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The photo showed a dog, standing on its hind legs, being helped from the door of a helicopter by a serious-looking man in a down vest. The dog seemed to stand about the same height as the man, and looked like a Malamute. The strange thing about it, besides its larger-than-average size, was the fact that it was wearing a dark-colored jacket which looked like part of an old-fashioned military uniform, and a pair of spectacles, and that it appeared to have hands instead of front paws. In one of those gloved hands it held a cane, which was pointed at an awkward angle, probably because of the way the man was holding on to that foreleg just above the elbow. The other hand gripped the side of the helicopter doorway. The expression on the animal’s face was one of terror. Its lips were slightly parted, its ears were pointing straight backward, and its eyes were wide.

By the time he was infamous enough to sell out bullfighting arenas, the Caruso C was a sort of burlesque number.  He would inch to it from the frequencies below, nearly embrace the note, and then flat a bit before trumpeting, C! with full tenor fury. Toscanini chided him for grandstanding, but this in-and-out tease worked well with German and Latin American houses, which particularly enjoyed the punishment of a loud flirtation.

I see her windows open in the rain, laundry in the windows—

she rides a wild pony for my birthday,

a white pony on the seventh floor.

“And where will we keep it?” “On the balcony!”

the pony neighing on the balcony for nine weeks.

At the center of my life: my mother dances,

yes here, as in childhood, my mother

asks to describe the stages of my happiness—

she speaks of soups, she is of their telling:

between the regiments of saucers and towels,

she moves so fast—she is motionless,

opening and closing doors.

But what was happiness? A pony on the balcony!

My mother's past, a cloak she wore on her shoulder.

I drew an axis through the afternoon

to see her, sixty, courting a foreign language—

young, not young—my mother

gallops a pony on the seventh floor.

She becomes a stranger and acts herself, opens

what is shut, shuts what is open.

Egrets picketing the spines of cattle in fields edged

with common tansy. Flowers my father gathered

for my mother to chew. To induce abortion. A common,

cosmopolitan agnostoid lithofacies naked in the foothills. I love

the character of your intelligence, its cast as well as pitch.

Border wide without marginal spines. At high angles

to the inferred shoreline.

Javier was crazy about tacos. He loved them the way some men love their women: a nice, hard, firm shell. While many men have fallen to the wayside on account of a woman, it is hard to imagine a taco unraveling a man the way it did Javier. After simple surgery to remove a cyst from his gallbladder, one of Javier’s friends snuck him a couple of hard-shelled tacos. He propped himself up in his bed, the green of his hospital pajamas matching the lettuce in his taco, smiled wide, and dug in. After a good meal, he thanked the Lord for his many blessings, including such good friends, then laid himself down to sleep never to wake again. The taco shell had ripped his stitches as it went down.

We are the nothing-to-lose ones,

the try-anything-once ones,

weed seeds inside our cells –

dandelion, nettle, lizard tail –

roots sunk in, for it is the tips

that count, reaching out to tap

new moisture. Roots, stems, leaves,

the stomata, those little mouths

opening, closing, sucking in air

in the evening when we boil

wild ginger and sleep in its vapor.

Like cures like, we hear in the morning

when we brush ourselves with

vegetable fiber in the shower,

beat ourselves with our fists.

(This is no crazier than anything else.)