Icarus
Currents of breath, the slight curve and lift
within a single motion, once
poised then released as if to say
the wind is mine, or wait,
I am alone –
the story we most fear, not height nor gravity’s
fist, but to exist apart, shadow and
mouth, rain and smile, feather
and sun, all denials reciprocal,
each tied fast and renewed.
“Icarus” first appeared here in April 2016, and subsequently was published in The Basil O’Flaherty in November 2016.
Mirror
The attraction is not
unexpected. We see
what is placed
before us, not
what may be.
The mirror is empty
until approached.
* * *
One of six short poems included in my micro-chapbook, You Break What Falls. Available for free download here: http://www.origamipoems.com/poets/236-robert-okaji
“Mirror” first appeared here in May 2015.
Odi et amo (zero)
How I fear what you contain.
Reaching through,
I find only more you,
but when I multiply your being,
the result limits me.
I add myself to your body and obtain
only myself. If nothing is something,
how, what, may I claim?
Your beginning and end, a line
become circle, become identity.
I enter, and entering, depart.
“Odi et amo (Zero)” first appeared on the blog in December 2015, and was published in The Basil O’Flaherty in October 2016.
Curtain
Adept at withdrawal, it retreats.
How appropriate, we think,
that its body curls
with the wind’s
tug, offering
only the
slightest
resistance. Then
it returns,
bringing to mind
the habitual offender
whose discomfiture
lies in choice,
the fear
of enclosure
removed. The
forward glance.
And back again,
whispering its
edict: concede, reclaim.
Give and take. We are as one.
“Curtain” last appeared on the blog in July 2017.
If You Drop Leaves
If you drop leaves when she walks by,
does that signify grief for those
cut down early,
or merely drought?
How easily we abandon and forget.
Yet a whiff of lemon verbena or the light
bouncing from a passing Ford
can call them back,
tiny sorrows ratcheted in sequence
above the cracked well casing
but below the shingles
and near the dwindling shade
tracing its outline on the lawn.
And what do you whisper
alone at night within sight
of sawn and stacked siblings?
Do you suffer anger by way
of deadfall or absorption,
bark grown around and concealing
a penetrating nail, never shedding
tears, never sharing one moment
with another. Offered condolences,
what might you say? Pain earns no
entrance. Remit yourselves.
* * *
“If You Drop Leaves” was published at Bad Pony in November 2017. Many thanks to editor Emily Corwin for taking this piece.
While Reading Billy Collins at Bandera’s Best Restaurant, Words Come to Me
And having no other paper at hand,
I scrawl on a dollar bill, “I want to speak
the language of smoke.” My invisible friend
interrupts. That is a white man’s dilemma.
At least you have a dollar and a pen.
“But I’m only half-white,” I reply, “with half
the privilege.” Then you must bear double
the burden,he says. This version of math
twists my intestines into a Gordian knot,
as does the concept of half equals twice,
or in terms I might better comprehend,
one beer equals four when divided by color
or accent and multiplied by projection.
The unsmiling waitress delivers my rib-eye
as I’m dressing the salad, and the check appears
just after the first bites of medium-rare beef
hit my palate, certainly before I can answer the
never-voiced question “would you like dessert?”
Cheese cake, I would have said. Or cobbler. And I
seldom turn down a second beer. This too, I’m told,
is another example of my unearned entitlement. I
contemplate this statement, scribble a few other
phrases on bills, drop them on the table, and walk out,
wondering which direction to take, which to avoid.
* * *
“While Reading Billy Collins at Bandera’s Best Restaurant, Words Come to Me” was a finalist for the 2017 Slippery Elm Prize in Poetry. It was published in Slippery Elm (print only) in December 2017. You may be amused to hear that shortly after the winner was announced, I had lunch in Bandera with one of the other finalists in this competition, D.G. Geis, but not at the restaurant featured in the poem. The photo is of a local bar, not the eatery, but it offers some of the flavor of the town.
Overlooked
How immemorable, he thinks,
drilling into the wall.
Another hole, another day.
Fill them, and still others
beg creation.
Say mouth. Say void,
followed by tongue and burden,
by orifice and bland. Say
invisible. Empty. Say forget.
That we plan is given.
But who writes the manual
to our lives? The hammer
does not shiver at the thought
of itself. Take this board
and remove only that portion
the screw will occupy.
Level the hook. Admire
the work. Adjust.
Do this twice.
* * *
“Overlooked” was published in Mantle in August 2017. Many thanks to editor James Croal Jackson for his kind words and for taking this poem.
He thought much of these disembodied hands, pictured them moving to the light of the burnished lantern, weaving patterns intricate as those in the most delicate hummingbird nest, textures and shades of light with traces of webs and soft fibers of unknown origin, making knots of shadows and their companions.
*
It was not that they were so very much like his; they were hands of another sort, hands that touched nothing held by another, hands that knew no lips or wooden hearts or curves in a quiet moment, hands that knew only themselves in the community of unnatural hands.
waking to the rain
he hears a far-off whistle
oh, the neighbor’s tea!
* * *
“Community of Hands” first appeared here in April 2017.
Self-Portrait with Shadow
Sometimes light reveals our thoughts.
Separate and unequal, we blend.
The predominant sibilant in English,
its pronunciation varies.
Sciaphobia is the fear of shadows. Last
winter the wellhead froze and we
chain-sawed our way to warmth,
synchronized in the fading light.
And which decides the other’s fate?
In the flame I detect new life, a hissing
in the cast iron box. Though ranked only 8th
in frequency of use, more words in English
begin with S, leaving additional questions.
Is hiss the opposite of shh?
The umbra is the darkest part
of the shadow, where light is completely
blocked. Not the serpent, but the bow
and a misperception. Shadows grow
in proportion to the distance
between the object blocking the light
and the projection surface. Resembling
infinity, yet missing the link. Two facets
of one darkness. A faint suggestion. Amphiscians
cast shadows in two directions. Or not at all.
This appeared on the blog in April 2015, and another version appeared in Otoliths in fall of 2013, but it appears that I’m not quite done with it. I’d been exploring our alphabet, tracing letters’ origins from hieroglyphs to present form, and attempting to merge some of those findings with disparate details. One of these days I’ll get back to it…
A Q&A and more successful examples of what I was trying to achieve can be found at Prime Number Magazine:
Self-Portrait with Blue
Darker shades contain black or grey. I claim
the median and the shortened spectrum, near dawn’s terminus.
In many languages, one word describes both blue and green.
Homer had no word for it.
The color of moonlight and bruises, of melancholy and unmet
expectation, it cools and calms, and slows the heart.
Woad. Indigo. Azurite. Lapis lazuli. Dyes. Minerals. Words. Alchemy.
On this clear day I stretch my body on the pond’s surface and submerge.
Not quite of earth, blue protects the dead against evil in the afterlife,
and offers the living solace through flatted notes and blurred 7ths.
Blue eyes contain no blue pigment.
In China, it is associated with torment. In Turkey, with mourning.
Between despair and clarity, reflection and detachment,
admit the leaves and sky, the ocean, the earth.
Water captures the red, but reflects and scatters blue.
Look to me and absorb, and absorbing, perceive.
This originally appeared in the Silver Birch Press Self-Portrait Series, and is included in The Circumference of Other, my offering in the Silver Birch Press chapbook collection, IDES, published in October 2015.
O at the Edges 