Staircase at Fifteen

staircase

Staircase at Fifteen

Ascending, her centrifugal
influence captures me

and I follow,
breathless,
witless, wordless,

despite all longing
and shared

discretions, in spite
of the thundering
pulse
and the incessant
demand to act
or run.

She pauses, looks
down, sees
nothing.

Suddenly freed,
spinning off
and slowing down,
shrinking,

far below, on equal
footing but so
apart,

never to meet
in truth, unable
to define direction or

motive, I remain
fixed as she moves
higher, far away, close

but up,
always up.

planetarium

Recording of “I Have Answers”

 

I Have Answers

But the questions remain.

A little pepper, some salt,
butter. Our rosemary needs pruning
and the music’s too loud

to hear. The lizard basks in sunlight
eight minutes old, but I forget to ask

what else we need. Or want. Just this,
she says. Red, like your favorite sky,

 the in-between, the misplaced one.

“I Have Answers” is included in From Every Moment a Second. Available at Amazon.Com and Here

Nine Variations of a Cloud

night window

Nine Variations of a Cloud

1
Looking up, I renounce pity and the sadness of wind.

2
Only lust pulls and shapes more, diminishing your integrity.

3
It slips through whenever I try to grab it.

4
Every phrase is a window glowing at night, surrendered to its frame.

5
Water in another form is still water.

6
In whose ruins must you survive?

7
Another shape, another moment desperately spent.

8
And still you thrive in diminishment.

9
Bearing nothing, it conceals.

* * *

“Nine Variations of a Cloud” first appeared in Kindle Magazine in December 2015, and was also included in Gossamer: An Anthology of Contemporary World Poetry.

windmill

Simplify, as in Forget

Simplify, as in Forget

To turn off the stove
or close the refrigerator door,

such brazen attempts to win
the aging contest or blur the mirror

of clarity — you won’t say
which to blame or praise

or whether intent is implicit in
action or if I should hold my breath.

What is the freezing point of love?
When you were cold, whose

belly did you curl into, whose ear
gathered your breath and returned it

warm and with the promise of bees
producing honey? Your name floats

above my outstretched hand,
and unable to grab it, I blink and turn

away. Nothing works as it should.
I exhale. You push the door shut.

* * *

“Simplify, as in Forget” first appeared in the print journal Good Works Review in February 2018.

Nocturne with a Line from Porchia

bureau

Nocturne with a Line from Porchia

Everything is nothing, but afterwards.
I rise and the moon disturbs the darkness,
revealing symbols, a few stolen words
on the bureau. Tomorrow I’ll express
my gratitude by disappearing be-
fore I’m found, which is to say goodbye
before hello, a paradigm for the
prepossessed. Compton tells us to imply
what’s missing, like Van Gogh or Bill Monroe,
but why listen to the dead before they’ve
stopped speaking? Unfortunately we throw
out the bad with the good, only to save
the worst. I return to bed, and the floor
spins. Nothing is everything, but before.

This first appeared in The Blue Hour Magazine in December 2014, and is also included in my chapbook, If Your Matter Could Reform. The line “Everything is nothing, but afterwards” comes from Antonio Porchia’s Voices, translated by W.S. Merwin. Porchia wrote one book in his lifetime, but what a book it was! Often described as a collection of aphorisms, Voices is so much more – each time I open the book, I find new meaning in old lines.

Vincent

Poem Up at Vita Brevis

goldengate

My poem, “Bone Music,” which originally appeared in Gossamer: An Anthology of Contemporary World Poetry, published by Kindle Magazine in Kolkata, India, has been reprinted on Vita Brevis.

I am grateful to editor Brian Geiger for offering a second home to this poem.

Echo Charm

Echo Charm

Right on left, or returned

what circles back, unbroken
yet opened?

Your mouth centers me.

Diminished, I rise, listening.

Grass rubbing against grass.
The lizard’s scarlet throat, swelling.

Not refusal, but denial.

Eyes the color of blood.

You practice your words carefully,
repeating each special phrase.

Blood the color of sky.

Sky the color of eyes.

And always the warm shade.

Letter from Austin

perfection

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.

OLYMPUS DIGITAL CAMERA

Martín Espada’s “Letter to My Father”

I was fortunate enough to hear Martín Espada read this poem live last week. It’s a powerful piece to read, but listening to him perform was especially sublime. You can do both at The Poetry Foundation.

 

Dog

photo(18)

Dog

Not away, but after
or contrary,

the reversal indicative
and untoward: scratching,

she spirals to the perfect
spot between us, touching both,

then sighs. In comfort, in ecstasy,
in contentment, who can say?

But we sigh in response.

SONY DSC

“Dog” first appeared on the blog in October 2014. The photo is of Apollonia, aka Apple.