I PACKED FOUR BOXES of papers in my office, and I threw out lots of things. This cleaning is helping me move forward. I put the chin-up bar in the door and hit my head on it twice because I forgot it was there. Then I took it down and put it in another door. I think if I really cleaned up my office it might be easier for me to finish the introduction, and if I finish the introduction I think I could call Roz with genuine confidence in my voice and tell her that yes, I'd been too much of a wallower in self-doubt but that things were on the mend and I wanted her to come back. I'm about one-seventh done with cleaning the office. Still quite a ways to go. One corner of the room is starting to get that spare, empty look. I do love that spare look.

One of the piles I packed away was a small heap of reviews of my third book of poems, Worn. Not many of them. It wasn't a good book. Too political in an easy-breezy sort of way. A copy of Rain Taxi had a thoughtful reaction to it by Renee Parker Task. Charles Simic mentioned the book in one of his omnibus pieces in The New York Review of Books. It was just after Worn came out that I read Amy Lowell's book Six French Poets. In it Lowell observes that Henri de Regnier had just passed his fifty-first birthday. And she says: "Poetry seems to be, for some strange reason, a young man's job." This slapped me in the head like a big heavy cold dogfish. Poetry is a young man's job. What a frighteningly true thought. Poetry is like math or chess or music-it requires a slightly freaky misshapen brain, and those kinds of brains don't last. Sometimes if you can hold on into old age you can have another late flowering, like Yeats-much of adult-hood crumbles and falls away, and you're left with highly saturated early memories and a renewed urge for rhyme. But that happens rarely.

Also as I was cleaning I came across a small paper bag with several strands of raw beads in it. I'd bought them for Roz in a store on Second Avenue in New York. Roz strings beads, she's very good at it, very quick-she can watch a Chinese movie with subtitles and string beads at the same time, which is very impressive-and as I was walking toward Penn Station I found that I was passing through some kind of wholesale bead-supply neighborhood, with store after store selling raw beads. In each store the strands hung on hooks, arranged by color, strung on fishing lines, and when you went in you felt as if you were in some strange sort of crystallography experiment. I bought some pale gray green-veined beads and some smoky deep-red ones that I thought she would like-they weren't horribly expensive-and I hid them in my office for her birthday and now here they were. And it wasn't as if I could call her up and say, Roz, I found a bag holding several strings of raw beads from New York that I was going to give you and would you like to come on back and live here again and string them expertly the way you do while we watch movies together? Because she'd moved out. It was not a nice or welcome development for me for her to move out, it hurt me badly, I'm tottering, but I suppose I deserved it. And now what?

IT'S TIME FOR BED. And here's what I'm going to do. I'm going to get in bed, and I don't have anyone to sleep with now, so what I do is I sleep with my books. And I know that's kind of weird and solitary and pathetic. But if you think about it, it's very cozy. Over a period of four, five, six, seven, nine, twenty nights of sleeping, you've taken all these books to bed with you, and you fall asleep, and the books are there.

Of course it was better when I had Roz in the bed with me. But I don't have her now. Her warm soft self was extremely comforting, and it's not there. I could cup her upward hip or one of her dozing boobies with my hand. Good times. That cupping is rhyme-the felt matching of two congruent shapes. And now where she would sleep are these books, and they're lying there in leaning piles, and sometimes they slip off and nudge me in the eyebrow with one of their corners.

Some of the books are thick, and some are thin, some of the books are in hardcover and some in paperback. Sometimes they get roiled up with the pillows and the blankets. And I never make the bed. So it's like a stew of books. The bed is the liquid medium. It's a Campbell's Chunky Soup of books. The bed you eat with a fork.

I'm hoping that someday I'll have to clean them out and that somebody will return. But for now, this is what I've got.

I ALWAYS SECRETLY want it to rhyme. Don't you, some of you? Admit it. You open the latest issue of a magazine. Could be Harper's, could be The Atlantic, or The New York Review of Books, or The New Yorker, or the TLS. Or some swanky literary magazine. You locate the poem, because you're naturally curious to see what this week's or month's trawl is-what it is that was, in the busy mind of that poetry editor, most pressingly deserving of publication. And you look at the poem. There it is. You take in the title-"Way Too Much." Way Too Much: Okay! And then you check the name of the writer-hmm, Squeef Corntoasty, never heard of him. Or: I sure have seen Squeef Corntoasty's name popping up in a lot of places lately. Or if it says "translated from the Czech by Bigelow Jones," forget it, you instantly move on, because translations are never good.

Well, wait-that's not fair. That's ridiculously unfair. I've read some wonderful translations. Translations of Transtromer, for instance. But my heart does droop when I see that it's a translation.

But let's say this poem is one hundred percent original work. How are you going to approach it? How about we just sort of touch the first line. Just a glance. Take it in, guardedly, without really reading it. Maybe just the first phrase: "I try to sit up straight." And then you break away to go down the words on the right-hand side. Right down the outer edge. "Pain," "truffle," "start," "shelter," "an," and "bell." Ah. Now you know: it doesn't rhyme. Once again they've done it. They've stabbed me right in the god-damned lung. Once again they've rejected the whole five-six centuries of our glorious tradition.

But all right-that's fine. It's a plum, not a poem. That's what I call a poem that doesn't rhyme-it's a plum. We who write and publish our nonrhyming plums aren't poets, we're plummets. Or plummers. And some plums can be very good-better than anything else you might happen to read ever, anywhere. James Wright's poem about lying on his hammock on Duffy's farm is a plum, and it's genius. So is Elizabeth Bishop's poem "The Fish," of course. "I caught a tremendous fish"-genius. So you think maybe this plum-poem is good in its own uniquely free kind of way. Is it? You read a line or two. No, it isn't. In fact, it's oozing with badness. It's so bad. How can it be this bad? How can this bad plum be sitting here, in type, in front of me? I don't get it.

Or maybe it's one of the very few that do rhyme. These are even worse, sometimes, because the rhyming is so painfully inept-like unclever Ogden Nash gone squiffy.

And yet if you go back and look at old editions of The Nation or The New Republic, which published a lot of poetry back in the day-or if you go farther back, to Reedy's Mirror or The Century magazine-and if you hunt around for a while in some of those periodicals, you'll find that most of the poetry in them is just there as decoration. It's a form of ornament, like a printer's dingbat. A little acorn with a curlicue. Or the scrollwork on a beaux-arts capital. It's just a way of creating a different look on the page, and creating the sense on the part of the reader that he's holding something that is a real Kellogg's variety pack.

The magazine is going to have some kind of big thoughtful political piece about Teddy Roosevelt, say, and then it's going to have a bit of serialized fiction, and it's going to have some "cuts"-that is, some art-and a few color pages tipped in, maybe, if it's The Century magazine, maybe by Maxfield Parrish, and it's going to have some poems. The long nonfiction piece comes to an end, and it's about being a stevedore in Baltimore, something like that. And then at the bottom of the page is this poem in two columns, with six stanzas, and each stanza has indentations, and the conventionality and vapidity of it will stun you. "The shades of summer's bosky hue, o'erlie thy modest floobie doo." The editors of The Century didn't expect you to read that poem with your full mind. They knew it was just some rhymes thrown pell-mell together with some cornstarch. They knew full well, because this is America, land of bad poetry. Yes, sir! Bad poetry, sir! Loads of it in the back, sir! Just keeps coming. Tipped in. The shovel eases the soft tonnage of poetry over the rim, and it just pours into the pit, pluth. The pit of what has been said. And the lost gulls are flapping and calling-peer! peer!