A Herd of Watermelon

 

A Herd of Watermelon

My work tools include rubber boots, a hydraulic
jack and snake tongs. Prevention over cure, always.

A helicopter’s shadow crosses the yard.
I sweat in cold weather; today even the shade burns.

Ants swarm a dead bat on the gravel.
No keys for these locks, no fire for that place.

Stepping inside, the city welcomes me.
We drain coffers for this grass, and hope for rain.

This morning two deer jumped the east fence while I
updated software. The significance eludes us.

A dream of watermelons rising from their viny beds,
lumbering through the field to the creek. Rebellion!

How many have sat at this desk before me, plotting
murders and rumors or rhymes. Die, mosquito. Die!

 

 

“A Herd of Watermelon” was drafted during the August 2016 Tupelo Press 30-30 Challenge. Thank you to Plain Jane for sponsoring the poem and providing the title. Alas, my time at this very special place has ended. No longer in Texas, I seek work elsewhere. What will I find?

 

Black Lilies

 

Black Lilies

Flensing words, slicing deeper: all, nothing,
red to redder. Their skin, paling to nothing.

I speak today but you hear yesterday.
Black lilies in the chill of nothing.

Drifted apart, the two halves reconcile.
Yellowed, whitened. Older. Both stitched in nothing.

How many words have we lost to morning? Shredded
syllables sparring for sound. The nothing of nothing.

A coated voice, turquoise and calm, spreading across the room.
Buttered light. Pleasantries, unfolding. You, being nothing.

The language of night sleeps unformed in my bed.
I remember your hand on my cheek; flesh forgets nothing.

 

* * *

A near-ghazal, “Black Lilies” first appeared in ISACOUSTIC* in January 2018.

River Carry Me

 

River Carry Me

I approach the window with closed eyes.

In this case, the between dissolves.

Without form and weight, still you linger.

A ticketless morning unfolds.

The water flows in braids, through stone and air.

Before my limits enact pity, before falling fruit.

Images condensed throughout the night.

An inheritance of trees curving towards the horizon.

One exactly as another’s, only different.

 

* * *

“River Carry Me” first appeared in Underfoot in October 2017.

Well Pump

Well Pump

To be within, yet without: the rootless seed.
Staring through glass, we see only the surface
sliced thin like cell-thick specimen slides.
I dream of knowing, of inclusion.
The well pump is fried, but only thieves
return our calls. How to deflect the lure
of complicity? Stack stone, observe clouds.
Tap the cistern. Absorb its hollow tune.

 

* * *

“Well Pump” first appeared in January 2018 in Amethyst Review.

Many thanks to editor Sarah Law for accepting it.

Vision in Far Infrared

 

Vision in Far Infrared

Considering the implications of dust and cold gas, the expanding
universe and cryostats, I climb the stairs and shiver.

Thermal infrared may propagate in a vacuum, but we require
oxygen and warmth. Pillows and a sense of humor help, too.

What will come of the images captured by the Herschel telescope
in the next eon and those following? These maelstroms, blossoming.

I look up from my front porch and see the streetlight’s glare
rather than stars. Yesterday, lizards coupled on my shack’s wall.

Nebulosity in vision, in politics. Look through this eyepiece to find
horseheads and archers, bright flames and clouds. Or nothing.

Red and yellow filaments could indicate newly forming low-mass
stars. The visible is only one component of perception.

Hubble observes in multiple spectra, but not the far infrared.
Even the long-reaching may be overcome by inadequacies.

Do not forget the body’s warmth. Remember black lights and purpose,
the tangible thought. Recall that we exist at rest, ever in motion.

 

 

* * *

“Vision in Far Infrared” was drafted during the August 2016 Tupelo Press 30/30 Challenge. I am grateful to Angela for sponsoring the poem and providing the title and these three words: nebulosity, eon, maelstrom.

 

Recording of “Balance”

star lights


Balance

Navigating
by stars,

one ball
buried,

another
gathering,

the dung
beetle

straight-lines,
maintains

position,
forever

looking forward
and up.

 

image

“Balance” first appeared here in February 2016, and is included in my just released micro-chapbook Only This, available for free download from Origami Poems Project.

“Nightdreams” Kevin MacLeod (incompetech.com)
Licensed under Creative Commons: By Attribution 3.0 License
http://creativecommons.org/licenses/by/3.0/

 

RO

Ro

When this note fades
will it join you in that place
above the sky
or below the waves
of the earth’s plump
body? Or will it
circle back, returning to
my lips and this
hollow day
to aspire again?

 

 

Note: Ro designates the fingering required to produce a particular note on the shakuhachi, the traditional Japanese bamboo flute. In this case, closing all holes.

 

As the Gravy Flows

 

As the Gravy Flows

Viscosity is always a consideration, as is definition:
traditionally a sauce composed of meat juices and
thickeners, or, a sediment of melted tallow, which
somehow brings to mind a laborer rising early after
a hard night, eating red-eye, made of fried ham
drippings and coffee, served over grits. Or perhaps
an egg gravy – a béchamel sauce flavored by bacon,
with water and milk, and an egg – ladled over butter-
rubbed biscuits. But then I picture my vegetarian
friends pushing away from plates of this fine repast,
and not wishing to deny them or those following a vegan
lifestyle, we turn to roasted vegetables with broth, oils
and wine and a savory yeast extract. But I can’t fathom
a life without giblet gravy, which features the neck and
offal of fowl, including the liver, the taste of which may
be too strong for other recipes using giblets, an interesting
word in itself, from the Old French for a game-bird stew,
and the Middle English meaning of an inessential
appendage, or entrails, morphing to garbage. I would
never throw out an onion gravy, essentially a thick sauce
of slow-cooked onion and stock or wine, and admit to
having tasted a cream version with the consistency and
flavor of diluted paste, indicating a lack of balance in
flavor and poor roux-making technique. My favorite
would be an Italian-American buddy’s gravy, his word
for a rich ragù of sausage, braised beef and shredded
pork, red wine, tomatoes and herbs, served over pasta.
This of course stretches the definition of the word, but
language is elastic, is it not? So it flows, as does the gravy.

 

“As the Gravy Flows” was drafted during the August 2016 30/30 Challenge. Thank you to Lady Phoenix for sponsoring the poem and providing the title!

 

To Sing the Ever Present Farewell

 

To Sing the Ever Present Farewell

The way your breast rises,
small pillows,
two doves in autumn,
so, too, the song escapes.

I admit my part,
warbled promise, uncombed
and shivering,
free to worry
under its pull.

Still it comes,
inexorable tide
lowing a sorrow
through filtered light
till dawn.

 

 

Portrait in Ash

blue-smoke


Portrait in Ash

In summer, sweet crushed ice, and crickets pulsing through the night.

Brake lights, and always the blurred memory of nicotine.

I recall running through the glow, laughing, fingers splayed forward,
and the ensuing sharp admonishment.

Steel, flint and spark. Blackened linings and diminishment.

How many washings must one endure to accept an indelible soiling?

In retrospect, your body still resists.

Lovely smoke uncoiling towards the moon, residue of impurities
and substance. Desire, freed and returning.

You dwell underground. I gaze at the cloud-marred sky.

 

* * *

“Portrait in Ash” appears in Interval’s Night, a mini-digital chapbook, available for free download from Platypus Press.