Michael Davidson
Summer 2024 | Poetry
Three Poems
Absent
as the sound of conversation in an adjacent room
is an index of affections shared across a table
among strangers eliciting concern for filling
the space of an hour until the rain stops
with the ambient noise of glasses, footsteps, doors
closing and someone shouting over the din
and the rain coming down on the skylight
preventing night from coming inside
and disturbing this drone
of sociality that serves as a measure
of this matter of attention.
Social Media
because something is always out of alignment
causing pain to someone stuck on the 101
on their way late to the dentist offering respite
from unfulfilled expectations at an early age
that continue into this lane where everyone
else drives one of those silver cars
so you can point out that an infraction
back in the 70s caused irreparable harm
involving a ruptured disk or protestant
letter in that journal still nagging
after all these years and of course
said person is still alive and to all
appearances successful while living
in a town with no visible means
of survival no wonder
the water is unsafe to drink at least
we have recourse to shared
community and discussion
untroubled by ego and self-conscious
oblivion.
Apophasis in Public
In the interests of fair play
I won’t say anything too critical
of the surd who occupies our speech,
this is one way of avoiding the fact
that we hide in signs of assurance
the germ of our extinction,
and we fail,
but failure is a kind of renewal, even
(and this is the exciting part)
another opportunity to talk
despite the crash of other voices
and music in the background,
what he means by that
cannot be verified
by any appeal to its subject,
a cadaver is also meat,
blue is a shaded green,
China can be reinvented
as the latest version of ourselves
where “our” means not me,
cigarettes were lit, lights dimmed
when we were social, now
there are no more cigarettes, rooms
or conversations, “if”
is a tunnel into “would”:
if he appears at the scene after the fact
he therefore caused it
or might as well have
wearing such dubious clothing
and distinctive hair,
the less of us on the street
the more he occupies space
and the words in between.
Michael Davidson is Distinguished Professor Emeritus at the University of California, San Diego. He has written extensively on poetry and poetics (The San Francisco Renaissance, Ghostlier Demarcations, Guys Like Us, On the Outskirts of Form) and more recently on disability issues: Concerto for the Left Hand (University of Michigan), Invalid Modernism (Oxford University Press), and Distressing Language: Disability and the Poetics of Error (New York University Press, 2022). He is the editor of The Collected Poems of George Oppen and has published eight books of poetry, the most recent, Bleed Through: New and Selected Poems (Coffee House).