Agave
It might deceive.
Or like a cruel
window, live its life
unopened,
offering a view
yet reserving the taste
for another’s
tongue, ignoring
even the wind.
The roots, as always, look down.
This first appeared in Ijagun Poetry Journal in December 2013, and is also included in my micro-chapbook, You Break What Falls, available for download from the Origami Poems Project: http://www.origamipoems.com/poets/236-robert-okaji
Two years with no word.
The stick you planted
sprouted leaves last spring,
restoring hope. We had long
thought it dead. Two leaves
and a bud. A note
scrawled on a dollar bill,
unsigned and smuggled out
by some kindly stranger.
This is not much.
We can do little
but watch the tree grow
while you count steps
and deny the walls of a room
that light never touches.
A History of Particles: Ash, Wood, Shrimp
Unsettled and predisposed
to flight, they
rise. Or, awaiting the process, receive
the glow as prelude to transformation, a
nocturnal exegesis inscribed in flame
and black swirls. Death in the air,
settling upon us. The bitterest
taste. But how to explain
the tongue’s sweet tremor? And the narrow
margins between the transition
from wood to smoke?
At 250 degrees
their pale shells redden,
become vessels of radiant
heat and its attenuated function,
moisture retained so as
to delay and heighten the
delectable flesh, once freed, become
virtue, become fate
sliding down the throat,
the course of deterioration hastened
and endured in perpetuity.
Life among the Prickly Pear
Rain’s twofold curse: not enough,
too much. Still, I take comfort
even among the thorns.
There is much to like here.
Its moonlight flowers.
Paddles fried with minced garlic.
Wren’s jubilant shriek.
The fruit’s red nectar.
After a long day I saw it rise
and walk two steps to the west,
uphill, our burdens shared
yet apart. I woke to distant
screech owls purring their desires
on separate slopes. Late spring,
storms on the way, a warning.
I close my eyes and the creek rises.
In This I Find You Again
If there is truth to be found
let someone find it. The yellow
rose rests in its jar. Day and
night it looks out through the glass
at the world of altered
lines, sensing, perhaps, beauty
through its failure to prevent
fading. Each morning I wake
and think of you. The hibiscus
on our patio readies itself to blossom,
but pauses as if to prolong
the moment, waiting for a reason
to end its denial. Then it unfolds.
You are all I care to find.
Shadow’s Tale
If I call,
will you
reply?
Questions
left unwritten
shape
themselves
like words
we see
but don’t
read. Signs
fade then
reappear,
and the oaks
droop
in the still
heat.
No rain
again. If
you call,
will I
reply?
I felt like this before the reading, but loosened up a bit and enjoyed it. I read ten poems, five from my chapbook, If Your Matter Could Reform, three unpublished pieces, and two that have appeared or are about to appear in publications.
The recording may be found on the Malvern Books YouTube Channel: https://www.youtube.com/watch?v=DmPg_0W0oNw
And please take the time to view Chip Dameron’s reading. He’s a fine poet, very engaging.
Onions
My knife never sings but hums instead when withdrawn from its block, a metallic whisper so modest only the wielder may hear it. Or perhaps the dog, who seems to enjoy the kitchen nearly as much as I. A Japanese blade, it’s a joy to hold, perfectly balanced, stainless steel-molybdenum alloy, blade and handle of one piece, bright, untarnished, and so sharp as to slide through, rather than awkwardly rupture and divide, its next task on the board.
We’ve never counted the chopped and rendered onions, the fine dice, slender rings and discarded skins, but if we could gather all the corpses we’ve produced together over the years, we’d form a monument to our work, cooperation of metal and man, a Waterloo mound in memory of the bulbs laid there, the planning involved, the missteps and serendipity, and the tears shed along the way.
The blade doesn’t care. It is. It works. It moves things, it lifts, it parts them, and in return is cleansed, and later, in the quiet room, maintains its edge with a silvery rasp, angled steel on steel in a circular motion, over and over, until finally it hums its way back into the block. But it never sings.
Dark Rain Ahead, Hummingbird
The black-chinned hummer buzzes my flowered shirt,
bringing to mind the letter H, its history of an inferior life among
letters, and a Phoenician origin signifying fence.
An aspirate dependent upon others, or a line strung between posts,
even whispered, H does not contain itself.
Disconsolate or annoyed, the bird moves on.
Do names depend upon the power of symbols, or do they power the symbols?
In the 6th century A.D., Priscian disparaged H, saying it existed only to accompany.
Clouds shade the way.
The black-chin extends its grooved tongue at a rate of 15 licks per second.
Alone, the H’s voice is barely audible.
Through the trees, across the crushed rock driveway and beyond the barbed wire
and chain link, I hear deadfall snapping under hooves.
At rest, its heart beats an average of 480 beats per minute.
Modern Greek denies its existence.
Say khet, say honor and where. Say hinge, sigh and horse. Say depth.
Originally published in Prime Number Magazine, one of my favorite online literary journals, in 2013:
An evening with poets Chip Dameron and Robert Okaji
Some of you may want to jet in for this event. Or not. Chip is certainly worth the effort!
O at the Edges 
