Cimetière Montparnasse

I wrote this after visiting the famous cemetery in Paris. I visited a few cemeteries in France (the Père Lachaise was another one) to see the graves of some people I admired, although the solemnity was undercut somewhat by being handed a map and feeling like I was at a theme park. Of course that’s a consequence of people like me wanting to visit graves. I don’t really have the desire to do that anymore like I did back then.

I didn’t learn until afterwards that Baudelaire had an cenotaph a little ways from his actual headstone and resting place. That’s what the picture is of. I should’ve paid closer attention to the map..


Cimetière Montparnasse


It’s a rite of passage for any young writer
to visit the grave of his hero, pay his respects
and, consciously or not, certainly agonistic,
pry the baton away for himself with
a sentimental piece that won’t see
the light of day, and, whether or not
it was sunny, say the weather was gray.


That day it really was gray. Except it was summer.
The trees were full. Stone warm to the touch.
His grave wasn’t easy to find—I mean without
the map they give you. Then it’s a scavenger hunt.
One man, prowling the grave of Sartre and Beauvoir,
fired the Canon round his neck, turned to his wife
and declared “Next.” It was getting close to lunch.


Finding it in the shadow of a taller mausoleum
I stopped, gathered my solemness but was
suddenly overtaken with wondering why his name
was sandwiched between that of his mother’s
and stepfather’s—really the stepfather’s grave—
I’d read somewhere he loathed the man—
Only forty-six? Was he only forty-six?


There’s the rite too of the stomach like a diving bell.
I hadn’t properly contemplated the importance
when a woman landed like a bird on a wire.
Oh! Guardate,” she called out “questo è Baudelaire.”
Six vacationing Tuscans fell upon the site.
I placed a pebble, a gesture for all his work.
For mine he said, “Tant d’appas répugnants !


Stone Age

Each section of Figments consists of variations on a theme. The first section, “Of Language,” uses tropes of languages and letters.

I was interested at the time in how language evolved. How did uttered sound first acquire meaning? How did it evolve to signify something other than the music that it made, and how was it refined and abstracted to represent complex ideas and strings of thought? Playing with the tropes of “ages” of human civilization, I had in mind that words first arose from a direct association of sound with action (in this case a violent action).


Stone Age


Imagining the origin of words
one pictures two tribesmen,
friends, standing around a fire.
The first one points to a stone
and sort of grunts. The second
furrows his australoid brow and
repeats the sound. From then on
when either needs a stone he
simply points and goes ongh.

But what need is there for words
between friends? If the two had
the pleasure of each’s company,
enough to know and utter poetry,
what’s the point of words at all
when just the pointing would do?
Who else is a friend but him who
knows my meaning without my
having to say anything at all?

Picture those same friends enemies,
the one having overtaken the other,
cast him on his back in stunning
internecine war, leans poised over,
a hand upraised, with that same stone,
its sharp wedges, its blunt peens,
incanting its name victoriously,
seized by a prophet’s madness.

The last word becoming the first
adopted into the quiver
when it was discovered later
how the next person need only
hear it uttered and that was it
that was the end of it.

Dawn of Man

As I work on my Redwood manuscript, I thought it might be a useful exercise to go back through some of my previous work and see what ideas I can draw from it. I’ve found that the best writing I’ve done is sometimes beyond my immediate apprehension. During the process of writing, I don’t fully understand why or what I was trying to accomplish. I’m always straining the limits of my thought, my technique, my intimations about sound and sense. To go back through and recover something useful might help me find my way through this current creative process.

This is the first poem in my book Figments, a collection of poems written from about 2017-2020.

I love the word figment. It comes from the Latin figmentum, which means “something formed or fashioned.” It’s also related to figura, or “shape.”

Figments are the ephemera of the mind. Illusory figures whose echoes are thoughts and ideas. They exist in the theater of the mind as simulacra generated out of our interactions with the external world. Do we form them ourselves, or are they imposed, impressed upon us?

This poem, and the subsequent poems of the first section, “Of Language,” set up the major themes of the book. Here is the first bubbling up of the physiological process of a mind generating figments of its imagination. The microscopic world of electro-chemical signals in the brain that give rise to visions of reality.

I really like how dreamy the end rhyming is here. I hadn’t even realized until rereading it that I’d managed to link every line together. Again, when we’re in the process of creating, the meaning is often hidden even from the artist.


Dawn of Man

The stickiness of consciousness
the spthlink spthlink of unlinking polymers
emulsifying in soupy darkness


The viscoelastic creep and tear
of a brain remembering where
it was impressed in elastic presence


Measure it by the mucous trail of its laws
and you too will become like soft plastic

What it Means

As the Powerball lottery makes headlines again, climbing to a $1.5 billion payout, I thought I’d post this poem I wrote back in 2018, about the largest jackpot payout in history. It’s from my first book of poems, Figments.

To buy a ticket is to buy an opportunity not to win, because you won’t, but to dream about winning. To live for a few days with the thought that it might be you, out of everyone else, it might be you that’s chosen. And what kind of person, what kind of life would you lead then? You buy a ticket to think these thoughts.


What it Means


The poem tells you what it means
if you drove all the way to buy a lottery ticket
on the Californian border because
you never know about these things
and there’s a line because nobody’s won yet.
The payout is over a billion—Imagine that!
Imagine what you could buy with all that.
You have to remember you’re at the age
when you’ve started to feel as though
you might’ve missed out on something.
Whatever it is, a billion dollars should cover it.


You know there’s a better chance
of being struck by lightning. The news
keeps telling you that. But it doesn’t matter
because who wouldn’t want to be struck
by lightning and live to tell about it?
You’re assuming you’ll live because
you’re assuming the right kind will hit you
and not anyone else standing in a line that
outlines the parking lot of the Indian casino.
After all who wouldn’t mind
their greatness being thrust upon them?


It might as well be you, you’re decent,
and if you won you’d want your family
and friends to have some. You might
even give back to the community, who knows.
At any rate it would certainly be nice to lift
this weight off your back, whatever it is.
What you’d do with the money is less important
than what you imagine being chosen must feel like.
A world somehow faithful to your point of view.
For you require great significance to satisfy.
You must touch lightning bolts to live.

Danse Macabre

The Danse Macabre was a trope in medieval times that showed up in a many different forms of art across Europe. It reminded the viewer of the universality of death. Skeletons were often depicted leading folks of all kinds to the dance, entreating them, reminding them that everyone dies, that death is inevitable.

It seems morose, but it’s hard to tell from the pictures that I’ve researched whether or not that was the intention the artists were trying to convey. The human subjects often don’t have definite expressions. They’re portrayed dispassionately, or sometimes confused, while the skeletons themselves are animated. The skeletons are having a good time, smiling, enjoying themselves. A grim joie de mourir.

The experience of social media often feels like this dance. The apocalyptic prophesying, and the fiddling while Rome burns, is enough to make one anxious. And the skeletons smiling all the while, inviting you to join. What else is there to do but dance along with them?

Danse Macabre

Emperor, your sword won’t help you out

Sceptre and crown are worthless here

I’ve taken you by the hand

For you must come to my dance

This is dope, and terrifying.

The center cannot hold.

The endless doom scroll.

I am called upon to bear witness

by the fetters of my phone,

to crowd out of existence

the solemnity of free time

and feel myself addicted.

It wants all of my attention.

It wants all of what I call mine.

Elsewhere I rinse the mind

in soporific bath waters of

infinite permutations of

entertainment. I sooth

the puling ego in the tepid

sink of hyper civilization.

And in my unallowed heart

I think, If only the rough beast

would turn and look at me!

It would not overthrow itself

like a madman his shadow

if it saw the beauty I see,

if it knew how beautiful

and unexpected I was.

It would fall in love with me

and I would change it

for the better. I would save

its soul with love, and the

worst of times would be done.


Robert Charboneau