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Archive for October, 2023

Perspective

And the mountains rose
and eroded completely
and the great sea flooded all
and the great sea left and
the great sea flooded and left again
and the land was forced up,
and then pulled from both sides
until the center broke
and slid down to create a great rift
and the volcanoes spewed lava
and the ash covered all
and the glaciers scrubbed
and the rocks avalanched
and the earth slumped
and today I sit in the valley
and stare at the mountain
with a dusting of white
on its wide shoulders
light gathering in its clefts
and think, my god,
isn’t it peaceful?

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I cannot hear it, the beep of the IV
or the tick of nurse’s pen on the chart
or the wheels of the gurney as they roll
into the operating room, can’t hear
the voice of the doctor or the anesthesiologist,
can’t hear the soft tide of her breath
as she drifts into blackness nor the dry
mumbling from her lips as she comes to.
So I listen to this room and the silence
that holds it, listen to the only words
that rise up in me.
I love you. I love you. I love you.  
I whisper it into the silence
as if a thousand miles away she could hear them.
And then it is only silence.
It wraps its sound around me
soft as a mother’s embrace,
gentle and strong as wings that fold me in
until silence itself becomes prayer.  

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Though the garden wears mostly brown leaves
and dried vines, though the stems
of the sunflowers are brittle and broken and bent,
though frost has taken nearly every living thing,
the snapdragons still bloom, scarlet flags of persistence,
their heads deep red, their petals still soft,
and I know it won’t last forever,
but for now, they resist what is cold, what is dark,
and I, while I can, I want to be snapdragon,
want to bring to this life all the beauty I can muster,
even when it’s dire, and give it all away.

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Change? Transformation? 

Join me and my friend poet James Crews for an hour and a half of conversation and poetry about how the world shifts and how we poetry helps us to show up in the midst of chaos, revolution, adjustment and alteration. October 18, 5:30-7 p.m., Zoom, $18. To register, visit here.

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Terce


 
It’s the light this morning
that opens me. How is it
a certain changing angle of gold
 
can make the heart leap up
all nimble and sprightly and eager to praise
as if it’s never before seen such beauty,
 
as if it doesn’t happen every day,
this radiance that reaches
through space to find us
 
wherever we happen to stand
on this unlikely planet.
I don’t know how it is the light
 
works as a luminous key to unguard me
and swing wide my gates,
but on this morning filled with news
 
that makes me shutter, shut down,
close off and clench,
this stroke of light, it’s everything.

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Only a Few Things Matter


It could be an invitation to gather around the listening table …
            —Julia M. Fehrenbacher, “It Could Be”
 
 
Today we gather around the listening table
and I notice how when one woman speaks
of grief, her notes ring in me as if
I were a cave made for echoing with the song
she sings, and another’s words strike me
as if I’m a bell made to be rung by her voice.
And when one woman says, “I’m a digger,”
I want to shout, “I’m a digger, too,”
but I don’t. I listen. I listen and notice how
the act of listening is its own kind of digging
in which we are hollowed out and filled
at the same time. Around the listening table,
I let the spade of joy and the shovel of ache
the spoon of awe do their good digging work,
though sometimes it hurts as they
excavate in me what is real, and sometimes
it thrills me to hear another speak,
filling me with what I, too, know is true.

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When you
say,

Please don’t
go,

the day
weaves

a nest
from

the strands
of

tenderness
in your

words, and
I,

squirrel-like, curl
deep

into their
mossy

warmth. I
cache

the sweetness
of

quietly snuggling.
Come

winter, these
seeds

of autumn
gentleness

will nourish
me.

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To hold you the way
the shore holds
the river, this is how
I want to hold you—
that present, the way
skin holds the sweet
peach, the way lungs hold
air—that tender, that
gentle, that tight. Instead,
I hold you now
the way sky holds clouds—
too spacious, too distant,
too far, far away.
I want whisper near, breath
to ear, nigh as lullaby, want
cradle close, praise
close, soothe close, love
close, as if touch could make
everything right, want dream
close, promise close, close
as prayer, close as your
tear to my cheek.

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Is


 
 
On the highway, an empty space
where you are not driving. At the college,
a chair where you don’t learn.
In this room, a tall and slender empty space
where you are not. Not whistling,
not closing your eyes and humming,
not eating noodles, not reading the news.
Everywhere I am, this space you will never be.
Not in Ohio. Not in the woods with walnuts falling.
Not laughing with these new friends.
Not in these hands and not in these arms
and not in these words where you are
because you are not.
I would not fill these emptinesses
with anything else is. They are anything
but empty, these spaces of you.

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Love Song

We think only of the one-note racket,
the sharp, harsh caw of crow that claws at silence
in warning or begging or a rallying cry.

But the crow, too, sings—
not like the Romeo warblers,
so that all can hear, no—

it blends soft cooing and rattles and growls
to woo as it nuzzles and ruffles and bows,
as if the crow knows that some songs

are better when shared so close
that the only one who can hear them
is the one for whom they are sung.

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Two nights after my son died I had a powerful moment that changed how I was able to show up for myself, for my family, for anything. I write about that in this poem, The Invitation. I love how the guitar by Steve Law opens up the poem, how the art by Marisa S. White, illustrates the kind of receptivity (and dare I say magic) than can happen in the night. I love how the video by Tony Jeannette speaks to how on that night I went from utterly broken to more whole.

“The Invitation” is part of the Dark Praise poetry album on endarkenment, available now to download free wherever you listen to music on Spotify, Apple Music, Amazon Music, YouTube Music. OR you can dowload it and purchase it (just to support our work, even though you can listen for free) on Bandcamp.

Friends, I am so delighted with this album. I really hope you will listen to this remarkable collaboration. You can join Steve Law and me LIVE in Buena Vista on Friday, October 14. Details HERE. (also a writing workshop the next day). You can also join us live in Colorado Springs on October 26 with Marisa at the True North gallery. Details HERE.

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Tumbling




When everything’s falling,
when everything’s broken,
when all is ravel and rubble
and ransacked and ruin
and the world is a stuttering,
guttering blunder,
a plundered and ravaged thing,
that is when wonder arrives on the wings
of forgiving, and living arrives
on the wings of the dead, and
devotion arrives in the wreckage
of loss. And if to love
is to risk being tumbled
and fumbled and wrung out
and sprawled, to love
is also to trust there are hands
that will raise us,
amaze us with kindness,
calm hands that will lift up
our hurt-heavy hearts
as if it they’re as light  
as red leaves in the fall.

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Three Travel Haikulings

four a.m. goodbye—
above the sleeping dreamer’s lips
kissing the air

*

opening the book
surprised to find my old story there
with a new ending

*

scent of old leaves—
what is dead brings such beautiful
memories of youth

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Reasons to Weep

 
 
Because I’m flooded
with feelings, I weep.
Because feelings
are not enough, I weep.
Because your actions
have moved, me, I weep.
Because there is so much more
that wishes to be moved, I weep. I weep.
I weep because someone must weep.
Is it true, someone must weep?
Once they hired women to weep
because they knew the expression
of grief was essential—
they paid them to wail
and scratch at their faces and mourn.
But what does the blue sky care if I weep?
Or the gray sky? Or sunset? Or dawn?
What do tears mean to the dead?
What do they mean to the living?
I weep because I can’t stop the tears.
I weep because tears can’t stop me.
I weep because tears invite me
into the flow of all water,
the flow which goes the way all things go,
away from the self to shores of the all,
and from the shores of the all
back into the core of the self.
 

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There’s the burr that relies on brittle prickers,
the cheat grass with sharp and spiky barbs,
and then there’s the milkweed
that attaches its seeds to gossamer fluff
and spills forth in an ecstasy of diaphanous floss,
white puffs of wish-downy, dream-gauzy,
breeze-easy lushness. Oh, heart,
this, too, is what survival looks like—
an almost impossible softness
that gathers light in silky froth,
that entrusts itself to the wind.  

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I Want to Listen


I want to listen to you the way rabbit brush
responds to sunlight, transformed
by warmth into earthy perfume.
I want to let your words land on me
like milkweed seeds, like yellow leaves,
like the orange petals of blanket flower,
want to receive them as gently
as they are offered.
I want to let your words sprinkle on me
like soft desert rain on the sandstone
so that I know where each drop has landed
until at least all of me is shining.
Sometimes, so caught in my current
of thoughts, I miss what you say,
you with your hushed and tender way.
I want to listen to the words
behind your words
the way I hear the river
inside what first seems to be silence—
and then it is all I hear.
I want to meet your words
and not lose my own words—
want to hear their evolving duet,
this song we write together
with every conversation,
every silence.
 

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Mrs. Johnson, newly married,
looked like a Charlie’s Angel,
and while the boys were in shop class,
she taught us girls to be women.
We learned to make white sauce
from butter, flour and milk.
Learned to sew stuffed animals by hand,
how to make skirts with a machine.
Learned to balance a book
on our heads while we walked,
and we learned
the proper measurements
for a woman: thirty five, twenty five, thirty five.
Mrs. Johnson wrapped the yellow tape measure
around her own chest, her own waist, her own hips,
proving herself.
Then she put two tape measures
on each table and told us to measure
the girl assigned to sit next to us.
Kim Fields. She wore Wranglers. Mascara.
Gold combs in her feathered hair.
She had a boyfriend. They’d kissed.
She ate lunch at the popular table.
I never wanted to be like her.
I totally wanted to be like her.
The smile on her lips was vicious
as she wrapped the cloth measure
around my chest,
her fingers tugging the strip tight
as I crumpled inside.
She smirked as she called out the numbers.
In pencil, I wrote twenty-eight on the handout,
filling in the top blank
that was supposed to represent me—
me, a textbook example
of unkissed, preteen prudery.
When it was my turn to measure Kim,
she grabbed the tape from my hands,
said, “Let’s see what a real woman is.”
She wrapped her own hands
around her puffed out chest,
the same hands that held
Louie Floyd’s hands between class,
and she pushed out her breasts,
those same breasts
we all knew Louie Floyd had touched.
“Thirty-five,” she sang out,
filling in her blank, her voice a ripe fist
that squeezed my flat chest even flatter.
I cared too much then about those blanks.
Months later, I, too, learned the pleasures of kissing.
But it was years before I learned
those were not the blanks that mattered.
 
 
 

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