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Archive for October, 2011

Beside the fire
a man begins
a rhythmic
drone
and another
man is roused
to song
and another
and another

+

I can’t say
where it comes from
the urge in me
to sing
along
but
soon
I too
become
night
music—
not a
woman

+

but the shape
of song
that belongs
more to all
than any
one can
make

like how
seven sisters
constellate

*these 84s, 84-character poems, are part of a new series on synergy, the sixth power of the universe as outlined by Brian Swimme. It refers to a synergistic relationship that gives birth to causal factors in the universe that would not otherwise exist. It shows the ontological power of relationship.

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This body
seven billion billion billion atoms
all agreeing
to cohere—
but sometimes
I sense
a mutiny

*

and seven
billion
billion
billon
atoms
all at once
become bench,
milk, book, leaf,
rye, sign,
street

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It wasn’t the moon
that swooned me, but
the edge of the moon,
cratered and rough,
the shadow line
where substance ends
and space begins.
So much depends
upon a curve—
beyond that arc
no ground to stand
on, only dark.
The seam between
the dark and light
let me wander
there.

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Undivined

Do you have the patience to wait till your mud settles and the water is clear? Can you remain unmoving till the right action arises by itself?
—Tao te Ching, 15

Mapmaker, too long I have trusted you
to tell me the legend of my own palm.

I am turning, now, to the crow who
doesn’t pretend to know where he’s going.

Nowhere. Nowhere. Somewhere. Here.
Black wing and black eye and all that sky.

Too long I have trusted your topo lines,
your serpentine routes, your keys.

Mapmaker, I believed in destinations,
in right turns and right path and right mind and

wrong. I am turning my legend into song.
Caw. Caw. Caw.

Oh mapmaker, it is your job to know.
It is my job now to let you go. Caw. Caw. Caw.

Wings in my palms and wings in my breast
and wings in my lips and wings in my breath

and wings in my yes and wings in my ache and wings
in my palms and wings in my loss and wings in my bliss

and wings in my tears, I am burning my maps
and tossing my compass and where am I going?

Caw. Caw. Caw.

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October Tanka

Beneath the first snow
the cottonwood leaves
blaze gold—
With you, I want to speak
that language.

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I’m eating bread with Meredith out on
her porch, surrounded by the falling leaves,
when she tells me her mother can’t discern

what’s real and what is dream—she’ll wake and scraps
of REM sift into gaps between the day’s
routine. Today she says, “I’m in New York,”

and yesterday she said, “My father came
to visit. Everybody loves him here,
all my friends and all the nurses. Oh!

And he brought two enormous bags with him.”
She giggles to remember it. Sometimes
she says she’s gone out with old friends—“The food

was great, but I’m not going there again.”
Or maybe she has dreamt that Meredith
is hurt and needs her help. She’ll run into

the dark of four a.m. and call out for
her girl. And what is real? And what is dream?
And what is true between the two? Today

I read about a man who dreamt that he
was looking for an answer when a phone
kept ringing, ringing, ringing. He ignored

the phone and focused on the question. But
on the thirtieth ring he picked up the receiver—
the answer came to him across the phone.

What he had thought was a distraction was,
in fact, the point. I take another bite
of bread as Meredith tells me about

a class she took in how to listen to
her mother now. “I’m not supposed to argue,
not supposed to say she’s wrong. I go

along with everything she says.” I think
how strange to let go of reality
to meet her mother where she is, though it’s

not strange at all. What is the point? To meet
her mother where she is. To follow her
between the worlds. The wind blows harder now

and all around the picnic table, gold
and brown are dancing, spinning. I recall
how just this morning I was dreaming that

I, too, was spinning, spinning, spinning, spinning.

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By the time
the sun comes
tomorrow we will
not be the same
people we were
when we met
the sun this morning.
Each revolution
a revolution.

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Go On

When she asked me
to lead the closing chant,
Dolores taught me the tune
and the words, but told me
nothing more. I taught the song
to the rest of our circle,
and we sang it once,
twice, three times, four.
And I signaled the end
with an open hand, raised,
worried that people might
already be bored
with the simple words and tune.
Afterward, Dolores
pulled me aside. “You ended
too soon,” she chided,
“We were just beginning.”
How often do we stop
ourselves before the magic begins,
when dancing, when chanting,
when sitting still. When
running up the long, dirt hill.
When playing legos on the floor.
When loving, when weeping,
when watching the canyon
for the eagle’s wing.
How often do we miss
an experience by rushing
toward completion?
I no longer remember
the words to the song,
nor the tune, nor who
was there. But Dolores’s words
I remember well. We
are just beginning.

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In My Place


The singer lasts a season long, while the song it lasts forever.
—Jan Harmon

Because I cannot be the song,
let me be a singer,

because I cannot be the tree
that burns gold, gold, gold,
then let me be the one who sees it,

and since I cannot be the clouds
unzippering the sky, then let me be
the one who praises them,

and let me be the heron with its
awkward wings and grace despite,

but if I cannot be the bird,
then let me be the one who sits here
quietly, though I am being rearranged,

and let me sing, oh let me sing,
though I forget the words, though
the song is only borrowed, let me sing.

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Picking cosmos
pink and white
I know nothing
but cosmos
pink and white

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