origin song

regarding migration

If you were born where your first language
was never called words, then no one could persuade you
that silence is empty, and somewhere the swifts, the whales,
your oldest kin would still be calling.

They can tell you are far from them now,
but not enough to forget
how rivers remember when rains return, to rise
so sea bells hang briefly from branches now fish-kissed,
and the snakes you watch without naming,
the delta birds—
you wonder if they have heard your other names.

Maybe what calls
is no memory at all,
but the pull that turns whales
toward waters they have never seen,
that curves a swallow’s wing,
the hidden maps of swimming salmon,
the green
that climbs toward light.

Whatever this soft astonishment is—
star-fire held a while in bone,
let it lean
toward the wet-feathered ones,
the slitherers who kiss bark
with their bellies,
the blooming.

And if I remain
half forgetting,
half listening,
let me hear
still, small songs
in the fig tree,
hush of fur near enough
until what some dark cavity

of my inner ear
keeps calling
origin song
turns out not to be

before now,
but arriving,
asking only
whether we are still able
to follow.

first teachers

toward remembrance

This week I have made useful things: calendars, notebooks, discussion protocols, pages students will soon fill with questions I hope matter. By Friday my eyes are bloodshot, nerves down my arm burning again. Every note in my notebook begins, “Remember to make…” And yet. In the stillness of the rare breath, a returning question reminds me: remember what first taught you, love. To look. 

I have had a touch-and-go relationship with standing inside my own truth. Whatever I was as a child seemed to make for easy killing. I wanted not to die. I wanted to become better at living.

My teachers were shorelines & trees; stones & beneath them; beyond the beyonds, where whales surfaced & disappeared again. I followed the tracks of dead writers, looking for clues. 

This week, Heschel offers three things I need. He says, Always we are chasing. And then: Recollection is a holy act. He uses the phrase “Sublime grandeur…” & I cannot remember the rest.

I write each into the margin beside reminders to photocopy poems & order hanging file folders. Also, ear drops for the cat. I do not think she is drinking enough water.

Imagine the composer whose music, too long for the market, sings just long enough for strays to inhabit. Whose reviewers ask politely, must it be like this? 

Thank you, love. For running ahead, then stopping. Waiting until the rest of us catch up. I chase you, passing wooden bodies behind bars. I wait with them, my mirrored selves. Whose arms reach where our trunks may not follow. At the terminal, a woman waits half inside shadow. Maybe to board, or else forever.  To leave this furniture-piece of the self.

To return to the humiliating glory of flesh. Tomorrow the bells will ring again, and my eyes will return to their watering ache. To close & listen to morning birds. Somewhere beneath asphalt, distant roots will continue their epistolary. Further still, whales carrying songs. The stubborn composer refuses to hurry. A sculpture continues waiting in her cage. I follow behind these, in their tracks. To walk as I wait.

the carrying back

on being read

Sing to me, Forest, of your undergrounds
where I wait, hungry, attention on
your warning sounds, willing myself
to root into reading with my feet
your songs, coded in chemical notes: C, N; I
lean in, root to root.

Yours is the song I mean to hear & hold,
to carry back by this vessel
to the others of my kind where we meet among blocks
of concrete, warning bells & sirens
to remember birdsong, heartbeats, susurrations
of our mothers’ wombs

by these waters
at this shore
against these feet, to see
the sea, la mer
ma mère, my mother

to better remember the taste
of being tasted into life by an octopus
whose arms around me whispered before i knew
to wonder what she was by name

to say come here, love. i devour you.
& go, my tongue’s first song meeting hers,
song fleshed back into
this thin-skinned cup
all i have for holding

deep time liturgy

at peat bog

they rinsed us from you & we came to
beneath harvest of smoke & our tools

of part memory, part dream & the dead
where they slept beneath our quilts

the peat bog will not forget, so holds
a dropped awl & still-opened hand

of at least one distant ancestor
having never met

dream leaves its memory
on the raw side of hide

& we gathered foxglove
at eventide from hills that bore

its crash, folding fields
to stitch a robe for moons

to outlast where we held the flood
until it remembered us

by settling remains in the moss
of that moor

where only the listening
from here on out is left & now

the feathered chest-dweller
coughs beneath the ribbed rafters

& we wait with low hum of estuarine mud
in our mouths

where round howls
too sharp to keep where

she gathers them
& us

still holding
that flood

by ripple marks in stone
her song remembers

the weight of our collected
bones to whisper back

o water,
where did your flood
last end?

inaudible birds

pending confirmation

on a summer evening in the Super El Niño year
a body gets to worrying
about the birds
how the babies get thrown
from their nests
in the latest desert monsoon
a week after flocks fall
dead in the heat when
the avian flu once thought confined
to factory farms
has leaked somehow to shorebirds
then seals
then sea lions
as though categories were only temporary fences
& i
want to hear what they are saying because
i worry about running
out of time to hear
meanwhile am going
on an hour now trying to log in
to this airline Yes I Did Reset the Password
& again
& again
locking on one thing i can set right by persistence
& attention to detail
& again
it does not work
with a tiny pink error code
& a miniature number
to call
but not now
tomorrow maybe at a less convenient time
when a body should be doing other work
such as the work of living
or else replying
to indicate that i have received the notices
re: updated student loan repayment plans
& re: SAT registration dates for rising juniors
& then onto work email
re: exciting changes coming this semester
(read: same dysfunction/ same hope/ new flavors. . . & a logo!
schedules & possibly even working bathrooms coming soon!)
& i have returned the bagged lettuce to the store
in response to the latest outbreak of whatever
& my daughter came home without my hearing
over three fans so when I wake sweating around 2 am to text
is everything okay? i get moose emoji in reply
& yah are you? with selfie in bed now my turn
lol laughing emoji eyes not adjusted yet
i read the clock wrong
moose did not hear
& now the cat on my chest offended
by the visible bottom of her bowl
or perhaps because of the fans so loud
or something in me so loud running
wanting just a little more time to catch
the better end of the story
let there be a better end
to tell it forward this time
to tell ourselves and mean it
not
running
& it is not in the end about getting
anywhere
is it?
only not this
running so loud
& so fast
we cannot hear
the birds

notes on getting grown

with monsters

One of the scariest parts about turning from child to older is the expectation that you will know where you are going. One monster leaves her legs behind before flying. Another can be kept from finding itself again by a sprinkle of salt.

Spend long enough studying these things and eventually you stop asking whether they’re real and start asking different questions.

Where is the nearest river?
How much water is left?
Where are the birds going now?

The Vetala prefers fresh bodies because they still know how to speak.
Fill the bathtub before the water pressure drops.
Kelpies cry before storms.
If lost, leave footprints in mud or snow.

Distress signals come in threes.
Most demons look ordinary.
Emergency flashlights are hanging from the shower hooks.

Turn your ears toward distant sounds like a cat.
Three syllable words work best.
Project your voice:

Internet.
Coconut.
Spaghetti.

bodies of the storytelling kind

every beginning inherits an aftermath

We do not make of ourselves clean lines, nor do we tend to follow them. When we do, it is accident or anomaly. Some call it miracle, but what if the real miracle is how we bulge and bleed, leak and tear? The ways we absorb more than we should be able to hold. If we were ideals, we would not be this way. If we were ideas, we would not be this way. But this is the thing with being bodies. We are made of so much stuff, until we aren’t anymore. To keep growing, we have to leave parts of ourselves behind. We are here to collect ourselves. This beginning is also an aftermath. We gather ourselves in pieces, and then we let them fly.

before

what birds know first

There are things the birds know first. The approach of a hurricane, a radiation leak, the poisoning of a river. You can tell that they know because they leave.

Sometimes a witness to their departure will not notice, until later. Looking back, they will remark how suddenly it occurred to them: there were no birds. Where did they go?

By then, the coming disaster had revealed itself. Before that, the birds disappeared quietly. For most would-be observers, their absence fails to register. It is a non-event. The catastrophic ones are often preceded by a series of non-events like this.

The birds know when to go. It is believed they also know when to return. On that count, those of us in the disaster zones look out and sigh, waiting. And we say to one another, “We’ll see.”

“Wait,” we say, “and see.” Like we know.

Sometimes, though, the birds don’t seem to know. Or if they do, are without other options. That’s when you get the dead bodies around the poisoned lake along a major flyway, or whole flocks falling from the sky. That’s when scientists arrive to collect the bodies.

“We don’t have enough evidence,” they say. In every official briefing they repeat this sentiment. We are in the middle of a non-event. In a time that has no other name, which is called ordinary time. One day we may call this time by another name: Before. But any before is nameless when you are inside it.

wild fools

beyond the towers where the guards stand waiting

Oh, you are a writer? Give us a hero story, then! We’ll get the popcorn, let’s go.

I am not very interested in the hero story.

Tell us about the dragon! How it was slain and everything is safe again!
I cannot. I have no faith in the premise.

?

I have always loved dragons. Imagined ones, metaphorical ones. Besides, I tend to talk to lizards when I walk.

I tire of the way the story must always be about the hero, or those waiting for the hero, or those tending the hero, or those preparing the world for the hero’s return. I want to know who kept the living going while all these heroes were off on their quests. I would like to hear the lizard tell what happened. 

It is curious how often the dragon dies only for its guarded fortune to change hands. The gold. The virgins. Another castle.

?

I have become suspicious of people who can state what they are about. Perhaps this is required now. A mission statement. A brand. A clean line of purpose. Meanwhile the shadow goes about its work.

I know only that my blind spots arrive in multitudes. So, I keep watch instead. I make little shelters. It’s much more bird feeder than monument.

Hi, birds. 

There you are.

Take what you need.

I have no illusion that I am feeding you.

You are feeding me.

Language feels this way, too. I’m not climbing Jacob’s ladder or pulling a sword from a stone. I am near a hearth, tending a loaf. I keep making the same loaf, because wherever I am, there are always hungry mouths. Take what you need. 

Hi, birds. There you are again. Beyond the towers, where the guards are waiting, the gardens have begun again without the hero. Come eat. 

the hidden kept

care and language

I pack a spoon
in my daughter’s lunch.
Then another,
in case the first
should disappear.

Love misplaces things.
I try to preempt the loss.

When a line begins
to murmur
I swing it by the neck—
a soft animal
I mistake for a rope.

I call it poem,
but it writhes,
wants teeth,
wants blood,
won’t feed me
when the guards come.

Just stands there,
quiet and damp,
like something I’ve left
in the sun too long,

then tried to water.

Now my throat closes.
Words spin.

No one comes
with a towel,
no one checks the floor
for shards.

She may find the spoon.
Or this one beneath it—
the one I mean to hide,
a love for when
forgetting comes.

*

This poem recently appeared in the spring edition of MUSE Literary Journal.