of the clutter
of the particular, why not try fasting
on angles, lines, and just the primary colors?

Who says that you need God, a dubious smile, or
even lovers always sadly parting,
to find it art? The common denominator

between success and failure, fear and valor,
Russian and German, or you and me, looks something
like these lines and angles. The three colors