The Millenium Hotel
Excerpt poem from Millennium Hotel

Why The Millennium?  It's really a hotel for business people who don't care if they're islanded, cut off from the world. Why not, talking upscale, The Plaza, or, talking downscale, The Excelsior? Something with class, charm, history, or at least...location?

It's the only hotel I could find on no notice to escape to with a pool
and circuitous skies, reviving to impossible
blue-gray-gold,
through which the reddish brick can be itself again...

It never stops being odd
being snowed in
in a big city.

What would I not give for a working fireplace...

But if home were truly home I would not have
holed up at this hotel for the duration....
The Financial District's stark iron immensity

is made human by Sam, for whom a plastic
stopwatch, perfect in its uselessness, brings
joy...and Tic Tacs and Trident...mean so much.

Only what we turn to changes, only where our
longing longs to dwell.... 

                                ...

This made the moment more intense but it was not as if you wanted
it this way, you would have preferred a lighter time. 

(Lighter?)

I didn't know it then but the time was
already hurtling in my direction
when I would only be at ease, free of
pain that is, in water--if I lay still.
They say it's normal: painlessness
when you're free of gravity.

No one else in The Millenium was at poolside...but I found it
hard, even as I dove to gather Sam's "X-Men,”
Wolverine, Cyclops, and Gambit
with his phosphorescent card
to keep my eyes off the shape-shifting shadows,
the dark patches spreading from the edges,
and with them a procession of thoughts
that looked backward
to my dead father and forward to when Sam
would outgrow these dalliances with his Dad, he
would be in my place and I--nowhere--

I knew my father best in water;
only in water would he go along
with my antics; and I loved it when he held me
half in half out, afloat in time-
lessness.  And now as
Sam's piping, insistent cries
of "play” and "hold me” fill the echoing room--
but joy and sadness were joined in one
motion, and the well-lit ripples streamed
and swirled on the glass around us
and I thought, "stay illusion".... 
Lights multiplied,
mirror simulations of ice,
ripples in the pool like northern lights
riddled with glitter 
and planes arrowing down.


Motel En Route To "Life Out There"
Excerpt poem from Millennium Hotel

for the left-handed woman       

                                                    
I

“Women are getting better and better”
“or worse and worse”
“at pointing out”
“situations”
"in which men use sex"
"as a `substitute for anger’"

"you're angry at her when she...
runs naked in place...
because it brings up an earlier
`situation’:

your first summer alone
in the country together
in a place where you knew no one"

                                                                    *

And she, rising first as always,
would assume a position
naked on the deck
immersed in Gödel and Gordian Knots
in search of "simple and synoptic images"

surrounded by her three inalienable toys:
forest green mathematics textbook,
white legal pad, yellow No. 2 pencil...

These three props made her body all the more
erotic – salty beads of perspiration
glistening on her skin,
each drop rolled
one by one
down her belly or back,
dampening her mound
or moistening the crack
between her cheeks.

I took this in with one glance
before I set about fixing breakfast.

                                                                    *

This is where representation bows out.

It may have been the dawn
– I can't be sure, I don't know what –
that set off no uncertain trembling.

The stainless steel paleness of that hour.

                                                                    *

The sight of her in the light
was more than I could...;

I tried to think about other things,
rummaged in the barbed word patience...;

I couldn't keep from coming on, – her
"no, can't you wait till later...,”
                              which she uttered
sharply, not cruelly, with the very tone
that drew me toward her from the onset
made me pursue her against my pattern
of retreat.

When the women you had known
began their domestic fantasy shtick
and cooked you a fatal duck.

Right.  One where you didn't have to pick out the buckshot.

Her coolness made me hot.

But you would have the real thing in a mere matter of...time.

Lost or found?

Time is only time.

And when did you last imagine it apart from place?

Now.  And being here am nowhere.

There is no time.  There is only the exhilaration
of a journey: departure is as sexual as light.
She scorned me only when she was working.
That left – when the sun was at its zenith
in the claustral noon
or dusk.

You couldn't wait.
There was nothing to be gained by rushing it.

Either way, I lost.

I can't change how you see the world.

How the world sees me.

                                                                    *

But she wasn't posing.  She was wagering
that the man with whom she lived wouldn't be
compelled to stare at her when she
withheld nothing from him anyway.

Driving west en route to research she would do concerning
outer space, the possibility
of worlds elsewhere, I was impatient
for the sites of my younger years as well,
nomadic mounds, ricocheting red rock canyons,
roads through eucalyptus groves
toward surfboards and surge;
the billboard announcing the oasis of
Winnemucca, where the underaged males
could yank the handles of slot machines in the urinals...

They could not be retraced.

The highway whined its abrasive song of progress.

Struck numb, struck dumb by noon,

yet vaguely turned on from the long hours

so near to her, and by which time

her wet crotch spotted the lightweight khaki-colored

jeans she’d chosen to live in for the journey westward.

(She was always one for uniforms.

Wear one thing and don’t waste time
thinking about nothing.)

                                                            *

How many times a day, driving westward,
did I want to say, pull off the road,

let’s ignore the burning wind in the cornfields,
or did give in, knowing this woman would say –

“Later!  We’ll be in – by four.”
“But that’s four hours from now.”
“Too bad.  I’m not doing it out in the open.”
“But no one will see.”
“Can’t you take no...”
                                                            *

After the time of burning in the 117 degrees –
my left forearm and temples still on fire
from the sunset’s fierce with radium rays,

I shiver en route to the pool below the sheer
rise of rockface, the flash-flood of stars.

The black water and the night suddenly as cold as each other.

It was the kind of night of which star-charts are made.

*

THE APPROACH TO LAS VEGAS

Charred mounds laden with the air of migratory creatures.

Dirt roads scratched in around the lone highway
as if desperate men out of low-budget westerns
were clawing the earth
for water.

And out of zero rises – Vegas.
Swathed in whitish dust.

*

Reaching Vegas, we chose The Sands
for its voluminous pools and auspicious history,
swam, showered, got between the sheets,

– repeated the sequence –

staying in the water as long as our skin could take it
before taking our next step toward
entering the casino. 

The restaurant’s aquarium swarmed
with freshly flown in fish, which we ate,
amazed it could taste so good

in such a wholly artificial atmosphere                                                     .
Gigantic behind the glass, the sea –
creatures cruised the prison

where they lived out their hours with no relief
from the electric light – or from being watched
by awestruck tourists, some of whom

had never traveled out of their home
state except to board a plane and come
here.

*

 

Gamblers, like wrestlers seeking to get a grip
and an advantage before they begin
grappling, loosen up their torsos and arms

at the slots – ignoring the hopeless odds against –
then hone their concentration on the Wheel:
glitter of silver, well-wrought.

(Follow the ball.  It’s akin to meditation.
Sounds more like mind-control to me…hypnosis…
If you’re looking for trouble we can oblige.)

I pocketed my small winnings at Blackjack
and could not pull her away from the crap
table   

to come to bed.

How out of place she looked –
copper skin flush against the multifarious
turquoise of her summer shift,
as if its material, più pienamente, had absorbed,
the topaz we had poured over in Taos;
erect posture, quiet demeanor –

among the sweaty, grizzled, heavy-lidded

            gamblers

the gallery of types throwing the dice

                                                            2

                                    End of August: The Return

Driving north from cloudless Santa Cruz
past straw grass and marshes
with the air-conditioner on full blast
we couldn’t keep from heating up

the car en route to Moffet Field
where she would deliver her climactic talk
on how close she had come
to tracking life out there, to receiving a single

signal from the vast silent spaces,
which never cease to terrify
like the California summer’s run
of blue stasis in the heights.

She was nervous and you were nervous for her.

Everything was tinged with the melancholy of departure.
The end of summer foaled the beginning of danger.

Goldenrod spread like lit fuses on their way
toward igniting the forest.  Bore into fear.

The cattails fretted tsk tsk tsk
like old people on call in hospital waiting rooms.

Cicadas clicked at the shrill hysterical pitch
of telephone wires in a mistral.

In other words, there was more.

Having healed so much between you
there was still the earth to mourn.

When you got to the motel she wanted to shower.

I couldn't let her do it alone.

After the glare and dust of the drive.

Her summer dress like having nothing on.

Her consenting, unpredictably, to shower with me.

Her peremptory rubbing of a towel through her hair.

Her undoing the turban she had begun to wind
until we were done with our time of abandon
under the cool, crisp, white motel sheets.

Working up a sweat with the air-conditioner on full blast.

Then showering again.

Never sated, I watched her stand before the mirror
and drag her wide-toothed comb through her wet hair.

(Twisting the amber handle to loosen snags.)

Another woman might have reacted screamingly
and said how can you think about that when I'm about to...
how would you feel if our roles were reversed?

Enough of the erotic.  Get to her talk.

It’s so much easier to say what makes something bad,

or “what went wrong in a relationship”

than to praise without becoming fulsome,
or all too general like a rock song, even a good one,
without violating the subject.

You won’t even...try?

Words stop short of what it felt like to watch
her put forth, always with stately
carriage and as few words and flourishes

as possible, the gist of her group’s discoveries;
to fill the vast domed auditorium
with minimal concession to academic foreplay,

wafting with her left hand her laser pointer across
the various grids, charts, maps, and graphs;
or keep her poise when reaching for chalk

that wasn’t there, and having to ask twice for it;
or to stand alone caged in silence on the bare
stage – with gestures – such as extreme

stillness, I alone in the audience would snare
as anxious, until the slide
projectionist, half-asleep at his post, finally

flashed the right image onto the screen
so she could isolate the telling detail:
scatter – with resemblance to the dust

of stars that was almost unfair –
signifying why no messages were coming in,
and couldn’t come anywhere near for more light years

than I care to consider: considering that words
stop short of what we won’t be here to hear
the universe reveal, unravel, or conceal.

*

Postscript

It –  turned you on to watch?

If that’s what you’re getting out of this I’m lost.

You’re no stranger to being lost.

Or you to getting everything backwards!

The tension we felt upon departure had gone,
like a blackbird rising out of the reedy wastes.

You felt it –  lift?

Palpably.  It left my soul as a virus leaves the body


Short Reviews of The Millennium Hotel

Mark Rudman – poet, essayist, translator, and teacher – has consistently pursued questions of human relationship and identity, and in Rider he takes the poetry of autobiography and confessional to a new plane. In a polyphonic narrative that combines verse with lyrical prose and often humorous dialogue, Rudman examines his own coming-of-age through the lens of his relationships with his grandfather, father, step-father, and son. These memories emerge against the background of a family history anchored in the traditions of Judaism and the culture of the diaspora.

“Somewhere in Lower Manhattan there is the Millenium Hotel, one n, whose name inspired Mark Rudman’s long poem The Millennium Hotel.  The poem evolved out of another long poem, Rider, and the structure is open enough to allow autobiographical elements, translations from Boris Pasternak and others, and a host of characters who speak in their own voices.  At this point it appears to be the poem of a life that will expand to include all the Rudman deems necessary.”
– William Corbett, New York Literary Lights

The Millennium Hotel enlarges upon the themes that appeared in Rider and includes several of the same players and personae.  The books build upon each other to create an increasingly rich linguistic world.  Rudman is writing a sophisticated poetry of polyphonic voices.  He engages the questions of the subject position and the construction of the self obliquely, in poems that ‘think on their feet.’”
– Alice Fulton

“Mark Rudman’s success with his long autobiographical poem that began with Rider continues now with The Millennium Hotel.  Livelier and more interesting than Paterson and almost as large as in its concerns as The Cantos, this series of reports from Rudman’s mental and psychic frontier has the associative structure, and, more important, the scale of these modernist works.”
– David Slavitt, Dictionary of Literary Biography Yearbook: 1996

“Poets have a lot to learn from Rudman [and The Millennium Hotel].”
Dick Allen, The American Book Review

"A dynamic, passionate, many-textured dialogue between a writer and his ghosts, obsessive, caustic, grieving, and witty . . . the fierce dialogue between the writer and his voices propels the poem forward with psychic complexity and emotional continuity."
— Harvard Review


"With this lively, sometimes funny, sometimes very moving book, Rudman confirms his reputation as one of the most interesting young poets now at work. He can take intractably squalid details and bully them until they yield an undeniable magic."
— New England Review


"A new departure in autobiographically confessional poetry . . . Relationships and characterizations are unfolded with brilliant boldness. It is striking the way this work evolves into a moving elegy for the stepfather, a rabbi manqué, in this brave, very American work."
— M. L. Rosenthal

“Mark Rudman hit a vein of pure gold with his last book, Rider, which won the 1994 National Book Critics Circle Award for Poetry. The poised, frenetic energy of that journey through autobiography and intellectual obsessions might have seemed a tough act to follow, but The Millennium Hotel delivers if anything even more bravura, wildness, originality…The poems ricochet off each other, free-associating through memory and reflection, shifting rapidly through a protean array of superbly handled open forms…This is the work of an unusually capacious talent.”
—VLS, 25 Best Books of 1996

In The New York Times Book Review of July 28, 1999, Raymond P. Sheindlin wrote of “the taut Daughters of Troy by Mark Rudman and Katharine Washburn, [as well as] other splendors.”



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