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The picture above was taken from the shore of San Francisco Bay on a late afternoon--the sun was bright on the water. I live near this shore, and can see the hills and the water from my home.
This is a poem about how the first portrait to be drawn--and it is also a poem about love. I have included a page from my notebook featuring part of the poem's very first draft.
PORTRAIT
An ancient story tells how the first-ever portrait was made by a woman drawing around the shadow of her lover's profile. R. B. Kitaj In secret, behind the orchard, and you with so little time you cannot lie down among the trees.
Hot--the dry river shivers with mirage
and the donkeys grazing before the hills
vanish in the rising breath of the grass.
Day stone, noon the dust that was stone. In haste on your way to your father's chambers,
with your new signet ring, son of a vineyard-owning home,
you turn again, again on leaving me, soon to be married soon to ride
to the distant capitol. Touching me, even now, your voice cradling my name
while I stroke your shadow’s trace and stay long,
long after with the faithful earth.
 When I was growing up on Southern California, we loved to go to the beach. But the beach, and the ocean, were not simple places. They were profound.
 TIDE
What was amazing was we wanted to go there, jumped up and down when Dad said we could pile into the car. The road stopped where it washed away, jagged green-haired slabs of sidewalks, bad footing, rusted monstrous engine parts. Dad smoked Viceroys,
and now and then the thread of tobacco would touch us where we teetered among the suck holes of sea anemones and the cringing crabs with their black, jointed legs, cavities full of silent water all the way to the waves tearing themselves to pieces. Among the concrete chunks deep-fried with barnacles,
my sisters found mother-of-pearl shards, sand dollars, planting one foot, then another, almost falling, and I found objects that had owned human intent but had altered, spikes fat with rust, bolts swelling from the inside with corruption, while every sound even our own shouted names, vanished, one big lung holding all the air.

ROOFERS
We can't breathe the tarry air, and they don't even slow down in this stunned twilight, yelling, the kitchen faucet trembling, the ancient glistening slabs loaded over the blue flame. Their steps crunch overhead and they hurl another load of
cedar shingles into the rumbling dumpster, bantering, tossing scraps of song. We understand so little of what holds our lives from cold, from storm. Carpentry, plumbing, gravity, sooner or later we awaken to need. But where do they come from,
these fanatics balancing on the eaves, bounding down the ladder, stepping out on nothing? More rain hours away, nails ricochet, spinning in the porch light, night descending as they stumble, nearly fall, working blind and laughing, splinter-bit, claw-hammered, singing the fossil dark.
Here is the poem about slicing onions requested by Clarence of Liverpool.
SLICED ONIONS
With the air-conditioner set to high, and the onions sliced and ready for the olive oil, what the rest of life carries on the long trains and the big rigs rattling north and south will not matter, not for many hours, and maybe never again. The sun reaches into the long rows in the flat, nearly endless valley
and squeezes gray earth into these round, golden roots. The over-sized Korean-steel knife, and worn wooden cutting board, and another room of pungent fragrance stands and fills up the kitchen.
Parting from an old friend we agree that we will see each other soon, when the hot weather has released the city where he lives. I wonder if I will ever see him, and when I ask what you think, you do not hear me. My voice is nothing compared with the rumble
of the cool air, the fan that sucks the dry, killing heat and vents it beyond, into the afternoon, leaving us the sweet and utterly artificial chill we need to lie down to completely savor.

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