Tag Archives: meditations

Mixed Episode In Black and Red

Included as fuel
for my constant pirouette from one pole

to the other is now and then
seeing the shock of someone

who never knew till now how easily
my black and my red may blend together.

A mixed episode, they call it in the literature.
I call it a lively hell dance. I call it, wait,

don’t run away from me, please,
it’s not entirely my fault unless,

of course, it is; unless numbing sorrow
and its mad dash counterpart are my way

of living; is it a lifestyle choice?
Best of both worlds, worst

of your world? Come now, see
the acrobat tumble in mid-air

with both feet afraid to touch
the hot floor, afraid to fall through

into the falsely solid earth.
If you’ve never seen it before

let me assure you
those are indeed tears of happiness

salting my wounds, which are
mine all mine to either bind to heal

or push open and make over into mouths
crying in my skin. Maybe it’s a song

in dark and light to lead
a pirouette from verse to chorus.

Maybe you are right
to pull away as I cannot. 

 

 


Samson

Samson,
they’d say,

how your hair does float
like a river in noon light.

Samson, 
they would say,

you look almost Biblical.
Must be the name.

Samson,
they say,

looked like a promise,
raged like a broken oath.

Samson,
some say,

took a lion apart,
pushed down a temple.

Samson
has said

all he bears is the name
and none of the strength;

blind forever now,
betrayed by love. 

Samson
asks for a rest

from our expectations.
What do I look like,

he asks, some
inexhaustible myth?

Where is my hair?
What of the waves

I used to carry, what of
beauty, what of the real me?

Samson,
we say, your hair

is a river at high noon
now, a piece of mystery.

Samson, 
exalted, made into song;

Samson cries,
all I asked for was love. Not this.


Here And Elsewhere

Elsewhere is the place
I mostly want to be
The word I utter most often
The thought I hold up front

Here is all the ruin
and the whip snap of the storm
The broken glass in a bare foot
The dawning sense of wound

Elsewhere is the house
I wish was still standing
Open or closed as needed
Insured and strong and mine

Here is what I want to say
I have missed the train to elsewhere
The wait for the next one is so long
I don’t know if I can stay here


Advice

Young men, don’t speak to old men
if you don’t want to know
all the things you are doing wrong.

Don’t even look at us 
if you don’t want to know
what it looks like

after fear’s been washed out
of skin and clothes and
eyes. It’s going to look

a little different from one to
the other of course: maybe
we will look noble

or maybe empty,
or still look
as we always did,

but don’t risk the glimpse
of what may be coming soon
to a body and soul like yours. 

Sit back and let us be,
Trust me, in general
you don’t want to know

what we know —
and trust me, we will
tell you. 


Aubade

A crow
with open wings
on the neighbor’s roof.

A beagle mix 
I do not recognize, trotting alone
down the far sidewalk.

Tracks
of squirrel, cat, maybe others
in new snow.

Cars parked in front
of homes with their curtains drawn
until their mornings begin.

I forget, sometimes,
that this is also a true face
of my country,

marvel at how many
have found a way
to sleep soundly here,

even in daylight. Even
as peace is failing.
Even as rough beasts

prevail, movement
apparently free from care
and caution continues.

I am afraid
to step out. Deal
with it, I tell myself.

Like the crow on the roof
with raised wings, look
bigger than you are.

The stray dog who 
trots free to spite the law
says, deal with it.

The tracks say
deal with it, be gone 
before you are seen. 

The houses and cars 
say deal with it; safety exists,
if only temporarily.

I am the fool here,
the crazy guy, the contrary
telling you what I feel. 

It doesn’t make me
less glad for peace
outside my windows

that I am
on edge
most of the time.

I just long
to sleep in
more often. 


The Money Tree

A dozen bills
in my wallet
at the end of winter. 

Maybe now that
the sun’s shining harder
upon us, more
will grow— not on trees,
of course. I know
the proverbs too well
to expect such a thing.

I’d have
to change the world
with a violent shaking
to make that happen,
to bring us all
a true money tree.

Imagine coin buds unfolding
into tender notes, falling
into our open hands when they ripen.

Imagine plucking one or more
from an overhanging branch
as needed.

A dozen bills
in my wallet
at the end of winter.

Who speaks 
of money by bill count instead of
by total and denomination? I do,
today at least. Need to treat this
as if they are part of nature’s bounty
carefully chosen, lovingly
enumerated. To say:
I have a dozen bills today
saved all winter 
from the cold and snow.
They fold, they
take up space, are real. 
What they are worth
feels secondary

as I take them out,
clutch them in my hand,
then put them away
without looking at them.

It may be spring
but I don’t want to 
enter the pain of
the growing season
just yet. I don’t want to do
the work of abstraction
just yet. 


The Dream Of Order

Revised from 2010.

In this house
there is order

a cut above the order
in all other houses.

There is order in the hamper.
There is order in the drain trap,

order at the bottom
of the garbage disposal.

The compost heap
decays in step with a timer.

Even in the bowls of chaotic potpourri,
there’s order.

This is no place
you’d expect to find a junk drawer,

yet there it is right where
it always is in every other house:

in the kitchen, top drawer
below the most-used cabinets,

close to the most-used door;
there sits Martha Stewart’s junk drawer.

There are of course, the
old screwdrivers, twist ties,

an expired coupon for microwave popcorn
that in fact come with every junk drawer

straight from the manufacturer —
but they do not rest alone

in Martha Stewart’s junk drawer,
because it’s deep. Really, really deep.

In Martha Stewart’s junk drawer
there’s a red 1982 Ford Fiesta

with one black fender
and a donut on the driver’s front wheel.

Fifteen baby shoes.
A bootleg copy of “The Rocketeer.”

A tea-stained ticket stub
for a show in Branson, Missouri.

A purple thong, size M.
A blue hat made from a plastic bag.

A fibrous growth from a boar’s kidney.
A jammed .45 with a broken grip.

Hollow points loose in the bottom,
and a rust-caked cleaver.

A map to the stars’ homes.
A small address book bound in bonded leather,

blank except for the letter “K”
written on the page for “J” in orange crayon.

A broken rib she calls “Daddy.”
One old rose, 

and in the darkest corner,
something squirming

the approximate size of a human fist,
squeaking “I’m a good thing!

You touch it and
the wardrobe in the guest bedroom

begins to shake, the wildflowers
in the far meadow to tremble.

Martha’s far away, but somehow,
her stomach knows the danger

and she sits for a moment in fear,
twisting a paintbrush in her fresh aching hands.

When you shut the drawer,
everything falls back to sleep:

the house in perfect order,
the forks aligned in their trays,

the tissues in Martha’s body
nestling back into place, just so;

while in Martha Stewart’s junk drawer
the lovely chaos resumes its churning

and the house begins to dream 
of its brief sojourn as a home.


It’s In The junk Drawer, Maybe

The thing I thought about
for hours turned out to be

in the place I thought I’d left it
when I at last got up out of bed to check.

In fact it was in the place I have always
stored it, which I knew again

when I went there first in my hunt
out of sheer luck or some sense memory

and there it was as it always is,
except when I worry

about it being elsewhere. 
Maybe it travels on my insomnia,

riding my anxiety to see all the places
I have never left it, then rushes back home

when I stagger out of bed to search; now
I can’t remember what it’s called other than

the thing I thought about for hours that isn’t
where I left it until it is. A silly thing

to be crying about,
whatever it is.


The Dark Messages

The dark messages, the
wisps of smoky intrigue: these
confusing inflections of sex,

this flood of impulses of how to begin
to fumble into the space
of another: we likely never

shall understand any of this
well enough to say
we are not at sea

when faced with it, and yet
we come back to it again and again
behaving as we did the first time.


Succulents

Count upon the succulents
in your front window
to show you how
to help life thrive.

Watch how they soak in what they need
from water you pour into a pan
below their roots, and how you 
may assist further by shifting them  

toward good light
from their dim past. Understand
how to gently move them
as they grow toward bigger pots

without breaking those roots;
if they flower, learn how to be tender
with the long thread-blooms rising
from their centers:

so much to be said for the succulents;
for the stone plants, the jade trees,
the fierce and hardy cacti. They are
the book of understanding how to care


Sixty-Three

At sixty-three I ought not to care
as much as I sometimes do 
about what people think

I mostly don’t except for
how much fear I carry
about how much I’ve begun to forget
about the past and
what’s back there that people
might not find palatable
or forgivable and here I am

at sixty-three and I’m fretting
about how I shouldn’t care
if I’ve been forgiven for things
I don’t recall doing and offenses
I don’t recall giving

why are the old days considered
the best days when people I know
from the old days won’t
bother with me and here I am

at sixty-three forcing myself
to walk down these old paths
mostly overgrown and invisible
as if something said don’t go there 
to everyone including me and
I neither listen nor care except

for the fear that I lost something
down one of them and somewhere 
down one of them is a person
I don’t recall having met
who will look at me and say 
you dropped this and I’ve
been holding it for you

and at sixty-three
it will not be
a good thing to have
to take and hold


Three Turns Around The Post

I feel best when I take
three turns around the post
to secure the string
to the tuning peg. 
I’ve done fewer, I’ve done more,
but three turns feels to me
to be the best. Two 
makes me worry
I’ve not done enough and
I can’t play on stage
that way even when I 
do the old bend it back
and tuck it under
lock down trick — if you
don’t know what I’m talking about
count yourself lucky
to have never been slapdash
in your insecurity.
Four turns or more and you get
(or I do anyway) what looks more like
an anthill made of bronze
on the peg head — more likely
three or more of them — if you
don’t know what I’m talking about
count yourself lucky
to have never been this sloppy
in your insecurity.  Even when
I get it right I fret about it
being too perfect and 
I’m sure as hell that I missed something 
because doing it well
when everyone can see how it is
is terrifying — more like
a disbelief in my ever being good enough
manifesting as
tying up every loose end perfectly — if you
don’t know what I’m talking about
count yourself lucky 
to have never been
a musician, a writer,
a father, a son — count yourself
lucky to have had all the luck
some of us wish we had. 


Somewhere Else To Be

When the heralds stood 
on the mountainside,
waved their hands
and banners over
the masses assembled below
and said:

yes, every one;

that is where they lost me.

I looked around
without malice or even much fear
and realized at that moment
how distant these people
were from each other

even as we
were herded together, touching
shoulders in the throng, breathing
the same clear mountain air, 

all of them
choosing to repeat
without concern
for truth or motive
what they were told:

that they liked
each other, even loved each other
like family; were truly united
in the valley there 
in the shadow of the high peaks,
none of them thinking
there was anything strange
about being called nation
or congregation
so forcefully,
so insistently.

Yes.
Every one.
A nation, a congregation.

I turned my face away
from the mountain top people
not out of malice or even much fear;

I just had somewhere else to be. 


Not A Mistake

It’s not a mistake
to reach into
the little you know

of how
a piano
works

to use
a metaphor about
the music

of a felt hammer on a wire
to describe
your own work

How by itself
each sounded note
rings enough for anyone

who hears
to speak of it 
as music

but to truly
let it be all
it could be

these words should
have been sung
by someone better

Then it swats you
across the face
You are the only one 

who could be the type
of better needed 
for your work to be perfect

so sighing
you bend back to it
before sleep and death

hoping one day you sing it
as it should be sung
It’s not a mistake to reach

for perfection past the limit
of your own grasp of the song
It’s not a mistake to try


“Jimmy Loves Mary Anne”

Here’s to
the follow-up

The one-hit wonder’s
second release from
the same pocket
that held the first

The one that sounded
enough like the hit
to garner some attention

but not enough
to be called a hit

The one that years later
is recalled by a friend
at a party after the horde
of guests has gone and 
only the diehard beloved
remain 

No one
knows the title
but when
the friend starts to sing it

someone else goes
OH YEAH — whatever
happened to those guys

You look around a room
where no one knows the answer
but everyone’s grabbing
their phones and pretty soon

you all know the title
and you can move on

It reminds you
that you were seventeen 
and knew every song
on the radio from just one
note and you were
you at the utmost 
you thought you’d ever be

What happened

You know what happened

Looking around
you think it’s alright