a practice of nearness

choreographies of skin and gravity

Love this like weather
that unmasks a gentle sky.

Do not name this trembling.
or hush what aches to bends her spine.

A need for collapse
can be a call to kneeling
in disguise.

What sways this cathedral of air
ringing bells at impossible altitude,
clouding windows with myths
of ascent, her scent lingers, low––

an invitation: after such dizzy heights,
what longing there is to kiss the earth,
to press mouth against cooled ash,
admit devotion.

What impossibility, to confess
this softness —this animal
obedience to soil, its churn.
How bones remember the
murmurs of earth.

Here, too, see how body mistakes
obliteration for grace, a silence
that bows but never
calls it prayer.

say there was a window

on the other side of the wall

For coral to take
the long-submerged chains,
something living
had to cling.

On the dry side of the wall,
someone asked
what the babies were eating.

No one answered.

Another question:
Did their eyes look back?

But who
are these
circled moments
in the widening arc?

Look.
Down.
What moves—
low,
ready?

A body bends
against sorrow,
unsure which world
it woke in.

The bars
held only flesh.
What else
we were sometimes
slipped through.

tremble text

field note over sacred break

here is a book before ink
one wind-creased page in rust of buckwheat
its grammar not plosive but drift
dropped by the trickster bird at night
an arrival in absence
heralded by rasp of the gnatcatcher
foretold in the bladderpod burst
all are gathered. some will listen
to the tremble of lyric for a fault line
over sacred break, a next wave of warnings
ignored

how to cross a river

riddles in time, space, and scale management

If you have a fox, a goose, and a bag of beans, what is the best way to cross a river?

In a year of desert driving, I played this question on loop. I wanted a mind for numbers, but seemed to retain only the set-up sequences of word problems.

With a tendency to wondering and feeling too much at once, and with enough sky to lose myself in, I thought mathematical thinking might ground me.

One recurring problem was this: by a fire, under stars, I would go dizzy looking for the farthest ones until my vision blurred.

By then, I did not remember most equations, only the premises for which they were needed. If two trains x miles apart are traveling in opposite directions at different speeds, how much time until they meet? If Jack has eleven pieces of fruit and five are bananas, how many apples for Jill?

The antidote to dizziness, I was trying to learn, had something to do with overriding my first response, which was to be knocked off my feet by the size of it. The sky, that is. And, when it came to math, it was that fact that someone thought like this, imagined a way to sort a world such that these considerations, one parcel at a time, were all. The brilliance.

If a pie and so many guests, cut pieces. Not everyone will want the pie. To calculate circumference, use the number pi. An irrational number to spin the head, but if you knew how to use it, it could help you figure some finite amount of pie, stones, or tire tread.

In the passenger’s seat, I looked through glass and could not take it in. The riddle at least was a smooth and solid thing I could turn in my pocket like a river stone. The river was part of the set up. Mr. Stone was my teacher.

If you have to get across a river by boat. . . the set up went. How do you do it so the fox does not eat the goose, and the goose does not eat the beans? 

What relief. To hold one thing at a time, solidly. I wanted a valve for my mind, some pacing for the flow. One challenge. Then another. A way to stop and then go. At that point, the flooding was out of control. My perception far exceeded my abilities to make any sense.  

The answer to the riddle was: start with the goose. Mr. Stone told us why. But I was back in the river by then. Where to now, goose?

Who do you think you are? This was a challenge that frightened me some, because it tended to come at critical moments with a tone of authority, as if the person voicing it knew exactly what time Train A would cross Train B, how many apples on each, and whether or not the geese should be eating the beans.  If I could focus on one thing at a time, perhaps I would start to see it coming? And have a few answers ready, just in case?

I thought string beans would create less disturbance in the goose. But my mind tended toward the pintos I would buy in five-pound bags from Wal-Mart, which I would scatter in batches over a plate every time I prepared to soak them, checking for rocks. To find one was good. Here was a solid thing I could remove.

Who do you think you are? When these demands came, I would experience the full force of new awareness of the errors of my ways, in dizzying magnification. I meant to apply this force to finding some solution, but I had none.  Which river? Which goose, fox, season? Is anyone else on the boat with me? Am I allowed to touch the goose? Are there eggs to come?

The image of trains hurtling in opposite directions calls to mind rail spine, the nervous condition that did not appear until the advent of railroad travel, caused by the feeling of hurtling through space at speeds disconcerting to a body familiar with horse and foot travel. Not to mention the related and perhaps equally anxiety-producing imposition of standard time.

I had once seen a fox while running on a horse trail in lower New York. Much of the trail ran adjacent to the Hutchinson River Parkway, but certain parts meandered into woods and along lakes such that the roar of cars was more muted, the way crashing surf may be if you are several blocks away.

Perhaps if I had gone beyond 12th grade calculus, I would have developed a more familiar and integrated symbolic language with which to explore the interference effect of a series of infinite variables on a given problem and been more erudite in my explanations about baseline insecurities. But I hadn’t at the time and was still young enough to believe that eventually I might, If I focused harder, see with greater clarity. 

The river, between then and now, has continued to flood me. But the goose is still on it, and the fox, and the bag of beans. They rest at the banks, where the goose and the fox appear to wear bemused expressions, waving. I don’t know why it is this way, or where the boat has gone, but here I am, waving back.

***

This riddle, which I encountered decades ago, is one of those earworms that shows up again and again. I love the setup, the characters, the play, and the mystery. If, in a given year, I scratch 1,000 pages across several notebooks, an estimated 9.5 of them will feature this goose. Who knows why?  Rarely do I publish these, but sometimes it happens. Prior to today, I think the most recent iteration of these creatures in a published work happened in The Closed Eye Open, Issue 10,  Fall 2023, under the title Mathematical Goose.

on making

what we mean to remember

I have been meaning to write a note here for almost a week now. It is Memorial Day in the states, which might occasion a purposeful message of solemn remembrance to honor those who lost their lives in service. A day for remembering fallen soldiers, visiting cemeteries, offering commemorative words. Mine would be inadequate today, so I refrain. 

Also in the states, this is the holiday weekend that traditionally marks the opening of summer––barbecues, beach trips, and quite a few celebrations. My love’s birthday, my daughter’s close-friend’s quinceañera, and my brother’s wedding.  In preparation for the wedding, I  spent some time extracting stills from a video slideshow of my grandfather, who died of old age over a decade ago. Several of these photos featured him as a smiling young man in his WWII-era Army attire, complete with wool coat. The photos I had were all black and white. But for him, those moments happened in color.

The federal holiday means schools, government offices, and many other locations are closed today, so for me it’s the first moment I’ve had in almost a week to catch my thoughts in any meaningful way. It’s a chance to nurse a cold in bed instead of rushing to work jacked up on caffeine and Sudafed. And, now that the festivities are behind us, to try to remember what was happening on other planes.

I opened Nelle Morton’s book of essays to a dog-eared page from “A Word We Cannot Yet Speak” to find this line: As fire is known in the burning, not in the ashes, sight is known in the seeing, not in the eyes. This feels relevant in ways I am trying to access through my stuffy head. The essay is about bodily understanding, the kind often maligned for being associated with women and other creatures outside the traditional loci of Western power systems. 

When I opened my notes this morning, I had a sense of wanting to have something to say, but feeling only a dull, achy buzz. Buzz is the name of our cat who has been suffering an ailment that has been mysterious and worrisome in recent days on top of everything else. This morning’s online vet visit offers hope, which is much better than enhanced concern and nothing. 

And yet. I have no meaningful note. All pain, all ache. As it was in the days leading up to the weekend’s events, in no particular way other than how it is sometimes, except that it was time to focus on joy and gratitude for beloveds and friends, for family and love, enthusiasm for the occasion to celebrate together, laughing and sweating and spinning on the dance floor, all I love you! and Don’t go! and You have to stay! until eventual hard-crashing, headache-nursing, morning-after commentary, limpid with excess, a time to acknowledge the sore throat and sneezes are not, as I was claiming earlier, from laughing so hard while responding to insistent protests of,  Stay, stay! Don’t you dare leave!

Now it’s quiet. I try to collect things. I make a list. Back to work tomorrow. Try to remember.  I follow the cat with a warm washcloth, apologizing between bouts of treatment. What was I doing before? With such urgency? So close to something I was meaning to carry through. I was thinking, just a little longer, stay, before it went.

& now this

yes, and. . . ?

how broken a body
must be from her remembered warmth
to find herself leaning in like this

what mouth so long
silenced learns to round the sound of her
lover’s name well enough to footprint the air

between them into shadow
lines suggestive of the mystery of why
it is so fraught to be a body here

longing in chorus
along ancient lines of undulating tones
over water, cavern, tundra, moor

into the next breath coming
to touch her with finally something
so long past the melt of seeming sure

into the hot mystery of skins
so sudden
& here

& hear
me now
i call you lover

come hurry
it is time now set me
as a seal upon

it all take it all
i give it up
to you know

say me back
or leave me
here

where matter
is what does not
beyond this place

where i
see you
seeing into here asking

where i
to respond
must grow limbs of song

to run
after the endings that come
and come upon us even now & i––

in this one day ever
hope to answer
my unutterable word

stretch

from one into another

at a crossing it is possible
to notice
how one emerging
from the echoic shadows
beyond the edges of this rush
is a creature
who understands
time through a listening
body & one
pauses now
sinew of back, legs, neck
all stretched to hear––

that graceful leap before
that pause, the pointed look
––one eye

& i witness
through shatterproof glass
blink
& then she moves
again the leaping
wave of herself
across road & into
an opposite dark.

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