Doors

door

 

Doors 

What would you conceal?
Or open to. Could you unfurl

your fist to daylight
and shudder loss away — one key,

one digit, one death — presuming the universe
and all its hinges available for inspection

behind yet another unlatched presence.
And this spinning disk,

how shall we step off? Every moon
sheds its coat. Listening, I turn the knob.

 

mooncoat

 

“Door” last appeared here in September 2017.

 

 

Ghazal of the Bullwhip

Ghazal of the Bullwhip

Who hears braided tongues lashing the glare still?
The language of pain writhing through white air, still.

Or herding cattle you pop and crack above the horizon,
pastoral and flowing. But sharp, a sonic nightmare, still.

You ask how love blossoms through decades and more.
That look, a caress, the perfect words – all quite rare, still.

Oh to be a larks head knot, strengthening when used.
Delicious hitch, unmoved water, tight square, still.

I fall, you fall. We fall together in pleated silence.
The inevitable loop of the captive’s bright snare, still.

No gods today, but voices trickling through my skull:
Bob, Bob, they say. Not again. Even you should care. Still!

* * *

In response to a comment, Daniel Schnee dared/challenged me to write a poem about a bullwhip. To make it interesting I decided to combine his theme with my latest enthusiasm, the ghazal form.

This first appeared on the blog in September 2017.

Awakened, He Turns to the Wall (Cento), with Recording

cell


Awakened, He Turns to the Wall (Cento) 

Then, everything slept.
Where were you before the day?

You see here the influence of inference,
whereby things might be seen in another light,

as if the trees were not indifferent, as if
a hand had suddenly erased a huge

blackboard, only, I thought there was
something even if I call it nothing,

like the river stretching out on its
deathbed. No one jumps off.

* * *

A cento is composed of lines from poems by other poets. This originated from pieces by: Larry Levis, Jacques Roubaud, Lorine Niedecker, Gustaf Sobin, Denise Levertov, Elizabeth Spires, William Bronk, Vicente Huidobro, Ingebord Bachmann

For further information and examples of the form, you might peruse the Academy of American Poets site: http://www.poets.org/poetsorg/text/poetic-form-cento

erase

This last appeared here in March 2017.

Wet Grass, Weeds

dandelion

Wet Grass, Weeds

A lone raven
circling the neighbor’s oak,

an oddity in this neighborhood,

lending mystery to the afternoon,
a gateway through dandelion

fluff and the blue seeping through clouds.
A car rumbles by,
stereo hammering the air,

warnings everywhere for the wary.

carmirror

“Wet Grass, Weeds” first appeared here in May 2016.

Trains

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Trains

1

In the marrowbone of night,
your song parts the fog.

I never knew the secrets entrusted there.

I never knew that cinders and steel
could lie so passionately

and still believe that the watchman’s hours
would evaporate and leave us scratching for more.

I have stolen time.

The windows remain closed and shuttered.
Even the wind turns away.

The track narrows.

You call.

Again.

2

Sometimes song seems the only respite,
the rhythm of clashing cars

and moments stretched beyond the next bend
to that point where light winks out.

We both know this lonely tunnel.

Payment is due.

I have always exited alone.

3

Another evening, and red smoke completes the horizon.

Your ribs stretch for distance,
and while I cannot see their end,
I know by sound
their lot.

Sing for me.
It is not
too close.

“Trains” was originally published in Lightning’d Press (Issue 8) in Spring of 2014, was reprinted on Aubade Rising in April, 2015, and has appeared here several times. It is also included in my chapbook, If Your Matter Could Reform.

track

Recording of “Self-Portrait with Umeboshi”

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Self-Portrait with Umeboshi

Our resemblance strengthens each day.

Reddened by sun and shiso,
seasoned with salt,

we preside, finding
comfort in failure. Or does
the subjugation of one’s flavor for another’s

define defeat? The bitter, the sour, the sweet
attract and repel

like lovers separated by distances
too subtle to see.
Filling space becomes the end.
What do you learn when you look through the glass?

Knowing my fate, I say fallen. I say earth.

Ah, simplicity! When I was a child my mother would occasionally serve rice balls in which a single mouth-puckering umeboshi rested at the center. These have long been a favorite, but I admit that umeboshi might be an acquired taste. Commonly called “pickled plums,” ume aren’t really plums but are more closely related to apricots. I cherish them.

“Self-Portrait with Umeboshi” first appeared in the Silver Birch Press Self-Portrait Series (August 2014), was included in the subsequent print anthology, Self-Portrait Poetry Collection, and also appears in my chapbook, If Your Matter Could Reform.

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