Tag Archives: poetry

Disguises

Originally posted 4/1/2011.

A single bird over the church
at the top of our hill.
His fingered wings
say he’s a buzzard, he of the tribe
of naked head and a taste for death.

Seen from here,
he soars.

I have an urge
to cover the daffodils
that are just emerging
from the snow-compacted mulch
beside my front walk.

It passes.
They’ll be fine.

Later, in the dark apartment,
the fears and concerns of the day
slide around me in bed
like eels — they come close,
my skin pulls back.

I sleep,
and they move away.

In waves upon waves
the disguised and dissembling
cover the earth.  From where I stand
there’s nothing out there but
a danger of drowning.

I bob to the surface
and see the sky every time.


Stone

Originally posted 12/10/2012.

I hold great love
for stones:
the ones I climb,
the ones I throw. I try to listen 
to their gray whispers, I try 
to follow their directions.  

Maybe you feel that too.  
Maybe you are meant
to climb the largest ones,
freestyling up
past ever-present death
without making
a mark upon them;

maybe you’re destined to build
garden walls, fortress walls, paved roads;
prisons, temples, or something
that serves as both;

maybe you are supposed to cut them
until they represent another thing
in its heaviest incarnation.  Maybe
you are fated to release
the deities inside them, or maybe 
you were built to hurl them.

Will you recreate 
in your brief life 
all the millions of years
we’ve already spent 
learning to do these things?  
It’s hard to avoid when the big love
we have for stone carries us there.  

For now put your face on the boulder in the path, 
cheek to its cool black nubble.  Pick up
a piece from the ground and slip it 
into your pocket.  

Carry it around with you,
worry it with your thumb and maybe
after a long time it’ll be a touch smoother 
than when you started — and still 
it will look not much different
than when you started.

If you lose it or toss it
it will wait patiently
wherever it lands
for the next pocket,
the next slingshot,
the next place it is needed.

Or it will not. It may disdain us
or ignore us.
It may not have registered much, 
if anything, 
of you or of any of us
who have ever touched it.

It may tell anyone who finds it
nothing about you

that you would recognize
as being your story.

Your story isn’t singular.
Neither is mine.
There’s no grand need
to recall them or us.

We are just part of the story
of Stone, part

of the Record Of Time
that began long before we did
and which will only end long after 
we do 
and are forever forgotten.


Pull It Up

Originally posted 12/29/2012.

From the place I buried it all — a deep hole
I never completely filled in — 
I shall pull up the eight balls of blow and the late night breakfasts
that never stayed with me for longer than it took
to get in the car and get moving, drunk and wired,
toward whatever couch was that morning’s home.

I shall pull up the empty little gun I got in trade
for a bag of acid, pull up the skinny tie
and the hospital scrubs, the songs I wrote
when bored, the awful poetry I believed in
so hard I sprained my ego on it, even when there was
no evidence for its quality, no reason for it to exist at all.

Pull up the arrogant fool, the know it all,
the callous junior playboy
up to screw whoever was up for it; 
pull up as well any scrap of memory
any of those partners left behind, that I might
recall a time when I was superficially lovable.

What’s left in there when all that’s come up to the light?

A boy, still a skinny boy then,
though tending toward my later heft.  
A stupid young man
with a bad car
and a jammed tapedeck
and damaged visions of a swift escape from this earth.  

I pull them up, pull it all up,
the way you’d yank a weed that won’t die,
frantically hoping I’ve got it all this time:
every bit of what keeps sprouting in my life
when I least desire it, 
now that it’s inconvenient

and no one thinks
it’s cute
or charming
or melancholy-artist-appropriate anymore. 
I want it poisoned.
I want it gone.  I want to

pull it all up and burn it all down
from the memories of how it began
to the new shoots that expose me,
that nag me, that shout to the world that what I was
is what I am; that no matter how hard I pull,
I am rooted in failure and will always fail.


Impartial Observers

Originally posted 7/14/2010.

That lump we can see
in the near distance
is a nation.
We once thought it motionless but
are beginning to think
it may be moving. 
Hard to say from here.

If it is moving,
it appears to be crawling.

We have heard from the citizens of that nation
that some among the masses there
believe they are standing tall.

Others believe that they are crushed flat
by those who believe
they’re standing tall on their own
but who in fact are standing
upon them.

Perhaps no one in the nation
is crawling at all,
and no one is completely still;
maybe what we see from here
is the ground
sliding away
from beneath them.

That nation seemed so far away,
once upon a time,
and we were impartial observers
from this high vantage point. 

We’d thought we’d found the perfect spot
to watch it happen from a distance.
Now we have to admit
that right where we’re standing

the footing is starting to writhe.


Bleeding Out

New poem.

The symptoms
of exsanguination
colloquially known as “bleeding out”
include

anxiety
blue lips and fingernails

unofficially sanctioned neighborhood demarcations
flimsy justifications of hair trigger rage

low or no urine output
profuse sweating

a profound distrust of received wisdom
easy to believe conspiracies and backroom handshakes

shallow breathing
dizziness

imprisonment
educational poverty

confusion
chest pain

the elevation of cultural assimilation
to sacramental status

loss of consciousness
low blood pressure

carnival barkers on the news
a camera on every corner

rapid heart rate
weak pulse

death upon death
upon no longer unexpected death

the echoes
of centuries of trickle and drip

turning into a flood
of names to remember

a cloven nation
drenched in blood
that should never have seen
the light of day


Unfolding

New poem.

Fold yourself into a circle often enough
Your back will stay forever a little bent
Your eyes will
stay fixed upon your navel

Fold yourself often enough
into a white envelope
and you”ll find yourself
mailed to somewhere out of sight and mind

Fold yourself often enough
into a genderbox and learn
that such things aren’t meant to hold
what’s yours and yours alone

Fold yourself often enough
into someone else’s origami 
in pursuit of your own flow and their love
and get neither

Unfold yourself
You’re a long awaited letter signed “sincerely yours”
You’re a long list of desires and needs
You’re creased and fragile but intact

A flag
A treasure map
A photo from long ago
without a seam upon your laughing face

Lay yourself flatly down
Come back to yourself
It won’t be as easy for someone
to slip you into their pocket


The Saints Of Our Household Shrines

New poem (draft — just getting it out there; it’s been in progress for a while.)

The saints of our household shrines are banding together to form a political party. 

Throngs of our beloved dead memorialized in table altars in gently shabby homes and clean-swept humble cubbyholes are massing to stand against officially canonized hypocrisy regarding who we should honor with supplication and offerings.

They refuse our tithes, saying we’ve paid enough in loss and pain to fund any campaign.  

The platform?
Chase down and face down the Founding Fathers, the missionaries of genocide, the greed-slurping apologists for bad acts that make a profit, the prophets of compartments, the sky-godmothers of assimilation, the go along get-alongs.  

The slogans?
“Behold the dead to understand the living.

“Behold the living who come to make you understand, 
but know we do not need you to understand 
before you stand aside.”

The saints of our household shrines march before us carrying no signs, wearing no buttons, adorned only in scraps of family photos, funeral cards, locks of treasured hair, newspaper clippings, the stains of generations of tears.

We will not lose. We cannot lose.

We, and they, have nothing to lose.


Rewind/Fast Forward/Eject

Originally posted 12/28/2013.

that’s the title
of a soca song 
so much fun to sing
a soca song
that is fun to sing

a song from an album
released in 1994
in 1994
on vinyl
CD
and cassette 

in 1994 that title
made sense
to a cassette owner
a cassette tape owner
someone who owned
and listened to cassettes
someone who fell
in love with a song

and rewound it 
and replayed it
until it broke
and had to be discarded
had to be ejected 
and tossed away

less than one
generation from now

no one will
understand this song

exactly the way a cassette owner
understood it
in 1994

watching the tape gather
on the left hand reel
thinking 
is that far enough?
trying to interpret

high speed backwards noise
hitting play to see

if it was far enough
hitting rewind
and fast forward
and play

then one last rewind
to position the tape
right at the beginning
of the wanted song

hitting eject
when the time came
changing reluctantly
to another tape
another song

love
and obsession used to be
analog processes
that took time and precision
took attention and
esoteric understanding
of what little you could
see and hear
how to read subtleties
how to fall back satisfied
and then
how to move on

love used to be
soca
played endlessly
over and over
beginning to end
to beginning again

it was never over
never over
was played over and over
until it was done


Shark

New poem.

to simply survive today
is to accept paradox,
is to accept without question
how chewed up
one must become
in order to be untroubled
by our world 
from birth
to death.

to begin to do more than that 
is to open a shark’s mouth
and peer inside  
at those teeth, that
stench, all
those mesmerizing details
that will try to seize
and hold you fast
long before 
those jaws
finally close upon you.

to awaken
and be fully alive
is to slash and thrash
against tooth and claw and 
seizure and capture
with all you have,
refusing to surrender
to such an appetite
until, bloody and wounded
but ready to heal,
you are free.


To Love My War

Originally posted 12/12/2011.

War
can make my blood
sing a little.

I know myself
and the animal somewhere
within.

If I pet it the right rough way
now and then,
it stays quiet  — mostly.

I’m at peace with my bloodsong.
I do not deem it necessary
to pretend I cannot hear it,

and I do not deny
that war is a part of me.
It has settled on my hands

as tightly as skin,
snuggled cozily
in my mouth,

and my blood
bursts scarlet from my wounds
as if it were the chorus of a grand opera,

glorying as much 
in being shed as I do
in my potential to shed it.

Revile me for that
as you will — I will be 
your paradox: at peace

with not becoming
the hypocrite who turns away
from the sludge he carries inside.


Limousine

Originally posted 4/25/2010.

According to my doctor
I’ve become
a limousine — 

I carry passengers,
and not necessarily
ones I’d choose on my own.

When first I heard I begged the doctor
for a uniform
or a very special hat.

“I’m afraid not,” he said.
“You aren’t the limousine driver,
you are the limousine.”

It was hard to accept at first
that I was no longer a vehicle
for my own journey

but I’ve gotten used to it.
It’s still a life
most of the time.

When the noise in the back
gets to be too much,
I raise the glass and forget it.

Once in a while
a voice will catch me right
and I’ll listen longer than usual,

maybe repeat
what it says
to myself when I’m alone.

These riders don’t care about me
as long as they get where they’re going
and the ride has some style all the way to the end.

I’m a limousine today but I don’t know 
what I’ll call myself

after I’ve worn out at last — 

a box, a rustbucket,
a shadow parked for good
in an unlit space.


Conversation

Originally posted 6/20/2009.

From the street,
the dense chunk 
of a slammed car door.

A hard, confident summons:

“Hey pendejo –“

Two men speaking.
I can’t hear the words.

Then,
the first big voice again —

“You never know.
When it comes,
it comes.”

After that,
nothing more —

no car door,
no house door,
no words.

I turn off my lights, 
climb into bed,
waiting for something
that never happens.

Whenever it comes,
it seems
it won’t be
tonight.


You!

Originally posted 10/18/2011.

You! You
tower of smart dirt, 
intelligent water,
column of excited minerals, whirling
storm of atoms, chattering prophecy
of the pure light
hidden in the darkest crevices — 
how is it possible
that all you want to talk about
is stopping the end of the world?

Get serious, you.
This world is not going to end.
Our species may shuffle off at some point,
other species will fall with us,
there will be suffering, it’s all a big mess — 
all true, all of
no consequence.

Your atoms are going to keep talking.
In a thousand years
they will come upon better truth
than you ever conceived,
or on to the same truth
you won’t acknowledge now:
we’re an extension of
the pure thoughts of stones.
Nothing’s ever going to stop them
from thinking, no matter how hard
we try to deny them the pleasure.

You! Get serious — 
yes, ease suffering,
redistribute wealth,
play fair,
establish guidelines, even
salvage as much of the planet
as there is in our remaining time
as you can
but d
o it because

it is in our shared calling
to do it
even though there is in fact
nothing ever lost
and therefore 
nothing to save.


Permission

Originally posted 5/31/2011.

Face up in bed,
wide awake,

waiting again to be impaled
like a bug on a pin
upon the memory

of the time I mercy-killed the squirrel
on the front lawn after its mauling
by the neighborhood stray
we all hated.

I pulled a strong knife
and slashed 
once, then twice,
over its tooth-mashed throat;
saw the spurt, saw it relax at once.
Then I reached for a stone
and nailed that dog in the ribs.

and it took off howling with me howling
after it, running it off, its shallow flanks
pumping ahead of me too fast
to catch.

I do not fear the memory for its horror,
but for its delights —

its promise of deus ex machina,
its flavor of massacres, camps,
and gallows blessed by others — 

its tang of permission.


On The Nature Of Masks

New poem.

The “I”
who writes this
is the “I” who is sitting with coffee
and a cat,

the “I” mildly sick,
the “I” a little irritated with being sick,
the “I” more than a little irritated
at politics,

the “I” angry
at the betrayals
of some friends
by other friends,

the “I” who is old
and tired although he
just rose for the day, tired
at the bone, tired of being this “I.”

This “I” will choose to write
some words to be spoken
by another person. The name
of that person will be “I”

as well.  You should not
confuse them with each other,
but neither should you forget
that the first “I” 

authored the second “I”
and there can be no second “I”
that does not extend from
the first

for it is in the nature of masks
to reveal
what they seek
to conceal. 

The mask
is not the face,
but the face
breathes through it. 

I set down my coffee.
I pet the cat.
I put a finger
on the keyboard — 

here is a mask
to delight you.  
Here is a mask
to frighten you.  

Here’s another mask
and another and another
and this last one that has
something stuck to the back — 

sorry, that happens sometimes
when the art
is separated too strongly
from the artist.

Oh, I put
a finger
on something
there.

I
bury my
face
in it.