Three Cinquains under the Moon (for Adelaide Crapsey)

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These were originally written for a “Full Moon Social” celebration hosted by Jeff Schwaner in October 2014..

October 8, 1914

Listen…
three silences
none harsher than your breath
dissipating into the night’s
bright mouth.

Later

Rainfall
and wind. How I
would like to have touched you
if only with words trembling from
my lips.

October 8, 2014

A moon
that we might share
from mountain to the sea
a gift belonging to no one
but you.

Adelaide Crapsey’s last full moon lit the skies on October 4, 1914. She died four days later, at age 36. A poet well ahead of her time, she created the American cinquain, a five-line form of 22 syllables which I have followed in these three poems.

I discovered only after-the-fact that the Full Moon Social Jeff Schwaner hosted on October 8, 2014 fell on the 100th anniversary of Adelaide’s death. These poems were written with that particular evening still looming brightly in mind, to honor Adelaide Crapsey and the moon, whose separate but entwined lights we still share and celebrate.

In my hand is a copy of a slim volume of her poetry, titled Verse and published posthumously in 1915. The following cinquain is from this book:

Moon-Shadows

Still as
On windless nights
The moon-cast shadows are,
So still will be my heart when I
Am dead.

Those interested in further details on Adelaide Crapsey might look here: http://www.poetryfoundation.org/bio/adelaide-crapsey

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Inquisition

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Inquisition

1.
I breathe smoke
from the fire
warming our feet

Something is not right
but not wrong
yet

like the bones’ dance
on wires
in a bad dream

Fear’s sharp blade twists
burning with the slow
heat of coals

2.
I cannot read ashes
the message
of cracked stones in desert light

nor the poetry
of the cow’s skull
white on dark sand

What right has a man

And the snake’s
quivering tongue tasting
what the air brings to him

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Originally posted in December 2014. One of my earliest published pieces, this first appeared in Taurus, in 1984. Curiously, this is not the piece that I remembered having been published in Taurus. I wonder if that poem still exists somewhere? Such is memory…

Palinode (Hands, Hours, Light)

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P A L I N O D E ( H A N D S , H O U R S , L I G H T)

Consider the hand, its breadth, its history in mathematics and limitation. 27 bones, two strokes. Distal phalanges spanning gaps.  You turn and wave at the winnowed tunnel and the drops feathering the glass. The sinister endures tasks of life; right blesses power and assuages guilt. Presuming inflection, I use both hands to tally the absent. Later as we drive through the checkpoint, our way greased by fluency in the language of coin, heaven’s oblique arch recedes and I praise the passage of hours.

I praise the passage of hours measured in terms unknown to some: beyond two, many. Returning, we see streets guided by lampposts, bent trees and the uneven drizzle of sidewalk mendicants blurring through their days. A hanged man’s dessicated hand (pickled in salt and the urine of man, woman, dog and mare) forms the Hand of Glory, unlocking any portal the bearer desires opened: a direct tool of consciousness. Lacking the fat of a gibbeted felon, I cannot properly light the way.

I cannot properly light the way, but we  observe facets in differing terms: the hand, lips, and mouth claim more neural innervation than the rest of the body combined, perhaps a consequence of the primacy of making and sounding. Candles smolder and yield to shadow through dancing hand stories. The wave of acknowledgment, a finger across the lips, the open hand proclaiming innocence, expressing, grasping, creating, constraining, releasing. Extinguishing.

This first appeared in Hermeneutic Chaos, Issue 11.

 
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3 Poems in Posit: A Journal of Literature and Art

I’m delighted to have three poems appearing in Posit: A Journal of Literature and Art. Many thanks to editor Susan Lewis for taking these oddities.

To get a taste of what Posit is about, read the Editor’s Notes.

Theology of Carrots

 

Theology of Carrots

We hide our best
underground

plumed by ornamental
headpieces

allowing the wisdom
of taproots

to prosper
in darkness.

 

 

Recording of My Poem “Prayer”


Prayer

Death does not choose you at random.
It approaches at your pace, rumbling
downhill or floating in the air,
debris or dandelion fluff,
concealed yet evident.
Listen: a small cloud bumps another,
merging into one larger being —
can you hear its ecstasies?
All the world’s souls, gathered.

 

Mockingbird III

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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.

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More on the Ghazal

A little more on the ghazal from the Academy of American Poets. I’ve become enamored with the form. We’ll see what comes of this latest enthusiasm!

 

 

Ghazals

Steph Burt writes about the ghazal form, in particular Agha Shahid Ali’s “Tonight.” An illuminating article.

And here’s a link to Kazim Ali discussing the poem: Poetry Off the Shelf

Being Neither End nor Beginning, I Look to the Earth

Being Neither End nor Beginning, I Look to the Earth

Or the sky’s red haze, scattered in past particles,
enhanced. The goings, the matters. The truest lies.

May we roll in reverse towards the future?
This ladder curves into the horizon, blending faith

with history, with solid and liquid. With gas.
I have bled on her rails and taken myself

hostage. I have returned rain to air. I am rendered
like never-turning wheels, fixed in space,

guided by friction and soured prayer; oxidation
consumes me. Sleepless among evergreens,

we pledge vigilance and note the absence of candor.
Somewhere water flows, but not here, today.

“Trem Abandonado” by Rafael Vianna Croffi
(https://www.flickr.com/photos/rvc/29472173566)

The last of three poems launched from this painting.