Bonsai
no feature enhanced
but beauty of
the whole and
its container the
tree is not
deprived and grows
as it must
though slowly like
a wave which
gathers itself for
years there is
no completion only
process a lapse
which presumes the
most delicate design
Originally published in Aileron in 1988, “Bonsai” first appeared on the blog in December 2014.
Bonsai
no feature enhanced
but beauty of
the whole and
its container the
tree is not
deprived and grows
as it must
though slowly like
a wave which
gathers itself for
years there is
no completion only
process a lapse
which presumes the
most delicate design
Originally published in Aileron in 1988, “Bonsai” first appeared on the blog in December 2014.
Bonsai
no feature enhanced
but beauty of
the whole and
its container the
tree is not
deprived and grows
as it must
though slowly like
a wave which
gathers itself for
years there is
no completion only
process a lapse
which presumes the
most delicate design
Originally published in Aileron in 1988, “Bonsai” first appeared on the blog in December 2014.
Bonsai
no feature enhanced
but beauty of
the whole and
its container the
tree is not
deprived and grows
as it must
though slowly like
a wave which
gathers itself for
years there is
no completion only
process a lapse
which presumes the
most delicate design
Originally published in Aileron in 1988, “Bonsai” first appeared on the blog in December 2014.
Rice
Yesterday’s rain informs me I’m born of luck and blended
strands, of hope and words forged before a common tongue emerged.
Of my first two languages only one still breathes.
The other manifests in exile, in blurred images and hummed tunes.
Rice is my staple. I eat it without regarding its English etymology,
its transition from Sanskrit to Persian and Greek, to Latin, to French.
Flooding is not mandatory in cultivation, but requires less effort.
Rice contains arsenic, yet I crave its polished grains.
In my monolingual home we still call it gohan, literally cooked rice, or meal.
The kanji character, bei, also means America.
Representing a field, it symbolizes abundance, security, and fertility.
Three rice plants tied with a rope. Many. Life’s foundation.
To understand Japan, look to rice. To appreciate breadth, think gohan.
Humility exemplified: sake consists of rice, water and mold.
The words we shape predicate a communion of aesthetics.
Miscomprehension inhabits consequence.
* * *
“Rice” has appeared here twice before, and is included in my chapbook-length work, The Circumference of Other, published in Ides, a one-volume collection of fifteen chapbooks published by Silver Birch Press and available on Amazon.com.
Rice
Yesterday’s rain informs me I’m born of luck and blended
strands, of hope and words forged before a common tongue emerged.
Of my first two languages only one still breathes.
The other manifests in exile, in blurred images and hummed tunes.
Rice is my staple. I eat it without regarding its English etymology,
its transition from Sanskrit to Persian and Greek, to Latin, to French.
Flooding is not mandatory in cultivation, but requires less effort.
Rice contains arsenic, yet I crave its polished grains.
In my monolingual home we still call it gohan, literally cooked rice, or meal.
The kanji character, bei, also means America.
Representing a field, it symbolizes abundance, security, and fertility.
Three rice plants tied with a rope. Many. Life’s foundation.
To understand Japan, look to rice. To appreciate breadth, think gohan.
Humility exemplified: sake consists of rice, water and mold.
The words we shape predicate a communion of aesthetics.
Miscomprehension inhabits consequence.
* * *
“Rice” has appeared here twice before, and is included in my chapbook-length work, The Circumference of Other, published in Ides, a one-volume collection of fifteen chapbooks published by Silver Birch Press and available on Amazon.com.
Bonsai
no feature enhanced
but beauty of
the whole and
its container the
tree is not
deprived and grows
as it must
though slowly like
a wave which
gathers itself for
years there is
no completion only
process a lapse
which presumes the
most delicate design
Originally published in Aileron in 1988, “Bonsai” appeared on the blog in December 2014.
Rice
Yesterday’s rain informs me I’m born of luck and blended
strands, of hope and words forged before a common tongue emerged.
Of my first two languages only one still breathes.
The other manifests in exile, in blurred images and hummed tunes.
Rice is my staple. I eat it without regarding its English etymology,
its transition from Sanskrit to Persian and Greek, to Latin, to French.
Flooding is not mandatory in cultivation, but requires less effort.
Rice contains arsenic, yet I crave its polished grains.
In my monolingual home we still call it gohan, literally cooked rice, or meal.
The kanji character, bei, also means America.
Representing a field, it symbolizes abundance, security, and fertility.
Three rice plants tied with a rope. Many. Life’s foundation.
To understand Japan, look to rice. To appreciate breadth, think gohan.
Humility exemplified: sake consists of rice, water and mold.
The words we shape predicate a communion of aesthetics.
Miscomprehension inhabits consequence.
* * *
“Rice” appeared here in June 2015, and in my chapbook, The Circumference of Other, which is included in Ides, a one-volume collection of fifteen chapbooks published by Silver Birch Press and available on Amazon.com.
Self-Portrait with Umeboshi
Our resemblance strengthens each day.
Reddened by sun and shiso,
seasoned with salt,
we preside, finding
comfort in failure. Or does
the subjugation of one’s flavor for another’s
define defeat? The bitter, the sour, the sweet
attract and repel
like lovers separated by distances
too subtle to see.
Filling space becomes the end.
What do you learn when you look through the glass?
Knowing my fate, I say fallen. I say earth.
Ah, simplicity! When I was a child my mother would occasionally serve rice balls in which a single mouth-puckering umeboshi rested at the center. These have long been a favorite, but I admit that umeboshi might be an acquired taste. Commonly called “pickled plums,” ume aren’t really plums but are more closely related to apricots. I cherish them.
“Self-Portrait with Umeboshi” first appeared in the Silver Birch Press Self-Portrait Series (August 2014), was included in the subsequent print anthology, Self-Portrait Poetry Collection, and also appears in my chapbook, If Your Matter Could Reform.
I’m delighted to report that the editors of Panoply Magazine have designated my poem “Two Cranes on a Snowy Pine” as their first Editor’s Choice for Issue 3.
A video of me reading “Two Cranes on a Snowy Pine” has been posted on Panoply Magazine’s Facebook site.
O at the Edges 