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Grace and Desolation

Cune Press 1996

"Lively, soulful, conscienceful poems...strong and sturdy . . ." - Albert Goldbarth

"Bentley's poems are played out in a theater where family, joyous and sad, moves onstage before the grim backdrop of geopolitics and military technology." - John Marshall, Fine Madness

"Bentley is daring, beautifully eloquent and intelligent, a superb image-maker." - Leslie Norris

"Poise and clarity...great delicacy." - Breitenbush Press

After the Gulf War

Our men called them “crunchies” for the sound they made
when our tanks caught up with them in the desert.  Snug
in tanks, we buried their retreat alive, under dazzling,
smoky sky, as boys will stamp remorselessly on bugs.
Stateside, in darkened rumpus rooms shot through
with pale TV light, we rooted or cursed, prayed,
puked.  They once were allies, if dubious ones.

Shoulder to shoulder, the evening crush waited
for the Paris underground to carry them back home.
Tunnels converged and disappeared in all directions,
transepts in an endless cathedral of withdrawal.
We heard the glossolalia of wheels, and deep
down a serpentine throat, light sprang, like a votive
someone’s lit in hope; grew, stopped for us, delivered

us to Notre Dame.  Beside chestnut vendors, the penniless.
Inside those stone lobes clustered nebulae of saints 
and  angels, faceless in the dark heights, their abstract
architectural heaven.  Earthly penitents lit creamy
candles, tiny suns in all that space, for their dead,
their dying.  The vast, close darkness a mind
agleam with synaptic sparks, with cares.

We jolt gently awake on the night train to Pisa.
The dim lamps in the car cut wholly out.  Stopped
dead on the tracks.  An hour we watch the window,
thinking terrorists, coups, trainloads of refugees,
boxcars detoured to Auschwitz.  We see nothing.
Except far star-like lights, pinpricks coolly
tattooing the night’s flesh.  We wait for news.

We’d descended to the dim white apse of the Holocaust
Memorial.  Impressionistic doorless cells, off a room
without a window—ironic antiseptic underworld.
Through slits in the roof, bayonets of day punched 
in.  Like memories.  Shrapnel.  Outside, the Seine
this steadfast island pushes against, saint
fretting at the changeless flood of temptation.

And through tight Tuscan streets, villagers carried
into moonblue hills candles and torches, muttering
prayers and cursing the Centurions.  Ageless
Good Friday.  At the lead, the man with a cross
whom we never saw.  In the pharmacy, girlie mags
shone out, breasts like headlamps, bright incisors,
while outside, the righteous, shoulder to shoulder

wove their way into the shroud of the night.
On the train, students on holiday with guitars
unevenly had sung “imagine there’s no heaven….”
Even as they sang, Kurds were fleeing the angels
of death into mountains bordering Iraq,
America slunk to a murky nave of alibi, petty
gods quibbling in their whitewashed clubhouse.

An hour the maps pulse on and off, like a last systole,
diastole of a dying country.  At length the engine
starts, backs sullenly  a mile up the tracks, stops
beside a station house.  We see, before we finally go,
a doctor return to the depot, his bag black as the dead
of night he rejoins.  Our recessional continues on
toward dawn less one acolyte.  We wait for news.

Instances

Confluence Press 1979

This full-length, perfect-bound poetry collection includes as a middle section the earlier chapbook, INTO THE BRIGHT OASIS. It features original pen-and-ink artwork by Seattle artist Dinah Wilson.

Carving the day boat

My cheek the adze digs
into the birch of pillow,
a chunk out of night beveled
by my face into morning.

 

Into the Bright Oasis

Jawbone Press 1976

Commissioned by Jawbone Press's publisher, Sam Green, Sean Bentley's first collection was published by Jawbone (now known as Brooding Heron Press). It features period woodcut illustrations and initial letters, and is hand-stitched. Subsequently this book was incorporated into INSTANCES.

Bidding the Lodger You Realize Too Late to Be the Great Knight Reason, Farewell

One morning, hoists
his antler and skin
pack from the corner, nodding
to you slices out the door.
The pelts slung,
held with bone pins; eyes
plumage condors wear;
his stance, even at ease,
the tautness of a midstrike rattler.
The lodger long as you remember
has left you: no longer the last
bastion of sanity, abandoned
like a shack a shack
you become. An elusive
fugitive you'd expect to find
here, not the warrior king.
Dirt hikes in through cracks,
your doorsill splinters.
All your days are tolerable
or you wouldn't be here.
But they're just tolerable.
Your juggling grip sliipped just about noon,
shadows wolfed your peace
down like venison,
sheathed themselves
under your feet.
You did not let loose, he
was not yours to let loose.
Turned loose, by himself,
on the land, he hews
and slices way to palisades,
further parapets.
He looks not back but forward
along the apex of his great-sword.