As He Peered over his Glasses

She spoke without preface,

as if sh knew him:

each sentence a non-sequitar

even to itself; no beginning

no end, no predicate

to bend into an open heart.

Askew to his position,

she formed a fulcrum

with no place to stand

like surf far out to sea

crashing against itself.

Until in a froth of inaction,

he drowned, swallowing his words,

as if they mattered.

(August 21, 2019)

In the Blood

The lie of my truth

visors the angle

of my descent.

I have no face,

but reflection,

a mirror

to lace assumption’s

discordance.

My flesh contains

shattered selves—

a prismatic array,

where each shard

bends an image

of itself into another.

This truth lies

along an edge

of broken glass;

it slices the air

with ribbons of light,

like tall grass

cuts children’s legs

as they flee through

the last summer fields.

(August 15, 2019)

Almost

I received a rejection email from a lit magazine for a set of poems this morning. It was the standard, “does not fit our needs at this time” rejection. However, the magazine also told me that my poems made it to the final round of selections, before being rejected, and I should feel free (with a small reading fee) to submit more of my work in the future. It was as if I was told that my poems were almost good enough. But not being a hand grenade, nor a game of horseshoes.. almost is almost an insult. I know that it was supposed to be read as a compliment: my poetry was better than the outright rejections, yet still was found lacking. I laughed; It was funny. I am not bothered by rejection letters. They are just part of the game of submissions. A couple of years ago, I received a rejection from a magazine that had previously published a couple of my poems. In the rejection letter, the editor, I imagine in an attempt to be helpful, commented on what I could do to improve my writing, citing both positive and negative examples. I found this more troubling than the almost-good-enough rejection. The commentary was the sort one gets in undergraduate writing workshops. In other words, not really useful, or germane to what I was doing in the poem. I did not ask for feedback; I have been doing this awhile, I know what I am doing. I feel that if you did not select my writing for your publication, a simple polite no is good enough. I do not have to see your reasoning. I do not think, in the stereotypical manner, that the publisher did not “get” my writing. I just figure as the statement in most rejections pronounces: they do not fit, or they are not what we are looking for at this time. Or it is not the type/style of poetry the editor likes.  I write what I write. I stopped a long time ago trying to write what I think some specific magazine, or editor will like. I don’t need a gold star, or the affirmation of someone else.  I send out my work, because I would like it to be read; but, not to the degree that I will change the way I write. I am not trying to be arrogant, in fact, I see it more as humility.  I write my poems, and they are poems, not experiments, or assignments. If you don’t care for my style, or what I say, that is okay. If you do like what I wrote: cool. I send my writing out sporadically. Normally, I will send out to several magazines at the same time. Not simultaneous submissions, for I write all the time and have a large backlog of poems. After my flurry of submissions, I continue writing; I forget who I sent poems to, then they slowly come back to me with rejections, and the occasional acceptance, which is always a thrill. I have never been one to see POETRY as a career, where I have to get published all the time, in all the BEST magazines. I don’t think one can be a professional poet.  I do take poetry seriously: I read it all the time, I write it all the time. I even teach poetry, and conduct poetry workshops with my students.  I send some out every now and then. Some get rejected; some get accepted. 

Beneath an Unrelenting Sun

“knowing less than drugged beasts”

–Ezra Pound, Canto XLVII

As we cower

beneath an array of bullets,

there is no forgiveness

for not knowing

the shades within shades

of evil. Yet, in this land

without shade, neither knowing

nothing, nor how to sail, nor

to have a sea to set forth upon,

even if a boat were here

in this desolate land

of sated men, and drugged beasts:

knowing nothing is cherished

as a privileged pleasure;

and so, I raise my voice

without delay, and sing

as if I could sow with my voice

in the cracked earth

some salvation from the sun.

(August 8, 2019)