Ashes

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Ashes

To sweeten the dish, add salt. To bear the pain,
render the insoluble. She envied

the past its incursions, yet the past yields to all,
avoidance to acceptance, trees to smoke.

My mother brought to this country a token of her death to come.

Now it sits on my shelf bearing implements of music.
In her last days I played Sakura on the mandolin,

trusting that she might find comfort
in the blossoms fluttering through the failing notes,

a return to mornings
of tea and rice, of
warmth and paper walls and deep laughter.

Today the rain spells forgive

and every idea becomes form, every shadow a symptom,
each gesture a word, a naming in silence.

Scatter me in air I’ve never breathed.

* * *

“Ashes,” first appeared in Extract(s) in 2013, was reprinted on The Reverie Poetry Journal, and is included in my chapbook, If Your Matter Could Reform.

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Requiem

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Requiem

That it begins.
And like a wave which appears
only to lose itself

in dispersal, rising whole again
yet incomplete in all but
form, it returns.

Music. The true magic.

Each day the sun passes over the river,
bringing warmth to it. Such

devotion inspires movement: a cello in the
darkness, the passage of sparrows. Sighs.

The currents are of our own
making. If we listen do we also

hear? These bodies. These silent voices.

* * *

“Requiem” was written in the 80s, in response to a piece of music. It made its first appearance here in February 2015.

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3 Centos Published in LONG EXPOSURE

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* * *

Three of my centos have been published in Long Exposure. Many thanks to editor Daniel Williams for taking these pieces (What the Body Gives, Gravity Takes; Still Hands; Chill) which have previously appeared on this blog.

 

 

Bonjour, Texas: Summer 1966

My guest post is now up on A Holistic Journey. Many thanks to Holistic Wayfarer for the invitation.

Unknown's avatarA Holistic Journey

By the second week I learned that Texans sweat as much
as the French, and swear even more, that you couldn’t fight one
twin without taking on the other. But the librarian would slip me
the choicest donated fiction, and I played baseball every day in the
vacant lot until sundown called the players home to black and white
body counts and cigarette commercials on the three channels we got.

Sometimes I lay in bed under the half-light of the whirring fan
blades, and dreamt of heroes and ornithopters, zebras and the scent
of chocolate chip cookies in the oven. Other nights I wondered
how words could rest so calmly on one page yet explode off the next,
or why a man would climb a tower in Austin to kill fourteen people.
Wasn’t living a matter of simple subtraction?

One by one the days parted and I walked through the dwindling
heat…

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A MHR Conversation: Robert Okaji

My conversation with Mockingheart Review editor, Clare L. Martin.

Clare L. Martin's avatarMockingHeart Review

A MockingHeart Review Conversation with Robert Okaji, author of If Your Matter Could Reform (Dink Press, 2015)

MHR: Hi, Robert. I am glad we have this opportunity to talk to one another about your new chapbook, If Your Matter Could Reform.  I have a few questions which I hope will illuminate us.

RO: Thank you, Clare. I’m thrilled that you asked.

MHR: The first poem is “Wind” which introduces us to the ethereal voice that has a calming effect but also the authority and power to speak the deepest questions that you explore in the book. I love the wind motif that blows in and out of poems, like a wind.  What does the wind signify to you and what can we learn, formally, from paying attention to your use of it?

RO: We share our lives with the wind, yet are able to see it…

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The Geography of Silence

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The Geography of Silence

1. Laundry drooping at midday.

2. She dreams off-key, in pastels.

3. With misunderstanding comes anger.

4. Mata! Mata! Again!

5.  Ashes crossing the ocean.

6.  Sweat, and the taste of separation.

7.  Reaching for past moons, she cries.

8.  Death’s shade.

9.  Rice.

10.  Self-sacrifice, the centered gift.

11. Inward, always. Inward.

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