stefanshe stood on your dockin black pearls, and nothing more -wet feetand the asian dream.you loved herbutwhen the snow fell on the dock, the following winteryou couldn'tremember why.
a shut in placeMeg's world is a world of uneven earth and blue skies, surface rock cracked and blown about by howling wind. She runs through wasteland, stumbles with purpose towards a wooden desk in the distance. She runs and runs, dirt and stones scuffing Mary Janes, but the writing desk is a finish line she can't reach."Why a writing desk?" her friend Alex says when she tells him about the dream. He emphasizes the question with a hand, waving the sandwich he's holding towards her before taking a bite.She's left out details: how she is smaller, younger, a smooth-faced child with little hands dressed in her Sunday best instead of the twenty-one-year-old
orthography and the right to remain silenti know just how i left you,and i pray to god,the same one you do each day,that you're still assore,stubborn,and stuckas you werewhen you fledlike floodwaterto georgia.the pile of unread booksstill sit on the righthand side of the coffee table.i think,but i can't be sure.maybe they're on the left;or even worse,maybe they're on the shelfover your television.i don't know how fast you've been sitting hereor how long you've been moving,but i have places to goand people to be,warming the achelike ringwormin my stomach.it's times like thesei pray to the god,the same one you do each day,th
list for ninth october1) your lover is dead andyou burn the eggs. grease streaks the stove. you sit, stand, switch off the burner. sit. the birds chirp. sit.2) your lover is dead and the birds are hungry:the blue-jay funereal blue, mockingbird sick ocean grey. you shore yourselfagainst the bare mattress, empty mason jars, your mother's phone calls, bestsellers commended by desk receptionists. the author's namedwarfs the title, that means it's good.that means it's popular.you spill teaand soak its pagesand sit. sit.3) your lover is dead andthe tea is cold. the leaves have settled in rorschach patterns.the tea
Desolateif you are parched tonight,the pale of your lips crackedwith thirst for that whichwill not claim you;if you hunger -the deep and shallow collapsing into slivered vibrations;if blindness rejects you, saysno, watch now. this is the way of it;if you are breathing the worldinto cinders, inhaling each poisonon purpose, striving toward an apocalypsebecause that is chaoswe can categorize,then you may understand.
The SiegeThe first mile is always the easiest. —Kyle Lynn to me, circa 2006Tell that to the ghosts,men soaked in sand and blood spray,storming the shores of Normandy.First Infantry's sprint through coastaltrenches, up bluffs, under ruptured drays.Tell that to the ghostshuddled in half-channeled holes,a captain's dash through shrapnel, graystorm on the shores of Normandy.A German boy adrift in the compostof his legs, his elbows' grand flail.Tell that to the ghostsripped in four by mortars postedover Omaha. Dawn's evenly keeled decaystorming the shores of Normandy
For Those Who LivedWalking dim-lit places in a minds-eye nationI can but imagine; those who livedGnarled hands, their cracked and broken skinAdorned with scars and jagged nailsStill flecked with darkened blood the gore of visceraStripped from preyRuddy childrenHardly less weathered and sparse than their eldersMake play with stick and stone and bits of boneTo shunt aside the thoughts of hunger a long three daysTheir mothers scrape and chew those last-meal pelts For cord and comfort at the coming winterOne crippled clansman sits, a watchman on a knollSpies the weary band afar, rejoicing in their loadHis herald'
You Slept Through The Alarm Again - Little AubadeIf, perhaps, you had turned at that momentand your hair had caught in your fingers, the straw being fed into the spindle, struckby the high, thin light of first waking, the whorlof a single line descendent from the sun, born watery from the gap below one velveteen curtain,all of it staining over gold and dusty and slow,the edge of your mouth might have met the edgeof my mouth, narrow gaps both without attentionopeningif, perhaps you had turned again, your hand could have met the curve of my neck,your canvas rough fingers tying knots of my hairand I would have sighed, thick spreading in your earlike the light it
the contortionisti hold her up like an offering.salted slug spasms,foam dribbles.i want to stub out the facelike a cigarette.suspended in the amberof this awfulness, still as a mosquito.the worst is the sound,the staccato choking, perfumedby whiskey and bile.when i open the door forthem, black suits, yellow bands.like wasps, they ask, theydrone in unison.what happened?i am ashamed becausei am not crying.
mosaics.sometimes uniqueis not loud;or bright, alive and raging,possessed of a hunger for the atypical,up front and too close,or thrice-pierced and drenchedin the rebellionsparticular to the latest generation.sometimes it is a girl withmouse brown hair and eyesthe color of weak tea,who stands with her schoolbooks clutchedto her chest, in uniform shades of grey-bluelike the midmorning autumn skywho has a wide mouth prone to nervous smiles,pale lips and pale cheeksand words that don't always come outthe way she meanswho holds the universein the intricacies of her fingerprintsand laughs in treble clef notesand u
plainlooksee how the brittle grass bendsas though bowing at the kneeand the wooden fencepostwith its halo of rusted iron stands still longing for the lost dayswhen it toocould move with the windsurely our old gods slumberin the womb of this landwhere clouds ceaselessly tumble toward a stark horizonand the dirt roadsare sewn on an altar of earthand therein the distancea brown sparrow pauses his tail feathers braced againstthe bitter autumn frosthis mirrored eye flashingwith the steady hymnof sorrow
for a friendThe sky is captured in his eyes, clear and blue. The weather etched smile is honest. The slender face says sixty; it lies. It is that and half again.Knobby hands sun baked and brown peek out from ragged gloves. They seem part of the old split locust post where they are resting; one of the row of soldiersthat keep watch on their field and its occupants.The smile broadens as I approach. I help stretch the wire.His archaic dialect fills the road with cows and snow and the yankees that his grandparents saw marching. The hours pass pulled by the mule he plowed with as a boy.He mentions his wife they'd been marri
a long awaited return.It was raining when we landed.A shockto our sun-drenched systems,stumbling with snatched-away sleep.Another bus, another trainwhirring upon endless tracks.We run, we flee through foreign streets disdainful eyes stare on,watching fugitiveoutsiders - desperate for a tasteof home.
Splinter helixEMBRYOa derelict building shifts its swollen formwire cage elevators moving carefully as it swallowsnestled in a womb of fragile concrete fibresthe child of paint and pastel colours stirssearching blindly for that energetic outside worldit stretches its delicate arms like an earthquakeSAPLINGTell me where you come from, what you rememberof the black ground. Talk in riddles only your kindunderstands, talk in flowers, talk in thorny branches.You crack the foundations in starlike patterns, andyou stretch the heart of you for the concrete above,longing to carry the sky as a bed for the Sun.GENERATIONthe twisting fles
The Thin HoursI.Those of us here in this skeleton time,this time of the year when the nights are thinand dark, and dark with anxiety, peelingas layers of an oyster shell, brittle and effacedand somehow iridescent.When the bell tolls out the time the sound is thinand reaches into fractured air and softlyseeks the spaces between the atoms and misses the vital Os and CO2s in a lasting, failed pinball. The bell sound dies insome space between midnight and thereafter,and each tock tock of slipping cogs is a repeat and not a moving on. The air is filled with each dull sound,each tock a repeat and a repeat again. And theslip betwee
Penguins can't flyIn the clutching darknesshe is incubated from the chaos of the colonyand the commotion of the clamorous crèche:he waits, safe for now to suck the yolk out of his navel.Finally he stretches awake,chipping at his shell-bound bloodwomb until a blushed beak pierces the crust with earthquake cracks,the husk is tentatively pushed away,and all hell breaks loose.To the chagrin of parents the world over,Pingu has been born.Head bowed to hold up the clear heavens,the south slopes are brightly lit as the ozone hole steadily grows.His apricot feet skid frantically ("nug nug!")over this guano-stained patch of the Antarctic
When I am an old woman...Pt. 1Behind every arthritic bump, knobble, and two dratted patellaeWhich have acquired the alarming tendency to suddenly give way,We all agree: this year, staying in is the new going out.All that remains is to drag the tinkering, tripping trolley back from Tesco's,Thwocking brambles along with way with a hand-crafted stick And humming merrily, only half in tune, because we're cushioned in sherry.Behind every hangover lies an uncomplicated space;A hole between the ears, a perm disastrously awry,Bifocals lost in the crease of an ever-sagging armchair. The old should have no regrets.In the star-eaten blanket of sky a voice
Old hauntsNumb fingers fumble at coppersand a dodgy purple lighter which is unfit for purpose.Giant splodges of starsas if God - in a frolic of youthful exuberance went wild with a paintbrush.Granite delicately held by shape and contour alone.Slotted together: a melee of ankles, hips, spontaneous larynx.Careless hopes, dreams wide, menthol cigarettes.Thoughts all quiet.