Dry Well
I trace the symbols.
In the dirt, among the grubs and crooked
weeds. Writing of loss. Of missing things.
Wondering if words will fill my mouth
with wool or grit. With pebbles and salt.
If truth is what I want.
* * *
“Dry Well” first appeared in Vox Populi in August 2019. I’m grateful to editor Michael Simms for his steadfast support.
Somehow Dawn
I don’t know what to say. Or how.
Feeling that I am on the upslope,
not close. Not wrong. I want
to be that hollowed space
in the hackberry’s trunk,
the calm of darkened light.
And more. Some honey, dripped
from the spoon. A house finch,
fluttering. I will whittle my losses,
carve out needs. She will tell me
the history of our days. She will
smile, engrave her initials on my
chest. Somehow, the birds still
sing. Somehow, dawn trickles in.
“Somehow Dawn” was first published in August 2019 at Vox Populi. I am grateful to Michael Simms for his support, and am thrilled to be a regular contributor to this lively publication.
Dashi
I make dashi with water, dried bonito and seaweed,
and maybe a few drops of soy sauce for added flavor.
A simple broth, assembled by hand to enhance, a
concept mislaid in this pre-packaged world.
Today I have blown three notes through the shakuhachi,
each one separate, but all gathered under one roof
for no tangible purpose, released to entropy
and the drops coalescing on the window.
We never know what stew will result from the day’s
efforts, whose lips will force air through which root
end. I close my eyes and imagine the second note’s
shape, how it bells over raindrops to absorb
their sound, bending into the third note spiraling up
and away from my hands, my eyes, my breath.
* * *
“Dashi” and “Inheritance” first appeared in The Closed Eye Open, a publication focusing on consciousness. Many thanks to editors Daniel A. Morgan, Maya Highland and Aaron Lelito for taking this piece.
Self-Portrait as Question
Walking hand-in-hand with what,
who presupposes why, and when
huddles with where before skittering
off to its murky corner. Sometimes
I present myself as a shy minute
or a cloud’s effigy streaming across
a scruffy field. Few suspect the truth.
Answers ricochet from the limestone
wall, but no one nabs them. I react
quickly and offer the unknown, the
life I claim, my name, in return.
* * *
“Self-Portrait as Question” was first published in Rue Scribe in September 2018. Many thanks to Eric Luthi and the editors at Rue Scribe for accepting this piece and several others.
(Hotel Eden) In Full Light We Are Not Even a Shadow
Which is to say clarity persists in
increments, in the silent space between
color and lens, within parables seen
in the incomplete: straw, hand. Imagine
white valued more than manner as hidden
thought remains obscured. Lower your eyes, lean
forward. Perspectives tilt towards the mean,
suggesting purpose. When we examine
intent, do we find it? The irony
of bottled cork, of sullied paradise,
a coiled wire, the parrot whose voice,
unheard, implicates us. What felony
must we commit to admit the device
in play? Pull or release? The mimic’s choice.
* * *
Notes: “In full light we are not even a shadow” is a line from Antonio Porchia’s Voices.
Hotel Eden is the title of a piece of art by Joseph Cornell. An image may be found here:
http://www.wikiart.org/en/joseph-cornell/untitled-the-hotel-eden-1945
This made its first appearance here in March 2015.
When Shadows Hide
I breathe when you breathe,
and watching me,
you capture each lost molecule.
This book blinks whenever you turn the page.
I see you between the words, between the white threads.
You are the adored chapter, the one I read in bed before
sleep, and after I wake, before the first wren announces
dawn, then in the afternoon’s highest point, when shadows hide,
and later, as they emerge to stroke your bare shoulder.
What’s on the other side, you ask. What do you hear?
Your breath, I say. Your name.
“When Shadows Hide” was first published in the print anthology Epiphanies and Late Realizations of Love in February 2019.
Lace Cactus
Small, they grow in the lee stones,
invisible except when blooming.
Just as the vulture’s wings blot the sun
and the moment blinks away
in the bottle tree’s glare.
An incidental flick. A distraction.
Like every unspoken word
tumbling down that long hill.
“Lace Cactus” first appeared in Tistelblomma, a publication out of Sweden. Many thanks to editor Jenny Enochsson for taking this piece.
The End of Something
I would never pin this silence
to a board, but her anger tempers
sunset, and my response remains
contained. The paper stars
I nailed to the bookcase rustle
when the door opens. She
swallows wine, I sip tea
and offer no explanations.
“The End of Something” first appeared in Volume 3 of Lamplit Underground. Thank you, Janna Grace, for taking these pieces.
Lamplit Underground is a beautifully illustrated publication. Please take a look!
Cracked
When you say smile, I hear footsteps.
When you say love, I think shortened breath,
an inner tube swelling in the abdomen,
and the magic of tension and elasticity.
Decision, indecision. Bursting
points. The child’s hand clenching
a pin. I tell myself this, too,
will pass, that life’s gifts
balance hurt with pleasure. One
kiss lands in softness. Another twists
into bruises and cracked ribs. Two
nights in intensive care, perpetual
nerve-shredding. When you say quiet,
I see headstones. When you say
please, I feel fingers at my throat.
“Cracked” first appeared in Noble Gas Quarterly. I’m grateful to the Noble Gas team for taking this piece.
Celestial Navigation
Even dung beetles
know the stars,
how they shape
destination.
Motion ceases with arrival.
This body attracting
that. The heart
losing itself
to the moon’s
pull, another wave
falling.
Does light descend
or rise?
Subtle yet observant.
Like truth, like
destiny shivering
through the coldest hour,
saying Welcome, welcome!
“Celestial Navigation” was first published in Nine Muses Poetry in July 2019.
m
O at the Edges 