Dreams of Wheels and Lights

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Dreams of Wheels and Lights

Bells clang in the night. The lamp post belted
by mist offers little comfort. A stone’s
toss away junipers curved like melted
spoons shudder silently. There are no phones
in this place. A thought sneaks into your mind
quietly, like a straw piercing the oak’s
armor in a bad wind. You turn and grind
the thought with your heel. A wheel rolls by, spokes
flashing like scythes. Crouching by a puddle
a man studies his face. He looks at you
and cries: “All I want is to be subtle.”
You think you know him, but you’re not sure who
he used to be. You throw a rock and shout
at him. The wheel slows and the light burns out.

Originally published in Amelia, in 1985. I remember writing it, but it still puzzles me.

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Three Cinquains under the Moon (for Adelaide Crapsey)

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This is my offering for Jeff Schwaner’s “Full Moon Social” celebration.

October 8, 1914

Listen…
three silences
none harsher than your breath
dissipating into the night’s
bright mouth.

Later

Rainfall
and wind. How I
would like to have touched you
if only with words trembling from
my lips.

October 8, 2014

A moon
that we might share
from mountain to the sea
a gift belonging to no one
but you.

Adelaide Crapsey’s last full moon lit the skies on October 4, 1914. She died four days later, at age 36. A poet well ahead of her time, she created the American cinquain, a five-line form of 22 syllables which I have followed in these three poems.

I discovered only after-the-fact that the Full Moon Social Jeff Schwaner hosted on October 8, 2014 fell on the 100th anniversary of Adelaide’s death. These poems were written with that particular evening still looming brightly in mind, to honor Adelaide Crapsey and the moon, whose separate but entwined lights we still share and celebrate.

In my hand is a copy of a slim volume of her poetry, titled Verse and published posthumously in 1915. The following cinquain is from this book:

Moon-Shadows

Still as
On windless nights
The moon-cast shadows are,
So still will be my heart when I
Am dead.

Those interested in further details on Adelaide Crapsey might look here: http://www.poetryfoundation.org/bio/adelaide-crapsey

Details on the Full Moon Social may be found on Jeff Schwaner’s blog: http://jeffschwaner.com/2015/03/01/fullmoonsocial-anyone-thursday-march-5-2015/

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My Poem “Ashes” Reprinted on The Reverie

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My poem “Ashes,” which appeared in Extract(s) two years ago, has been reprinted on The Reverie Poetry Journal‘s blog:

Ashes

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(Hotel Eden) In Full Light We Are Not Even a Shadow

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(Hotel Eden) In Full Light We Are Not Even a Shadow

Which is to say clarity persists in
increments, in the silent space between
color and lens, within parables seen
in the incomplete: straw, hand. Imagine

white valued more than manner as hidden
thought remains obscured. Lower your eyes, lean
forward. Perspectives tilt towards the mean,
suggesting purpose. When we examine

intent, do we find it? The irony
of bottled cork, of sullied paradise,
a coiled wire, the parrot whose voice,

unheard, implicates us. What felony
must we commit to admit the device
in play? Pull or release? The mimic’s choice.

Notes: “In full light we are not even a shadow” is a line from Antonio Porchia’s Voices.

Hotel Eden is the title of a piece of art by Joseph Cornell. An image may be found here:
http://www.wikiart.org/en/joseph-cornell/untitled-the-hotel-eden-1945

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2nd Poem for Bonnie Mcclellan’s International Poetry Month

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My poem, “Window Open, Closed” is the February 28th offering on Bonnie Mcclellan’s International Poetry Month celebration:

https://bonniemcclellan.wordpress.com/2015/02/28/window-open-closed-by-robert-okaji/

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DRAFT: Ode to A

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I’m attending a Tupelo Press Writing Conference this weekend, and thought it would be fun to share the piece I’ve written in response to an assignment. Participants will be exploring Pablo Neruda’s work, and have been charged with producing an ode in the style of Neruda.

Ode to A

I praise your curves
and angles, your
history,
the lift and heft,
those borrowed traces
sprouting from
an ox head
in fetid Egypt,
the dung trails
alive with beetles
rolling their wares
across rutted paths,
under the hooves
of the blind
mouthless cow in
Sinai, morphing
to the early
Phoenician aleph,
its horns
lowered sideways
in a pasture
far from the docks,
as if asking
what next,
where to,
and not in anger
or fear
or sheer bullness,
but with purpose,
like a harrowed field
or cool drink
at the end
of a hot afternoon.

And centuries
later, the horns
lifted again,
but only halfway,
as if in greeting
the man with the
goods-laden cart,
saying welcome,
traveler,
welcome to my
humble home,
please share
my bread
and soft cheese,
these grapes,
this wine, too.

But how alone
my tongue feels
in singing your name,
never touching lip
or roof of mouth,
worshipping
the apex of your rich
furrow, forever
plowing forward,
yet failing,
fallow at every turn.

And I have
not yet mentioned
your lower
case,
kneeling and
well rounded,
a bud, a tender
shoot bridging
two stones
in a dry
plot: oh, to be
that tongue
and palate,
those lips
surrounding you,
to be your
consonant
in a field of vowels.

Hungarian cattle, Lajosmizse, Hungary

Mole (Pipian)

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Mole (Pipian)

Always the search beneath texture,
layers captured in subsidence,
the drift to interpretation: a mixture, meaning

sauce, and its journey from seed to mouth,
the careful blend of herb and fire,

dismembered chiles,
the crushed and scorched fruit
rendered to preserve for consumption
the most tender qualities

and their enhancement towards art.

This is of course not about the mammal with the subterranean lifestyle, but rather a version of the Mexican sauce, pronounced “mo-lay,” which includes, as a main ingredient, pumpkin seeds. It takes a while to put together, but is well worth the effort.

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And to Sleep

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And to Sleep

and what we
sense if not
of our selves

or within this
space we contain
may be of

no thing touched
by one’s fluttering
eye as if

awake we see
even less the
dreams of course

real though we
hold them only
in our sleep

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Tarantula

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Tarantula

The patience of stone, whose surface belies calm.
Neither warm nor cold, but unfeeling.

It digresses and turns inward, a vessel reversed
in course, in body, in function, the

outward notion separate but inclusive,
darkness expanding, the moist

earth crumbling yet holding its form:
acceptance of fate become

another’s mouth,
the means to closure and affirmation

driven not by lust nor fear
but through involuntary will.

Neither warm nor cold, but unfeeling.
The patience of stone.

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Poem for Bonnie Mcclellan’s International Poetry Month Celebration

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My poem “Giving Time” is today’s offering in Bonnie Mcclellan’s International Poetry Month Celebration:

https://bonniemcclellan.wordpress.com/2015/02/17/giving-time-by-robert-okaji/

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