My poem “Moonlight at Noon (Afterlife)” is live at Spare Parts Literary Magazine. Many thanks to poetry editor Oladejo Abdullah Feranmi and the Spare Parts team for taking this piece.
Poem Up at Spare Parts Literary Magazine
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Tag Archives: birds
(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
This made its first appearance here in March 2015.
Aubade (Inca Dove)
Aubade (Inca Dove)
Such delicacy
evokes the evolution of hand
and wing, a growth
reflecting all we’ve come
to know. Two doves
sit on the fence, cold wind ruffling
their feathers. What brings them
to this place of no
shelter, of wind and rain
and clarity defied? Fingers
often remember what the mind
cannot. Silence
complicates our mornings.
This was originally published in The Balcones Review in 1987. Seems I was enthralled with birds back then, too…
Mockingbird III
Mockingbird III
Songs, returned
to their space
within the sphere of
movement, the patterns inscribed
as if to touch the face of every
wind: here one moment, then
gone. This quickness delights us.
How, then, do we so often forget
those things we share? Night
comes and goes to another’s
phrase, yet each note is so precisely
placed, so carefully rendered
that we hear only the voice, not its source.
* * *
Another piece from the 80s. This first appeared here in March 2015, and would likely be a much longer poem if I were to write it today.
Mockingbird
Mockingbird
Withdrawn, it unfolds
to another
voice, like that
of a child lost in the wind.
Or, lonely, it rises from its place
and sings, only
to return and start again.
The pleasure we accept derives from
the knowledge that we are not alone.
Each morning we walk out and sit
by the stones, hoping to observe some
new patterns in his life. What we
see is an answer. What we hear is no song.
* * *
“Mockingbird” made its first appearance here in January 2015. It was written
in the 1980s, probably around 1987-1989.
While Blowing on the Shakuhachi I Think of Birds
While Blowing on the Shakuhachi, I Think of Birds
Yesterday’s sorrow
dissipates in joy.
Though you are not here, I hear your voice,
blow a solitary note in response.
Your philosopher bird carries it to you,
two-thousand miles away,
as the wren brings your song to me.
This is love today
and tomorrow,
embodied in birdsong and faith.
Next week I will know your touch
as you will mine.
We’ll follow our lists,
starting with lips, while the universe
surges around us, filling the voids we never saw.
Needs, answered.
Perhaps the world will end.
Perhaps the red-tailed hawk will follow its nature.
Perhaps I will stand on the roof and shout your name.
But today, this little bird nesting in all the unsaid spaces,
is all I have, little mouth flickering, forming moons and
new mornings, new shadows, new light.
* * *
“While Blowing on the Shakuhachi I Think of Birds” first appeared in Voices de la Luna in March 2020.
Cardinal
Cardinal
Question: what is air if not
the means by which we
see and feel? Sound creates only
itself, another version of the original
sense. I move from shadows to a deeper
darkness, hoping to find that point where absence
ends. But there is no end, only
continuation, a cry for those
who offer their hands in ambiguity. Sometimes
a cardinal’s call fills our
morning with questions. So
little of all we touch
is felt. We are the air. The air is.
Another poem from the 80s. I was obsessed with birds even back then…
The Sky Refutes East and West
The Sky Refutes East and West
Here, the horizon lingers.
The open eye, the mouth’s shape.
A hoop, the circle without iris.
Does the screech owl acknowledge latitude and hemisphere?
The Semitic alphabet contained no vowels, thus O
emerged as a consonant with a pupil, morphing into a dotted ring,
and later, with the Greeks, an unembellished circle (which of course
they cracked open and placed at the end). The female lays eggs
on the remnants of earlier meals lining the bottom of her den.
If you listen at night you might hear the purring of a feathered
cat (the Texas screech owl’s call varies from that of its eastern cousins).
The difference between sphere and ball.
To pronounce the Phoenician word for eye, sing the lowest note possible,
then drop two octaves. They usually carry prey back to their nests.
Screech owls are limited to the Americas.
Coincidence and error, the circumference of other.
***
“The Sky Refutes East and West” was first published in Prime Number Magazine, and also appears in my chapbook The Circumference of Other, included in Ides: A Collection of Poetry Chapbooks (Silver Birch Press, 2015). It made its first appearance here in May 2016.
With These Nine Figures
“With These Nine Figures” is included in Purifying Wind (now available as an Ebook for $4.99, and in print for $12.00), an anthology of pieces about or mentioning vultures.
With These Nine Figures
… and with the sign 0…any number may be written.
Leonardo of Pisa (Fibonacci)
We attain from emptiness and the Sanskrit shoonya, from safira and sifr, zero.
As in unoccupied, as in void, as in what brims the homeland of null.
I once counted thirty-four black vultures orbiting my neighbor’s hill.
Despite appearing in Mayan codices, they neither sing nor cipher.
Fibonacci’s Book of the Abacus introduced the decimal system to Europe.
Regarding the tyranny of mathematics, is nothing something?
From alterity to belonging, its provenance assumes an absence of being.
Which is not to suggest xenophobia or superiority in order.
Whether depicted by empty space, wedges, or hooks, it held place.
Representation not of the object, but of its purpose, its path.
Black vultures do not smell carrion, but pillage from those that can.
Obliterative in the west wind, subtractive, unbound, they spiral.
Are the circlers in the sky symptomatic or merely symbolic?
Comparing negative infinity to its positive sister, I observe their way.
* * *
“With These Nine Figures” originally appeared, with a companion recording, in Clade Song in summer 2013. I had asked a friend for five or six words to use in a poem. She provided tyranny, emptiness, xenophobia, pillage and at least one other that I’ve forgotten. But it wasn’t nothing.
Let It Remain
Let It Remain
Comfort of name,
of pleasure
freshened in
repetition, unformed
pears falling, and
the mockingbird’s
inability
to complete
another’s song.
I will take no
moment
from this day
but let it remain
here in the knowing,
in the tyranny
of the absolute
and its enforced
rhythm desiring
both flight and
maturation,
the ecstasy
of fruit grown full.
“Let It Remain” first appeared here in September 2015.
O at the Edges 