He looks down to watch the river twist
Like a dead vein into the suburbs.
From his height it is all flat, stone-grey
And ugly. He knows he himself is hideous,
Sterile, the artist’s pleasantry set up
To scare off devils. He knows nothing.
He is stunning in his pure impossibility.
Enough cherry trees blossom along the river.
Enough paired lovers gaze through the pink air.
Drab birds, disguised as money, sing prettily
And the sun blinds itself in the water.
He hears laughter. He knows nothing.
When the lovers glance up, they take him in.
Their looks are incidental, monumental, sweeping.
—from The Booth Interstate (Knopf, 1981)