Unwinding
As in a day’s long
thread
or with cold drink
in hand,
glass sweating,
ice
shrinking, a little
sweet,
some salt, her
smile saying
relax, put up
your feet,
I’ll take care
of this,
don’t worry,
tomorrow’s
a full moon
away.
“Unwinding” first appeared here in January 2017.
My poems “Do Not Retain Me In An Urn,” “Pinot Noir” and “Hotel of my Future” are live at Salamander Ink Magazine, a Nigerian publication. Thank you, founder/editor Salam Wosu for taking these pieces.
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My poem “The Inside Twitch” is live at Exilé Sans Frontières, a new international publication. Thank you to editors Daniel Nemo and Pryscilla Hebel for taking this piece.
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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.
The Simplest Coercion
Each portrait betrays a similar
attraction: faces
swallowed by the artist’s
eye, his sight being
beyond optic, that assumption
inherent in every expression
but one. Yet this, the self-
portrait, reveals a hint
of secrets – an unwillingness
to confront,
the simplest coercion.
* * *
Another piece from the 80s…
This first appeared on the blog in May 2015.
Snow with Moose
Guide to the incremental, to the sifted mass. The Phoenician mem shifted
shapes, but always suggested water.
Moose likely derives from the Algonquian descriptor “he strips away.”
The Japanese character for water, mizu, evokes currents.
Moose are solitary creatures and do not form herds. A bilabial consonant,
M is a primary sound throughout the world.
The prehensile upper lip undresses branches and grabs shoots.
Wavering, I share the lack of definition, of clarity in design and choice.
The sound is prevalent in the words for mother in many unrelated tongues,
from Hindi to Mandarin, Hawaiian to Quechua, and of course English.
Eleven strokes compose the Japanese character for snow.
A smile would reveal no upper front teeth.
Long legs enable adults to manage snow up to three feet deep. Under water,
individual flakes striking the surface sound similar, despite size disparities.
It can also accurately be classified as a mineral.
Solitude to connection, dark on white. The lone traveler.
“Snow with Moose” first appeared here in December 2015.
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 driveway
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.
“After Before” first appeared here in December 2015.
Nine Variations of a Cloud
1
Looking up, I renounce pity and the sadness of wind.
2
Only lust pulls and shapes more, diminishing your integrity.
3
It slips through whenever I try to grab it.
4
Every phrase is a window glowing at night, surrendered to its frame.
5
Water in another form is still water.
6
In whose ruins must you survive?
7
Another shape, another moment desperately spent.
8
And still you thrive in diminishment.
9
Bearing nothing, it conceals.
* * *
“Nine Variations of a Cloud” first appeared in Kindle Magazine in December 2015, and was also included in Gossamer: An Anthology of Contemporary World Poetry.
The Body Gives
Sometimes the body gives too much.
A tendon frays, the heart mumbles
and no one sees the damaged parts.
Ignoring pain, we continue climbing ladders,
sandpaper breath rasping the morning light.
Little bits of us crumble all the time,
yet we stumble on, pretending.
Then the body kills us with its enthusiasm.
Cells duplicate wildly, plaque explodes.
This enmity within? Defensive maneuvers.
Working alone, I wonder where I might end.
On the floor. In a field. Atop the bed.
Under the surface of a rippling pond
or drifting with smoke
through a snow-clad afternoon
at eight thousand feet. Among
the grocery’s tomatoes and squash
approaching the end of a long list.
At the bar, glass in hand, or in a truck
at a four-way stop, the radio blaring.
Time enough for speculation, they say.
But I wonder: when I jump,
does the earth always rise to greet me?
* * * *
“The Body Gives” first appeared in The New Reader Magazine, in March 2018.
Which is an Eye or a Bowl, a Dream
Or well-placed mirror in a sunburnt room, shivering through shifted
images: that hand, blackened and stout, opened like a dark peony;
the tattooed chin; shovel and torch; hook and owl. You say no one
chooses one fist over another, that bread’s rise completes its cycle
and begins anew, pressed flat and rounded. Take this heart and seal
its chambers. Note the anterior descent. Compression, lesion. Plaque.
Consequence. And your friend, who slept, never to awaken. Lying
in that strange bed, you taste salt, acknowledge change, whisper
to no one: audible house…audible tree, knowing that time’s limit
remains unclear. The air swirls and you accept this new light.
Note: “Audible house…audible tree” is from Jane Hirshfield’s “Not Moving Even One Step,” from The Lives of the Heart.
O at the Edges 