How to Do Nothing

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How to Do Nothing

First you must wash the window to observe more clearly
the dandelion seed heads bobbing in the wind. Next,

announce on Facebook and Twitter that you will be offline
for the next two days, if not forever. Heat water for tea.

Remember the bill you forgot to pay, and then cleanse
your mind of all regret. Consider industrial solvents

and the smoothness of sand-scoured stone, the miracle
of erasure. Eliminate all thought, but remember

the water. Hitch a ride on a Miles Davis solo and float
away on a raft of bluesy notes and lions’ teeth,

and wonder how to sabotage your neighbor’s leaf blower,
but nicely, of course. She’s a widow with a gun.

Now it is time to empty yourself. Close your eyes.
Become a single drop of dew on a constellation of petals.

Evaporate, share the bliss. Stuff that dog’s bark
into a lock box alongside the tapping at the door,

the phone’s vibration, the neighbor’s rumbling bass,
and the nagging, forgotten something that won’t

solidify until three in the morning, keeping you awake.
But don’t ignore the whistling. You must steep the tea.

 

* * *

“How to Do Nothing” was published in Volume 4 of Steel Toe Review.

steel toe

 

Letter from Kansas

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I was a military brat. My return to the U.S. after attending high school in Italy was, well, interesting. Junction City, Kansas was definitely not bella Napoli. This poem came from that experience, albeit a few years after, and was published in the mid-80s in the Allegheny Review, a national journal of undergraduate creative writing, and was republished by Silver Birch Press in 2017. The kid who wrote it still exists. Somewhere.

 

Letter from Kansas

Caro amico,
Driving the stretch to Junction City,
I look for familiar faces in the cars
we pass, but see only strange grasses
gliding by. Three weeks ago
I slept on a stone-littered hilltop
overlooking the Bay of Naples.
Now the prairie laps at our front door.
A mile from the house two corralled bison
munch dull hay thrown daily
from a truck’s flat bed, and past that
the Discount Center’s sign
spells America. What I wouldn’t give
for a deep draught of Pozzuoli’s
summer stench and the strong
yellow wine that Michele’s father
makes. We mixed it with the gardener’s
red, creating our own bouquet,
remember? And here they say
I’m too young to buy beer and wine.
Without them the food is flavorless,
like the single language spoken.
I understand it all,
and miss the difficulty. Maybe Texas
will be better. Ci vediamo. Bob

 

 

This was one of my first posts on the blog, and as you might expect, very few people saw it. I wrote the poem in the summer of 1983, when I was new to poetry, still tentative, exploring. A few weeks later I attempted the sonnet form, and, well, everything changed. Everything.

 

Poem Up at Tipton Poetry Journal

My poem “Nothing to Fear” is live at Tipton Poetry Journal. Many thanks to the editors for taking this piece.

Rain Haibun

 

Rain Haibun

Watching that thought slide down the wall
into the grass. Losing it and the next,
celebrating each. How quickly the body
accepts decay. This knee, those arteries.
A fragmented life. Not even the rain
brings us back.

 

The ticking roof
swells with thunder.
My old friends, waiting.

 

* * *

“Rain Haibun” first appeared in The Larger Geometry: poems for peace, available at Amazon. This anthology of poems that “uplift, encourage and inspire,” features poets from five countries and three continents. Published by the interfaith peaceCENTER of San Antonio, Texas, a 501(c)(3) nonprofit organization. All proceeds from the sale of this anthology go to benefit the peaceCENTER.

I’m pleased to have had a small role in selecting the poems.

Contributing poets include Lynne Burnett, Charlotte Hamrick, Daryl Muranaka, Stephanie L. Harper, Sudhanshu Chopra, Texas Poet Laureate Carol Coffee Reposa, Michael Vecchio, Rebecca Raphael and others.

 

 

No One Knows

 

No One Knows

There, the dream of flying
cars, and the next,

tumbling through soft
glass, inconsiderate and

hopeful as a child
on his birthday,

hands outstretched, waiting.
Unsmiling. You might ask

where this story turns,
whether the glass reconstitutes

or the car crashes,
reminders of a childhood

reconsidered and the simplest
truth, which is no one knows.

 

“No One Knows” was first published in The Pangolin Review in March 2018.

 

Track (after Tranströmer)

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Track (after Tranströmer)

2 p.m.: Sunlight. The subway flows
beneath us. Flecks of darkness
shimmer madly on the wall.

As when a man cracks a window into a dream,
remembering everything, even
what never occurred.

Or after skimming the surface of good health,
all his nights become ash, billowing clouds,
strong and warm, suffocating him.

The subway never stops.
2 o’clock. Filtered sunlight, smoke.

 

* * *

I’ve been dipping into Friends, You Drank Some Darkness, Robert Bly’s 1975 translations of Harry Martinson, Gunnar Ekelöf and Tomas Tranströmer, and I couldn’t resist playing with one of my favorite poems. A different darkness, a separate space, another landscape…

This first appeared here in April 2015.

Windows: A Theology

 

 Windows: A Theology

They capture no light, but allow admittance.
Nor is darkness their prisoner.

Opened or closed, their purposes change,
like water trickling downhill, gathering,
absorbing, dwindling, pretending.

Looking at them, you see past, into.

I have taken glass from its source; I have
fallen through the hard edges and emerged

unscathed. Smooth to the touch,
yet transparent. The words mean nothing
or all, and exist only within structure.

So little to believe, everything to defy.

 

 

 

“Windows: A Theology” was first published in the online anthology Igxante: An Ontology. I am grateful to editor Kate Morgan for taking this piece.

Nocturne (Blue Grosbeak)

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Nocturne (Blue Grosbeak)

Why tremble
when nothing
arrives to be seen?

The architecture
of the day
comes and goes

in the same
heartbeat,
a disturbance

more felt than heard.
But listen.
The grosbeak sings

his presence
and departs,
leaving behind

the echo
of a motion
blending with night.

The air is cool.
A leaf utters
its own message

and falls
unnoticed.
Nothing awaits it.

 

* * *.

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Exhaling, I Get Dizzy

 

 

Exhaling, I Get Dizzy

From one note flattened
to the next floating whole,

textured with rustling
stalks and the sweet odor

of dried grasses, you
detach, drift off.

What colors this tone, you
ask. What sings my day?

 

 

Scarecrow Calls Out the Man

Scarecrow Calls Out the Man

These things I cannot name: that finger of night
between fear and peace, in which darkness both cloaks
and hugs the wide-eyed. A snake, in the open. And that space
behind the watcher? Perhaps it is easier to call it something
else – a gasp, or the immeasurable measure. A presidential
folly. My friends, ever cautious, swoop in and away, taking
with them only those grains they need, unlike you. What use
is a hoarded larder if it rots? How does one come to want
everything and nothing at the same time? A gilded house
spotlights wealth, not right. Is this edifice your legacy,
your monument to self? The heart monitor’s blip paints one
forever, your pursed lips, another. But even the concrete
you cringe behind lacks permanency; regard your hands
and all they can’t stuff into your pockets. Loosen that
coiled tie lest it choke you. Accept what the mirror sees,
and await karma. Though you will not hear my voice,
I offer this: may the combined weight of your lies and
larcenies, your unpaid debts and power plays, rapes,
casual racism, privilege and coarse, childish taunts, merge
into one fist-size bankroll placed upon your chest, and
fueled by the gravitational forces of forty-four black holes,
slowly, with each turn of the earth’s axis, press down and
down and down in search of that shriveled organ, and finding
it, pluck out and replace it with one resembling that of a
genuine human, one honoring respect and love, empathy
and humility. I am the sum of integrated, discarded
pieces assembled to observe and warn, collecting only
diminishment and the means to become less. Wanting
little, the world welcomes me. It arrives free, honest, on
wings, bringing wealth beyond your reach, your greed.
I own nothing. I know nothing. But this: I name you
Scourge, and laugh at the smallness of you. I name you
Farce. I name you Empty. I name you Gone.

 

* * *

I feel old and tired and angry, unable to speak coherently. So today Scarecrow’s voice will have to do.

“Scarecrow Calls Out the Man” first appeared on Vox Populi in August 2017.