January 2026

what learned to stop rising

On the Golden Toad (Incilius periglenes)

The year the rain didn’t come, the toads did not rise. This creature required conditions, resisted the rescue of cages. They lived most of the year underground, waiting for the world to signal conditions for their appearance.

When they emerged, they emerged together, bright as warning, an astonishing whole. A joyous display, observers said. It would not stand for translation. When the clouds changed and the pools would not hold, the pattern discontinued.

Their discovery and disappearance happened in quick succession. The last of it when I was eleven.

I knew nothing of the toads at the time. I was learning to read the atmosphere, to time emergence. How to translate the strange creature I was into more legible forms.

The process, I was learning, required aggressive taming. The first rule of living here was learning: one must not be too much. Too expressive, too taken by joy, eruption, wonder, body.

I never saw the toad. By the time I was old enough to take my own inventory of loss, she had long since lost the predictable rains she needed to appear, having entered the realm of beings named only after they are gone.

the speed of almost seeing

a poem of reaching

a poem whose seeds were birthed on this blog over the summer, out this week in Blue Earth Review, a publication of Minnesota State University.

I am in love with Minnesota, home of Minneapolis, the occupied city bravely resisting takeover by the goon squad of a fascist regime––with love and care, courage and grace.

what survives

On the Guam Kingfisher (Sihek) and the Preservation of Bodies

This is a story of extinction that appears as a continuance of life. In which the life in question persists in captivity. Where the life in question is removed from her presence in a world. This happens when the life in question has survived the loss of a world.

For what purpose, this silence? This heavy-handed saving. This bird. These brilliant blue wings. These heads of rusty cinnamon.

She of the long-ago understory of limestone forests, who birthed within the soft rot of trees left standing, of a wilderness allowed to age—until progress arrived.

Who needed darkness without predation to sing the day through her light.

Legends called her the loud woman bird. She of the bright fabrics—until.

This is a story of snakes who came in on cargo ships in the wake of the war, who raided the nests at night in forests raided by day, until the remaining canopies stopped speaking back, and presence became a memory.

This is how captivity preserves the body whose world has gone. The body whose world has gone goes on living, held in an unfinished until.

Context: I am working through some memoir material and it needs a larger container. So I’ve been researching species declared extinct in my formative years, and working toward understanding various connections between these stories and my own, which was largely dominated by a sense of horrors happening quietly without comment by anyone in my immediate environment. Considering each lost species in a space outside of these longer, more complicated essays-in-progress helps me to gradually understand the relationship. Thank you for reading with me.

there is nowhere else to go

a practice of staying

This is about craving stillness at a time when loud men go around insisting you are either chasing or being chased. This is what passes for insight around here, so I prefer silence. The other night I dreamed I was in Joyce Kilmer’s memorial forest in the Smoky Mountains, among the last contiguous old growth in these states. He who had lamented before he died, how he could only offer poems whereas trees were something else. I woke saddened to realize that the day ahead would take me elsewhere, so went on daydreaming about a future walk, in a rainforest up the coast behind the clouds, above the gray sand. I went after it in the nearest book and found the gray bark of redwood standing as the silent columns of a ruined temple; the sword ferns chest high, the air tasting of lemons. Someone is running up ahead. I am trying to hear the hermit thrush. The light here is an underwater light and the surface of this sea above this grove is in the sky and even the birds are quiet at this time. This is a leaning in. Here, years move in a circled dance. There is nowhere else to go.

Inspired by recent readings: Richard Powers’ The Overstory, Richard Preston’s The Wild Trees, and Monica Gagliano‘s research into Plant Communication.

loose change for the shallows

toward a voice before sense

Love, try again
now with the weight of
your tomb set down.

Only air on your shoulders
this time—then water,
a constant motion.

Tonight, plant a crab in the sky,
then the archer. Notice the bull
looking back into a gazing frog.
Make them glow. The tide—dive
after these phosphorescent fish,
recklessly forgetting the rattle
of old sense, tossing it back
to these shallows, loose change
to echo your other name,
the one you knew when language
moved in shining schools between
surface and depth,
where you flashed your multitudes
through bathwater, laughing—
vessel, your eye, your mouth.

o child
the whole of you
a single sound

yes

keeping time

on holding and release

Before going anywhere
we collect signs
from underground,
unseen but necessary.

I am interested in time,
but I will lose the clock
and I will lose the body,
still bearing the world.

branching with her
into other bodies—
bird, whale, tree
who collect me as
bower bird gathers blue—
glass, feather, button—
by arrangement.
I am tethered this way,
then let go.

But made for keeping,
I draw it close again,
marry it to breath,
to release what flies
from limb to future
limb, by losing

the thread—another
way to keep the fabric
as it thins.

Goodbye, we call
to the silhouettes
that shimmer past
what light it leaks
like ink in water,
blooming.