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My Poetry and Commentary on Life

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  • Narcissi

    by

    poetry

    Just another flower reflected in this pool,
    I wonder whether what I see is what I know.

    Of course this eye through which this vision
    comes to me is more than the corporeal lens

    gazing so obsessively across the surface sheen
    of this darkly-wooded pond I am complicit with.

    Too Simple? Too Platonic? My roots are entertwined
    with all the various flora surrounding me.

    So yes, I am who I am and what I see,
    and what I see is determined solely by me;

    yet, from this mulch we grow and return
    so all that I am is as much as you,

    each of us just a reflection and refraction of the other,
    just another flower bent over the surface of the pool.

    (July 2010)

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  • Three Poems (sometimes they arrive quickly)

    by

    poetry

    Utterance

    The words slip
    from my lips
    as if they actually mean
    something
    of import;

    yet

    everyone daily speaks
    and each dreams
    the world we live,
    so why do I
    feel so privileged?

    Parenthood

    So much anger and resentment,
    so much attention to perceived slights,

    so much importance attached to extremes
    of adolescent self-absorption,

    so much of what we do is determined
    by an other, as if we can maintain a whole

    outside of ourselves: the universe expands
    into a space without prior existence.

    Say It Three Times And It Is So

    and so I repeat myself
    and myself I repeat so
    I repeat so and myself

    myself so and I repeat
    and I so repeat myself
    myself I repeat and so

    so I myself and repeat
    repeat and myself so I
    myself and I so repeat

    (July 2010)

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  • Losing My Grip

    by

    poetry

    My hands ache along the fingers, no strength
    To grasp the rock face even to maintain
    My position, much less move to the next
    Fissure, the next slight breach in the mass which
    Looms above me in perpetuity.

    I am so tired of even the pretense:
    The daily happy chatter over lunch,
    The concerned anguish around work travails;
    Not that love does not surpass all of this,
    Yet I wonder some days if there’s not more.

    Desire drives me into a discontent
    With the days offering, disguising true
    Happiness behind the glamour and shine
    Of the spectacle, the omnipresent
    Crush of the other’s clichéd narrative.

    Not that my sad tale is any better,
    Albeit a more familiar story
    To me than the ones which rub against mine;
    But even so, I fear the textured rock
    Between the cracks in the conversations

    That flow in a seemingly endless rush;
    Beneath the whisper of my voice talking
    Telling myself again not to let go,
    To let the blood soften the fractured rock
    Beneath the tips of my aching fingers.

    (July 2010)

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  • Above the Trees

    by

    poetry

    Hanging so cold
    in the late spring stars,
    the moon is a haiku tonight.

    (Summer 2010)

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  • Notes from Heart of Texas Writing Project Advanced Institute on the Reading/Writing Connection

    by

    teaching, ways of knowing, writing

    “Such a move suggests the fluid nature of structure. Structure may be perceived as a kind of textual space (Nystrand, 1986) created by both readers and writers, not simply a “characteristic of a text that exists apart from the people involved in producing and comprehending them” (Shallert, 1987, p.73). (p11)

    One of the things I would like my students to leave my class with in regards to writing is that essays are not formulaic, but that does not mean they do not have a structure. The structure is part of the meaning and as a reader one should look at how the writer put the piece together, what was being attempted when this part of an essay comes before another, or refers back to something that had come previously. As well as to become aware of what they bring to a text as a reader, and how that can play into the creation of a meaning that might possibly go beyond what the writer had in mind; and that it is ok to be an active participant in the creation of meaning. As a part of this process I hope the students come to see their own essays as a creative act where they are an agent in the creation of the work, not simply filling in the blanks of pattern handed to them by the teacher, society, or some other authority. That it is ok to take a risk and say what they wish to say, or to discover what they wish to say as they are saying it. That structure can be and often is an organic outgrowth of the thinking of the student.

    Next school year I want to open up the writing and reading more in my class while at the same time laying in a bit more control and direction. Inside of this paradox lives what I am taking from this week. I want to specifically use the texts, poetry and essays I present in class in a conscious interconnected manner to try to teach the students to look at a text as a writer. Off the top of my head I think I can use essays as a macro focus and poetry as a micro focus for what a writer is doing inside of the text. Part of the overarching connection will be Andrea Lundsford’s phrase “everything is an argument” and have the students look at what purpose is being served by what the writer did, either in a structural or stylistic manner. I want them to think beyond: “oh that was just to keep the reader’s interest,” which I don’t think is ever the case. I want them to be able to explain why they think the writer did what she did. And explain why they did what they did in their own writing beyond they wanted a grade. What was the purpose? The reason for using a technique, story, sentence, or structure and how that reason helped create a meaning.

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  • Parallax

    by

    poetry

    Striding home for lunch at sixteen
    a line of poetry repeating in my head;
    the brisk November sky had nothing
    on the power of the word unfolding
    in my life at that precise instant.

    All I wanted to do was be home with pen
    and paper to write it down, just get it.
    The brown grass of the neighbor’s yard
    took forever to cross; then the street,
    it’s fresh coat of tar and asphalt became
    a Mississippi barring an undiscovered
    world from my nascent explorations.

    Dad, not yet diagnosed, sat smoking
    in the driveway. “Fine, fine,”
    I muttered in reply, waving off
    his promise of lunch waiting inside.

    And what was the line that drove me
    with such harried import from school
    across vacant lots, past my father
    with such adolescent disregard?

    That I cannot tell you thirty six years later:
    for nothing, not even a phrase remains
    from that line from that day, nothing;
    nothing but the urgent walk home
    through the brisk-blue November air.

    (June 2010)

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  • Ephemera

    by

    poetry

    The dazzle of morning light dances
    across the surf of the pulsating bay.
    Enthralled, yet blinded, by the beauty
    of it all, we stand stunned listening
    to the staccato gossip of the gulls
    and the incessant tumble of the waves.
    Until all that we are and desire
    dissolves in the ephemeral effluent
    that flows quiet freely in the everyday
    chatter of friends, like DNA fragments
    combining and recombining in endless strands
    of meaning manifesting momentarily
    second by second across this sacred life,
    this surface shimmer, we call home.

    (May 2010)

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  • turn and look around

    by

    poetry

    like a ballerina en point
    a turn of my head
    divides the circle

    in a second hand’s staccato arc
    to scope out the destination
    before the body follows

    like daniel boone
    through the cumberland gap
    mentally surveying the landscape

    the breach if you will
    in the comfortable thought
    the continual march of the horizon

    (November 2006)

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  • 3. Differentiate and Blend

    by

    poetry

    The swirl and unfurl of the past
    follows no pattern, except now.
    The future lies less entangled with
    meanings than with hope’s dreams.
    I hold these multifoliate strands
    weaving my patterns on a wind.

    (December 26, 1995

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  • Dreaming

    by

    poetry

    I worry each detail; yet,
    these are no Martin Luther King Dreams
    articulated to thousands milling
    around Lincoln like galactic spirals.
    But ones that ferment, rumble
    from below like a bronco
    new to the saddle twisting
    away as I lie almost asleep.
    The alarm waits to ring, the
    bedsheet winds about me, Laocoon
    wrestling stone snakes.
    Conversations I have had turn
    into ones I have not;
    friends and strangers become incubi
    or succubi. Seductive wet kisses
    entangle my next waking greeting.
    These dreams grow through the night,
    to turn their roots into my day,
    mushroom’s pale flesh.
    Like worms in a spaniel’s heart
    they clot my speech–have I
    told this story before? Have I
    seen this person in another form?
    Like waking in an unfamiliar room
    these dreams entangle me
    making it hard to see like Descartes
    past the melting candle to
    the circular cogito ergo sum , to
    the dream that stands clear,
    the dream that has no morning.

    (summer 1990)

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  • Cusp

    by

    poetry

    How do we come to know:
    the routines of the day,
    the patterns of spring to spring,
    the similarities amid chaos?
    The mirrors in the kaleidoscope
    give shape to random flotsam.

    We think we discern more
    in our reflections of the world;
    the future’s fixed unfolding
    in a furtive flight of birds.

    I speak to you in my own way;
    our words shape themselves
    against the shape of themselves:
    consensual, in anticipation of a kiss.

    (May 2010)

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  • A Prologue for an Unread Text

    by

    Uncategorized

    A few weeks ago a friend told me that she was reading a typescript I had given her several years ago. It was a series of poems titled: “Primogenitive Folly.” I went and found it on my computer and reread it and have since posted a few of the poems. At the time I wrote it, I had been reading Guy Davenport’s “7 Greeks.” I was interested in the way he simply translated the words that were there. If the greek was fragmented he simply translated the words that were there and to indicate where words were missing, Davenport would put parentheses around empty space. I liked the way the gaps, the silences, between the words , and the iconic nature of the words themselves took on meaning when placed next to one another. Bits of the Greek survived in packing material for trade goods, like an ancient world bubble wrap, waiting for a scholar two thousand years later to interpret the authorship through some strange arcane knowledge. So as I began to work out what I was going to work through during the summer of 2001, I was thinking about fragments and the randomness of the surviving words.
    For several years before the summer of 2001, I had been interested in the use of constructs, fairly random for the most part, as a way to structure long poems. So I decided to use the first 64 prime numbers as a way to structure a series of poems. The total length of the series would be 64 poems to reflect the number of ideograms in the I Ching. Many years earlier I had used the I Ching as a lens through which to write a series of 250 six line poems over the course of a year. I didn’t want to limit all of the poems in the new series to a set number of lines. After worrying over how I could have a structure that was not a static shape on an individual poem level, I came up with prime numbers simply as a numerical device to limit or push the length of the individual poems in the series. I decided to use the prime numbers as a way to number the words, syllables, letters or lines of each of the poems in the series in a purely arbitrary way. All of this random numerical structuring reminded me of the habit of the some of the gentry in England in the early 1800’s, where they would construct fake runes on their estates called follys. Since I was going to write poems which purposely contained empty space and erasures, both false and real, similar to the Davenport translations of the Greek poems, I named the series before I began writing it, “Primogenitive Folly.” A bad pun since I was using prime numbers as a way to generate my “folly.”

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  • from "Primogenitive Folly" (20)

    by

    poetry

    did it just occur
    this thinking

    and when

    did it come
    as a shock
    a sharp wince of pain
    upon leaving the cave

    howling with the realization
    scarred by the experience

    or

    like wittgenstein
    slowly across the whole

    there it was

    daylight

    and such a warm sun

    should have come here long ago

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  • from "Primogenitive Folly" (29)

    by

    poetry

    Who believes?

    the awareness
    like sandpaper across the iris
    blinds before any revelation
    is exposed – –

    and even at that

    delusion washes all
    a cold salve to placate
    a passive domesticity.

    And what of it?

    the tired rantings of the self-righteous,

    “You should be experiencing
    excruciating pain!”

    But I’m not.

    Like the cat curled, purring
    on the end of the couch – –

    I am presently content – –

    despite all – –

    I am

    happy to be

    no more

    than what I am

    (August 2001-April 2003)

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  • from "Primogenitive Folly" (55)

    by

    poetry

    events in a field like light
    from a star bending about the sun
    each affecting the other in infinite exchange
    a bee drifts with lackadaisical precision
    linking flower to flower before heading home
    across an open meadow covered with dew

    the sun the flower the bee you me
    bending toward each other collapsing
    in a field radiant with life

    in a field radiant with life
    bending toward each other collapsing
    the sun the flower the bee you me

    it’s all so succinctly repetitious
    another day, like the orbiting moon
    its tidal force pulling on the sea
    (no thought or will to dissent
    the current catches all like a net)
    then releases to wash freely along the shore

    water light time you me flows
    quick slip twirl and fall
    slow meander to merge with all

    water through water air through air
    events in a field suffused with light
    separate yet bending toward each other
    like the sun hurling toward a point
    a somewhere beyond the center which holds
    nothing but all in a twirl we turn toward
    like a bee in a meadow covered with dew

    (August 2001-April 2003)

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