Peter Ramos
New Frontier
—for John and Emily Gore
I.
Lemon furniture wax in aerosol cans.
Three pink sponges wrapped in plastic.
Cylindrical canisters of Borax.
Cracked bar of mint-colored Lava.
Gallon of floor cleaner, fluorescent green.
Plastic yellow sponge-mop with brittle pad.
Plastic orange bucket.
Laundry basket made of white plastic strips, woven,
embroidered with dyed rubber daises.
Blue Tupperware bowl full of pennies
turning green in this dark
basement forty years.
II.
It’s white, of course, in three pieces
with iridescent needles and white wire over which run
electric cords and clear plastic bulbs—white lights
on a stark tree that glitters like salt or quartz dust. The top’s a golden
plastic star. Beside it, large boxes
marked Christmas lie stacked, old fashioned
candy canes and ribbon candy soften to gum
in plastic packaging. Colored stars and globes
of blown glass, bubble-lights neatly packed
in their flat paper trays, tinsel, whole yards of gold
and silver Mylar from Rexall’s or Rite Aid, the angels,
three kings, Joseph, Mary and plastic
baby Jesus in the manger. Bless them
who offered such little warmth. Forgive them
their cruel convictions, their impoverished understanding
of difference. Their pettiness, of which you are certainly
a part, goes back generations: middle class and thrifty.
Obedient. Afraid.
III.
And yet, here is their furniture you love
as well—clean lines, horizontal and low,
arm chairs and sofas, the long credenza, its short thin legs
aslant, minimalist coffee tables, blob- and kidney-shaped,
porcelain ashtrays like giant amoeba, ruddy, square
Japanese lamps, all the straight and future-bound arrows,
five spotlights on a lamp-pole—connecting to floor
and ceiling—each, in its own direction, would throw
bold cones of post-war light.
All this
for them was only a mode, functional, and then
put away down here to crack in the gathering dust,
anachronous, modern, inscrutable as an ideogram. Dead,
let them be more
than this. And less.
Song
Undone at last broken
& blown-out the acres, whole blocks
of blank department stores retail spaces
abandoned the wide floor-room carpets
rotting through stale dandelions coming up
through broken glass & parkinglots
cracked by afternoons—Ha! Suburbia
what else to do but welcome
your old whore’s face your new
mid-century ghettos worn so
finally down and who dares
call you snotty now?
your dirty lawns awaiting
the masses (they’re here!)
and bargain supermarkets less furtive
daily more assertive X-rated bookstores
peep-show rentals and cut-rate low-rent liquors! You
whom I know was born into
and never left letting yourself go
the cold war over your children moving away
downtown leaving you finally
gone back to hell.
Still
right now
a delicate green rain descends
gently over Goodyear,
Baskin-Robbins and all the pillbox-
buildings and shops down the boulevard
confusing with spring-
blooms and tarred pavement the sap
in my upstart provincial heart.
American Pastorals
Twilight: in a pink top
and cream terrycloth shorts,
the neighbors’ little girl leans back
against a flagpole, in the center
of a lawn cut neatly
into green diamonds.
Ninety-three degrees
without wind. In a moment
she’ll step out
to feel the darkness
barefoot.
* * *
The neighborhood boys, grown men
with wives and children, sprawl out
in busted lawn chairs, loud—
a stack of empties glinting
in the sunset—with hatred
for work, the economy,
for liberal and Jew. The black kid,
just fifteen, watches
warily across the street.
It’s the fourth of July.
The suburbs have gone
finally to Hell.
The boys, piss-drunk
and full of meat, have known it
all along. Now they’re still
and quiet, waiting impatiently
for explosions.
