
If I could peel these veins
from my arms and fashion
them into a noose,
then I’d find a dead tree
to swing upon
like a tattered paper lantern
dancing in an empty breeze.
(August 30, 2020)
If I could peel these veins
from my arms and fashion
them into a noose,
then I’d find a dead tree
to swing upon
like a tattered paper lantern
dancing in an empty breeze.
(August 30, 2020)
A little more than a month ago, one of my work mates proposed that she, a math teacher, and myself write a haiku a day for a month. After 37 haikus (I wrote more than one some days), I am going to stop the exercise. I think that my fellow English teacher proposed the undertaking in order to make her write everyday. I do this already, so it did not motivate me to write. I did find it a calming activity most days: a time to stop and think about what was in front of me either physically, mentally, or spiritually. However, it also deflected my attention away from other poems I had been working on. Usually I post about 15 or so poems a month (sometimes even pushing to 20). In October, because of the haiku event, I posted 38 new poems. I like haiku, and like writing them. Usually I make up parameters for my writing in an arbitrary and random manner. During the exercise, I used the traditional 5-7-5 syllable count, although I have in the past ignored that stricture focusing more on the brief flash of attention than on a numbers game. Figuring the syllable count is more of a guideline than a law. I don’t plan on giving haiku up; I’m just not going to sit down each day to write one. I have always written in small snatches of time, never having the leisure to write for extended lengths during the day. So, haiku, and imagism, lend themselves well to going from start to finish in the brief time I have to write. However, I also like spending time in my head as I go through the day, thinking about a longer piece. Therefore, as I stated at the beginning of this ramble, I am going to end my participation in the project. Thanks to all of you who read and liked the work I have posted over the last month.
(October 31, 2019)
then his breath expands
his silence into the room
nothing more to say
(October 31, 2019)
Bread crumbs were not enough—
insubstantial as memory
flitting away like sparrows
through the trees. He was lost,
tangled in possibility’s inevitable
collapse; he could not pull past
the brush to a salient interpretation:
where he went, where he was going,
or what language he now spoke.
–
She had fled years ago,
escaped to the witches who
had forgiven her childhood
sins. She no longer believed
in the lies of her father,
the long walks in the woods
with her brother. She returned
now for some redemption,
only to find him not at home.
(October 25, 2019)
The sound of my last dream
will be silence: the silence
of fog, the silence of fear.
My last dream will echo
the clack of high heels
on wet London streets.
My last dream will be warm
like your bare skin beneath
my hands late at night.
My last dream will linger
over the thousand, thousand
kisses: your lips soft,
warm, hungry for more.
My last dream will be free
of doubt, secure in coherence
with all the lines blurred.
My last dream will not wake
to return me to a place
it can never know.
My last dream will be
a harbor, a sanctuary,
a last whispered breeze.
(October 15, 2019)
from “Rendition of Change,” a work in progress
The old tortoise-shell cat slips
cautiously through the grass
as the storm approaches.
This-too-shall-pass provides
small comfort in the moment’s
chaos and fear. Lightning strikes
often and nearby. As rain
starts to fall, the cat watches,
motionless, from the stair.
(July 3, 2019)
The labyrinth
bends into itself:
one thought feeds
bits of fear to the next;
until, teeth crack
on broken bone,
and it ends
without a beginning
to begin again.
One’s end’s ambiguous
as one’s beginning.
Indecisive and vague,
the end’s no different
than any contingent.
The end ends
with a flailing
of the mind
through a stark
unawareness
of where we are,
where we have been,
and without a why
to justify
the confusion
of the scattered pages
across the floor,
and the ash in the air.
(May 12, 2019)
Like flowers in a slow conversation’s
eddy, he floats through his circular day.
Nothing’s amiss. Almost, as memory,
the pattern persists; almost as if he
whispers to someone who listens nearby.
Each flower’s petals fall, by troubled turns,
until the air is not enough to hold
the incoherent world; and, like glass,
it shatters into the composting earth,
oblivious to its own slow demise.
The flower unfolds into its silence;
the swift flutter of bird song in the trees;
the rough caress of dry leaf on dry leaf;
the winter wind’s incessant pulse and pause;
are nothing to his flower’s petal’s fall.
(March 20, 2019)
S
As if with a spoon,
she scoops the words
from his pliant mouth.
The rounded vowels,
and crisp consonants
shred her tongue
with shards of ice.
Meanwhile, with slick
knives, he carves
all conversation,
leaving bits of blood,
like rose petals,
to stain the ground
in a red-wet lust.
Neither he, not she,
can speak into
what was said.
They stare, stunned,
past empty eyes;
their mouths slack
like the recent dead.
(February 5, 2019)
Am I here?
Can you hear me
anymore?
I am no answer
to your questions,
implied, or stated.
Is this what’s left–
to fade in and out
like a side-show ghost?
Am I here
scratching inside
the house’s walls,
like a rat
slowly dying?
(September 27, 2018)