On the Burden of Flowering
Even the cactus wren
surrenders itself
to the task,
though it rarely listens
to my voice. How do clouds
blossom day to day
and leave so little
behind? The bookless shelf
begs to be filled, but instead
I watch the morning age
as the sun arcs higher.
Yesterday you said
the mint marigold
was dying. Today it
stands tall. Yellowing.
“Clandestine” first appeared in Issue 6 of Kissing Dynamite. I am grateful to the KD team for taking this piece.
Bone to Bone
He claims two sides frame every story.
I count three, sometimes more,
believing in multiplicity,
threats concealed
but never
buried. A dust devil twists across the path.
What ascends, what dies?
Heat, ashes. A shadow’s flesh.
The earth, restraining all.
“Bone to Bone” first appeared here in June 2016.
If You Drop Leaves
If you drop leaves when she walks by,
does that signify grief for those
cut down early,
or merely drought?
How easily we abandon and forget.
Yet a whiff of lemon verbena or the light
bouncing from a passing Ford
can call them back,
tiny sorrows ratcheted in sequence
above the cracked well casing
but below the shingles
and near the dwindling shade
tracing its outline on the lawn.
And what do you whisper
alone at night within sight
of sawn and stacked siblings?
Do you suffer anger by way
of deadfall or absorption,
bark grown around and concealing
a penetrating nail, never shedding
tears, never sharing one moment
with another. Offered condolences,
what might you say? Pain earns no
entrance. Remit yourselves.
* * *
“If You Drop Leaves” was published at Bad Pony in November 2017. Many thanks to editor Emily Corwin for taking this piece.
The Bitter Celebrates
Mention gateways and mythologies
and I see openings to paths
better left unseen. No choice is
choice,
but preparation leads us astray as well.
Take this bitter leaf.
Call it arugula.
Call it rocket.
Call it colewort or weed.
Dress it with oil and vinegar,
with garlic and lemon.
Add tomato, salt.
Though you try to conceal it,
the bitterness remains.
But back to gates and myths. Do they truly
lead us out, or do we
circle back, returning
to the same endings
again
and again.
Remove the snake, rodents return.
Seal the hole.
Take this leaf.
Voice those words.
Close that door.
“The Bitter Celebrates” first appeared in Amethyst Review in December 2018.
What Are You Going To Do (Cento)
Not everything can be set to music,
you have to understand that.
If I went to the end of the street,
would I be at the center of myself?
Now ends. Now begins.
Still, we sing the same songs;
we live in the sound – no love
of miracle or numbers helps.
I wonder if my body
is outline. A far point rendezvous.
A smoke plume taken, but not
into a hot, dark mouth.
Or perhaps it never had a name.
Bruising’s not the end of it.
* * *
Credits: Maggie Smith, Michael Chitwood, Carol Frost, CM Burroughs, Aimee Nezhukumatathil, Dan Beachy-Quick, Willis Barnstone, Lauren Camp, Ruth Ellen Kocher, Maggie Smith, Lawrence Raab, Natasha Saje.
“What Are You Going To Do” was drafted during the August 2016 Tupelo 30-30 challenge, and was published in the February 2017 issue of Taos Journal of International Poetry & Art. The lines used were taken from Tupelo Press publications.
Scarecrow Sings the High Lonesome
Nothing about me shines or sparkles. If asked,
I would place myself among the discarded —
remnant cloth and straw, worn, inedible,
useless, if not for packaging intended to
convey a certain message, which I of course
have subverted to “Welcome, corvids!” Even
my voice lies stranded in the refuse, silent
yet harmonious, clear yet strangled, whole
and unheard, dispersed, like tiny drops of
vapor listing above the ocean’s swell, enduring
gray skies and gulls and those solemn rocks
bearing their weight against the white crush.
Why do I persist? What tethers a shadow
to its body? How do we hear by implication
what isn’t there? Bill Monroe hammered
his mandolin, chopping chords, muting,
droning, banging out incomplete minors
to expectant ears, constructing more than
a ladder of notes climbing past the rafters
into the smoky sky. What I sing is not
heard but implied: the high lonesome, blue
and old-time, repealed. Crushed limestone
underfoot. Stolen names, borrowed sounds.
Dark words subsumed by light, yellowed,
whitened, faded to obscurity, to obscenity.
“Scarecrow Sings the High Lonesome” first appeared in Crannóg, in June 2017.
Steps
Up or down, it’s all the same.
How the knee or hip strains under the planet’s
surge. Opposite, and unequally felt.
One knows pain, the other does not.
Forever spinning, we remain still,
moving in place. Wanting.
As the heart pumps,
stronger for its labor,
accustomed to the effort.
Some Answers You Never Considered
At the cusp of night, before the sun steams out in the ocean,
and blues abandon the reds.
Nothing rests at the core of zero.
Cerulean blue was first marketed as coerulium.
What we consider sky includes only its lowest reaches.
Even considering a dense history with kites, I humbly concede,
and admit sacrifice as atonement, with grace.
No. I say it again. No.
Your visual system constructs the colors you see.
Only when the wind unbuttons its greatcoat, or at the tip
of an icicle, just before the drop catches itself.
Release the line and know the freedom of loss.
Transparent yet wide, unfolded like a fist freeing
a swarm of bees into honeyed air, it contains us.
Your inability to see it does not refute the horizon’s base.
If I knew I’d tell you.
* * *
“Some Answers You Never Considered” first appeared in Underfoot in October 2017.
Mother’s Day
The dog is my shadow and I fear his loss. My loss.
I cook for him daily, in hope of retaining him.
Each regret is a thread woven around the oak’s branches.
Each day lived is one less to live.
Soon the rabbits will be safe, and the squirrels.
As if they were not. One morning
I’ll greet an empty space and walk alone,
toss the ball into the yard, where it will remain.
It is Mother’s Day.
Why did I not weep at my mother’s grave?
I unravel the threads and place them around the dog.
The wind carries them aloft.
“Mother’s Day” was published in The Lake in July 2016, and last appeared here in May 2019.
O at the Edges 