(EUDAIMONIA)
— THE LONG NOW, PART XXXVIII —
Of course I have lied been caught and lied
again have tried to speak delight into life
like a promise but I am you who too have
lied about it. And we try in truth
to be good ever coming face to face with
end and aim when engaging soul stuff. All
this water these other shores the under-
current meaning in it. There’s a kernel of truth
in metaphor: the translucent pea crab that lives
inside a horse clam. All my interior processes
laid bare. Every pleasure is an exercise. Static
pleasure of being greater than the fleeting
pleasure of having for a moment been. I
could align desire to my workflow. I want to
say. I want to want. Which is to say I
want. To calculate the angle at which light
makes crow-black shape on grass. I guess
we couch communiqué saying this instead
of it. What is life if not for joy. I’ve got work
I think to say I want to show the deep
function of O but how to show it without
calling gods to heel here can you see them?
Philosophers want to yoke my joy to virtue
which doesn’t carry the same measure of weight
in the long tail of the present loll. We’re up
against time. Take pleasure in work that’s
another lie but time to think. Time to wing
a way toward what matters is to map it.
It’s funny virtue. An honest offering I give
to gods touching stone and being filled by
feeling it. Funny now how what joy is
travels with me. Making joy beneath the sun.
That Agean-pink-and-red chariot descending
over Filopappou Hill. Even through haze
it’s goldering profile cuts clear into iMessage
blue and text.
I say eudaimonia to mean
human flourishing that daimon inside it
having led us here in the long view of it
some flaxen now silver elements to which
the mind ascribes such symbolism. I am
happy here. Are my spirits good? I name
my pleasure the absence of pain of trouble in
the soul. I rake my name across the sun
all a lien to not recoup the simple path. Tie
thee asunder night let me jot the moon in me.
Cut the light it’s not meant to wait pale can’t
over all of it. Here a moon of terrain is it.
I can in sea cull a want I think but a cool
comes with silt. My method mutable what
caught lemons my cantilevered meaning
is a telepathy. My only meaning no two
versions verify it. My kinetic way is line.
O I say I wrestle with what the mosaic
incorporeal head wants of me. Here in
the human world the hero must intervene
and I erase it.
There are too many swimmers
too many stones and songs about war. Too
much time is lost to translation and too few
words for want. The sun feels like tourism here
a bright room to let and none in which to live.
Too many antennae tenses and Teevees.
There are too many themes layered on these
too many Roman bones. Too many coins
for currency’s eye but that’s the lure of capital.
That’s a fee for death what joy in the afterlife
affords it. I am getting accustomed older
learning how to say these too many things will
I to leave and too many Marys to hail. I still
call too many names into the void happily
if one calls back.
James Meetze [pronounced Metz] is the author of five books of poetry, including Phantom Hour (2016) and Dayglo (2010), both published by Ahsahta Press. His most recent books are Neki Novi Hramovi (Some New Temples), translated into Croatian by Ivana Bošnjak (Naklada Bošković: 2020), Kasno u Dugome Sada (Late in the Long Now), translated into Serbian by Uroš Ristanović (No Rules Izdavaštvo, 2020), and Salatieteet (Dark Art), translated in to Finnish by Kaija Rantakari (Poesia, 2021). He is editor, with Simon Pettet, of Other Flowers: Uncollected Poems by James Schuyler (FSG, 2010). He teaches writing and film studies at the University of Arizona Global Campus and in the Masters program in Depth Psychology and Creativity at Pacifica Graduate Institute. He lives in Split, Croatia.