My poem “Nanukatukitsukatsu” is included in Issue #6 of Last Stanza Poetry Journal. It’s available in print or in a Kindle version, via Amazon, and other outlets. Thank you, editor Jenny Kalahar, for accepting this piece.
Baking Bread
I would knead you in the afternoon,
in the warmth of a still room,
starting high at the shoulders,
one finger sliding down your spine,
my lips following, tracing the path
of a hummingbird’s flight. Oh, my love,
circumstance and distance, floods and
wildfires, will never truly douse our light.
I wait as the dough rises, and think
in the languages of yeast and water
and flour and salt, how my hands
will feel at your waist, how our day
falls into night, our love firming,
ever expanding through the rising heat.
* * *
“Baking Bread” first appeared in Ristau: A Journal of Being in January 2019. Many thanks to editor Bob Penick for taking this piece.
Happy Anniversary, Stephanie!
Letter to Geis from This Side of the Glass
Dear Greg: I can’t help but think about windows, their
function, their meanings, intended and otherwise, how
they block some entities but allow others entrance. A
black vulture feather lies just on the other side of this
pane, but the laws of material and physics prevent me
from reaching through and claiming it. Maybe I’d
sharpen the end, dip it into squid ink and write letters.
Or not. Cephalopods are scarce in the hill country,
unlike carrion birds, wild hogs and scorpions, and frankly,
ballpoint pens require less maintenance. Lately, the
opaque has redirected my attention — no matter which
government agency speaks, I feel surrounded by their
pseudomorphs, those little indistinct clouds of mucus and
dark pigment released to confuse and numb me. A common
occurrence, I hear, and all the more frightening for it. I
think of where we’re headed, collectively and individually,
and even knowing that our destination remains unchanged
offers small comfort. One foot at a time, the steps matter,
and though it appears we won’t share those planned brews
in Bandera, I’ll chuckle over our last meeting there and
dream up a conversation about futility and compromise,
and yes, success. I’ve just spent twenty minutes trying to
help a yellow jacket escape. It wouldn’t leave the glass even
after I left the door ajar, allowing a fly to enter. Instead,
it gazed out at the hazy morning, seeking a way through
refraction’s oblique path. Finally, shepherded with my bare
hand, it reluctantly skittered to the jamb, and I coaxed it
the final few inches by pushing it with the door. Such
are my days. A little faith, some hope, luck and a great
unknowing. This window seems cloudy, or is it just
my eyes? I miss you, buddy, as do the hills and the sky
and everything nestled and bustling between. Bob
This first appeared in May 2020 in the Taos Journal of International Poetry & Art. D.G. Geis was a friend, a larger than life poet, and a fellow Texan. We were both finalists for the Slippery Elm poetry prize in 2017, and after learning that we didn’t win, decided to have a “losers’ lunch” in Bandera, Texas, the closest town to our respective rural properties. Much laughter ensued, and we made plans to get together for a beer in the coming months. Alas, that was not to be.
Letter from Austin
Michael, when you say moons do you see
cold stone floating in the firmament
or phrases frayed in the mouth and spat on paper?
And does the Spanish moon simmer at a similar
pace to mine or yours? Which embers blush brighter?
But let’s turn to estuaries, to salt and clamor and gun-
running poets and interrupted words sold in stalls
between parenthetical gates, to incomparable cavas
and the deterioration of envy and intervening years.
Or perhaps mislaid passion – a friend claims love
is merely a bad rash, that we scratch and scratch
and inflame but never truly cure what ails us. Sounds like
politics to me. Or sports. And business. Or neighborhoods.
On my street people should cook and play music together,
laugh, raise chickens and read good books. They should
brew beer, swap tomatoes, recite each other’s poetry and sing
in tune. But we’re different here, preferring instead electronics
glowing in dimly lighted rooms. I reject this failure, as I also
reject the theory of centrifugal force spinning off the moon’s
body from the earth’s crust, preferring to imagine a giant
impact blasting matter into orbit around what morphed into the
earth, and somehow accreting the stuff into this orb we
sometimes worship. This, to me, is how good relationships
form: explosions of thought and emotion followed by periods
of accretion. But what I mean is I hope this finds you well
by the river of holy sacrament. Remember: brackish water
bisects our worlds. Turn. Filter. Embrace. Gotta run. Bob.
Originally published in Heron Clan 3, this first appeared on the blog in July 2015.
My friend Michael occasionally sends hand-written notes or letters to me, and I respond with poems. This is one. You might read some of his writing at Underfoot Poetry.
The Resonance of No
Yes, yes, we’ve heard. The dishwasher wastes less
and cleans better. But Kenkō believed in the beauty
of leisure, and how better to make nothing
while standing with hands in soapy water, thoughts
skipping from Miles Davis’s languid notes to the spider
ascending to safe shelter under the sill (after I blow
on her to amuse myself), washing my favorite knife
and wondering if I should hone it, not to mention
my skills on the six-string or the potato peeler.
And if I linger at the plates, even the chipped one,
admiring their gleam after hot water rinses away
the soap residue, who could question the quick gulp
of ale or the shuffle of an almost-but-not-quite
dance step-or-stumble while arranging them on the
ribbed rack, back-to-back, in time to Coltrane’s
solo. Then the forgotten food processor’s blade
bites my palm, and I remember that I’ve outgrown
the dark suit, the cut branches still need bundling
and none of the words I’ve conjured and shaped
over decades and miles will extend their comfort
when I stand at my father’s grave this week or next.
“The Resonance of No,” was published in December 2016 in Gravel, and is included in my chapbook, From Every Moment a Second.
Daniel Schnee wrote about this poem here.
Music Credit: Cool Vibes Kevin MacLeod (incompetech.com)
Licensed under Creative Commons: By Attribution 3.0 License
http://creativecommons.org/licenses/by/3.0/
All the Little Pieces
How to rewind
broken,
the subtle shift of shard
and floor
laid between night’s
fall
and the morning’s first
glow. Take this
lantern. Set it
on the wall. Remove
the glass. Do not
light the candle.
Wait.
Inheritance
All this is mine and I praise the sky
offering surcease
in the form of vapor and a darkening
of its measure, accrued
in the way of interest owed,
increasing like vermin, circling back
then beginning anew.
I count each drop delivered.
The window’s eye blinks
and a lone flash stitches the day.
Each rumble is a coffin’s lid slammed shut.
Wanting nothing, I demand more
and receive only what I want,
a reckoning of desire and
needs ignored.
I have buried your demands.
I have delivered each counted drop.
All this is mine.
* * *
“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.
When to Say Goodbye
If all goes well it will never happen.
The dry grass in the shade whispers
while the vines crunch underfoot,
releasing a bitter odor. A year ago
I led my dog to his death, the third
in five years. How such counting
precedes affection, dwindles ever
so slowly, one star winking out after
another, till only the morning gray
hangs above us, solemn, indefinite.
Voiceless. If I could cock my head
to howl, who would understand? Not
one dog or three, neither mother nor
mentor, not my friend’s sister nor her
father and his nephews, the two boys
belted safely in the back seat. No.
I walk downhill and closer to the creek,
where the vines are still green.
In the shade of a large cedar, a turtle
slips into the water and eases away.
* * *
“When to Say Goodbye,” drafted during the August 2015 Tupelo Press 30-30 challenge, was published by Oxidant | Engine in May 2017, and subsequently nominated for a Best of the Net 2017 award.
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.
As Blue Fades
Which defines you best, a creaking lid or the light-turned flower?
The coffee’s steam or smoke wafting from your hand.
Your bowls color my shelves; I touch them daily.
Sound fills their bodies with memory.
The lighter’s click invokes your name.
And the stepping stones to nowhere, your current address.
If the moon could breathe would its breath flavor our nights?
I picture a separate one above your clouded island.
The dissipating blue in filtered light.
Above the coral. Above the waves and ocean floor far below.
Above the space your ashes should share.
Where the boats rise and fall, like chests, like the waning years.
Like a tide carrying me towards yesterday’s reef.
Or the black-tailed gull spinning in the updraft.
“As Blue Fades” first appeared in Underfoot Poetry in October 2017, and is included in my most recent chapbook, My Mother’s Ghost Scrubs the Floor at 2 a.m., published by Etchings Press, and available at Amazon, Barnes & Noble and elsewhere.
O at the Edges 