Old Boy

A. Van Jordan

 
(Park Chan-Wook, 2003)
If one rainy night you find yourself
leaving a phone booth, and you meet a man
with a lavender umbrella, resist
your desire to follow him, to seek
shelter from the night in his solace.
Later, don't fall victim to the Hypnotist's
narcotic of clarity, which proves
a curare for the heart; her salve
is merely a bandage, under which memories
pulse. Resist the taste for something still
alive for your first meal; resist the craving
for the touch of a hand from your past.
We live some memories,
and some memories are planted. There's
only so much space for the truth
and the fabrications to spread out
in one's mind. When there's no more
space, we grow desperate. You'll ask
if practicing love for years in your mind,
prepares you for the moment,
if practicing to defend one's life
is the same as living? You'll
hole up, captive, in a hotel room
for fifteen years and learn to find
a man within you, which will prove
a painful introduction to the trance
into which you were born. Better
to stay under the spell of your guilt,
than to forget; you've already released
your pain onto the world; don't believe
there's some joy in forgetting.
There's no joy in the struggle to forget.
And what appears as an endless verdant field,
only spreads across a building's rooftop;
your peaceful sleep could be a fetal position,
which secures you in a suitcase in this field.
A bell rings, and you fall out of this luggage
like clothes you no longer fit. Now what to do?
You remember when you were the man
who fit those clothes, but you've forgotten this
world. Even forgotten scenes from your life,
leave shadows of the memory,
haunting your spirit
until, within a moment's glance,
strangers passing you on the street,
observe history in your eyes. Experience
lingers through acts of forgetting,
small acts of love or trauma
falling from the same place. Whether
memory comes in the form of a stone
or a grain of sand, they both sink in water.
A tongue—even if it were, say, sworn
to secrecy; or if it were cut from one's mouth;
yes, even without a mouth to envelop
its truth—the tongue continues to confess.
 
Copyright © 2012 by A. Van Jordan. Used with permission of the author.

Poems by This Author

Un Chien Andalou (An Andalusian Dog) by A. Van Jordan
Because a razor cuts across a frame of film
Einstein Defining Special Relativity by A. Van Jordan
1: a theory that is based on two postulates
From by A. Van Jordan

from (→) prep. 1. Starting at (a particular place or time): As in, John was

R&B by A. Van Jordan
The Flash Reverses Time by A. Van Jordan


Further Reading

Poems About Movies
Un Chien Andalou (An Andalusian Dog)
by A. Van Jordan
A Score for Tourist Movies
by Mary Austin Speaker
After the Movie
by Marie Howe
An American in Hollywood
by Frank Bidart
Au Hasard Balthazar
by Stacy Szymaszek
Ave Maria
by Frank O'Hara
Brad Pitt
by Aaron Smith
Chaplinesque
by Hart Crane
Daffy Duck In Hollywood
by John Ashbery
French Movie
by David Lehman
Heroic Simile
by Robert Hass
Homage to Sharon Stone
by Lynn Emanuel
On the Waterfront
by B. H. Fairchild
One Shies at the Prospect of Raising Yet Another Defense of Cannibalism
by Josh Bell
To the Film Industry in Crisis
by Frank O'Hara
Trigger Guard
by Joanna Fuhrman
When There Were Ghosts
by Alberto Ríos