The Sky Refutes East and West

nest

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).

eastwest

 

After Before

mantis

After Before

A return to that
time when silence

reigned. The neighbor’s
guinea fowl have long

departed, but three cedars
drop needles in the circle

even as reluctant growth
pushes out from the oaks’

limbs. Nothing circles
below the clouds, no

roosters crow. Feeders
hang still and empty.

The wrens remain
cloistered. You read

these events as separate
birdless chapters, all

hushed in the dappled
air, passages carried

yet confined by nearly
soundless threads

suspended from the
persimmon tree. You admit

a status as sentient
protein, one meal among

many, while you rest
and absorb

the soft ticking
of eighteen eager

juvenile mantises
on the porch screen.

feeder

Another Oldie: Uccello

Due to planned festivities, I’ll not have time for regular updates this week. Instead, I’m reposting some favorites. The following was first posted in January 2014.

Originally published in 1987 in a short-lived publication called The Balcones Review, “Uccello” is the opening of a longer work. Today, as I look out my window at that same tree, I hear the birds, no longer silent.

file000687759623(1)

Uccello

the wind is what
the stillness
desires to say
each instant
collapsing into itself
like a bud
returning
to the seed

listen
the birds in my tree
are silent
as echoes
before their brief
lives are
silent

something thrashes
in the leaves
the feather
spiraling
slowly
is not only what
it is

as the candle
is more
than flame
or a moment

curling
to darkness

the question
is of clarity

I built a frame
but placed
nothing in it

the wind
blows through
quietly as if
between silences
there exists
only silence or

light
the familiar embrace

unfolding

IMG_0602

The formatting isn’t right, so I’ve provided a pdf of how the poem should look. It might be interesting to compare the two.

Uccello pdf

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.

Threes

image

Threes

Difficulties arrive in waves,
lending weight to the theory of threes,

the plunging fund, a failed engagement, the self’s
doubt, all combined to inflict the particular

misery of the ongoing, the continued, inelegant fate
that declares us human. Look,

she says, the hummingbird flits from leaf to
flower, its wings beating 58 times a second,

a fact not to be trifled with, for what may we duplicate,
contemplate, even, at that pace?

Say the hedge gets clipped, the ring whirs off the finger
and back to the jeweler, and all you know for certain

is that you don’t know. There is no why, no how. No
way. Or life’s reel unwinds and plays only in

reverse. Where do you stop and splice it, forming new,
uncharted worries? And what about that damned

bird, buzzing around your head in territorial fury? Yes,
yes, I know. These things are not my concern. Not really.

But they arrive in unending repetition, one after
the other, in clumps of three – lovely, lonely,

triple-threaded lines of vicissitude lapping at our ankles,
saying nothing, saying everything, saying it used to be so easy.

Originally published in Eclectica in July 2014.

image

Hummingbird (4)

hummer

Hummingbird (4)

What overwhelms is the fate
of our breath
moving from one mouth

to the other, a form of
denial flickering by

like the hummingbird,
impossible in flight
but moving despite our logic.
The air

claims no intention. It waits,
and waiting, gives itself to us.

The gift we accept is of ourselves.

hummer2

The Art of Flight

DSC_1050

The Art of Flight

What wings accumulate is not air
but space, an exemplar

of restraint defied. I listen
and hear feathers

ruffling in the shadows,
a vibration that swells

until it becomes flight or
regret, the retrieval of our

bodies from this dream of ascent.
The art of flight is one of

disturbance, of angles and lift
and touching what can’t be seen.

What we hold carries no meaning.
The beauty lies in the gathering.

file000141329806

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

file5691252161803

(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

DSC_1972

The Language of Birds

file9701246705681

The Language of Birds
(for Lydia)

Something thrown beyond
light: a stone,

words. The language of birds
evades us but for the simplest

measure. And how can we comprehend
those who live with the

wind when our own
bodies seem far away? In the darkness

certain sounds come clearer, as if in

absence one finds strength, the evidence
gathered with every breath. Speech is,
of course, not the answer. We release

what we must, and in turn are released.

Another oldie dug out of a folder. I wrote it for my niece perhaps twenty-five years ago, and don’t believe it was ever published. It feels good to finally release it to the light and air.

file5221263776043

Aubade (Inca Dove)

file0002005846098

Aubade (Inca Dove)

Such delicacy
evokes the evolution of hand
and wing, a growth

which reflects all that one
comes 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.

Originally published in The Balcones Review in 1987, I found this in a folder earlier today. Seems I was enthralled with birds back then, too…

FenceDrama1