(Summer 2018)

The vista is curbed by rich pink summer roses,
tangerine cannas, and trumpet vines.
We dine under a shower scrubbed Santa Fe sky
and a white tent; are titillated by being joined––
ponytail to ponytail––by Ruth Bader Ginsburg. 
Then, it is up to “Ariadne auf Naxos”: 
”Rearrangement!” “What on earth 
is happening?” “Make it happen.” 
“Execution!” “The display of fireworks 
in the garden.” “Such great beauty 
out of nowhere.“ “Everybody 
to their places!” 

The staging draws a parallel 
between the composer's love for Zerbinetta 
(the composer—soprano—
is played by a woman... thus overtones
color the crescendo of their kiss) 
and the embrace of Bacchus (the immortality 
of Art) and Ariadne (wanting to sacrifice 
in order to preserve her singular love 
for Theseus in myth). The program 
notes how her wanting to “submit 
her passions to the oblivion 
of the youngest and most 
ancient god’s arms and lips”
confuses the young god, a tenor. 
Throw in a little Georgia O’Keeffe, 
"Hostiles," Abraham and Isaac, 
a pinch of Salome (in drag), 
longing... and kissing the head––
but not the babble––of The Baptist.

Tomorrow, at one of the airport shops,
before flying out of Albuquerque, 
I will delight in finding 
two Koshare bead dolls, 
their little articulated 
hands sharing watermelon
with any listeners who might
choose to join the circle.