the problem of shape

preliminary findings

The year I learned the war was inside me — even if some of its battles were without — I began rummaging through the wreckage, hoping to find more than detritus accumulated from years of warring. Around the mess: sky.

I had wanted to be a bespoke collection of formidable weight, but I was discovering I was one part bargain-basement yard sale, another part fairytale creatures — some feathered, some furred, some horned, some visible, many unseen.

And the last part of me was something else. It wasn’t the war exactly, or the yard sale, or any single one of these creatures. Here was a drifting thing, like a cloud.

How long had I tried to pin her down? Or, when I couldn’t, solicit outside help. There are always people eager for this work — telling the unruly body of a woman (ethereal or enfleshed) how she should behave, ready to point her back toward some imagined vessel of herself.

Mine was always either pouring out or sponging in.

I told myself I would learn to regulate the leaking. To absorb less. To hold my shape. I may have been lying.

In defiance of common sense, I was more interested in the experiment. I kept testing it, again and again, in different ways: how much could I take, how much could I let flow away?

It had to do with boundaries. Mine were the kind cell walls have — osmotic. I wanted to know what that meant. I wanted to live it better than I had.

I knew this would make no sense, so I kept it to myself.

I spoke instead of love. And of endurance.

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

lament in winter

flood paths, faultiness

to weep over this huddled form
may in the end be an antidote
to the current of grief, that
––force
[o time]
where to meet head on
and survive
[o mother]
demands surrender to its coming
[o you ]
left behind too for the onward march
[you, too]
and nearly disappeared

[and yet. and yet]

save now
us our mothers
this time
our sense of any
o god but
these blind barons’
blaring horns

as though another world

whispers at the pressure points

The ever-present door announces itself in heavy traffic, a portal thrumming its private gravity. Brake lights bloom a red procession, hearts drum another time, to feel what stirs beneath these sheets of asphalt riverbed, muscling out of hibernation.

Some say a black star can drink whole worlds from miles away— a terror, until the thought turns inside-out and the void becomes a turning point, its axis hidden between one state and the next. Old icons taught endurance, bright wounds, the lift of leaving.

Danger is expected here. A greater peril looms, by devotion to denial of an elsewhere, in those who swear allegiance to a knotted net, its stinking mesh, even as something ancient and unseen exhales a boggy breath to press against these seams.

echo chamber

mistaking the voice as capable of hearing

Hello?
Hello—
It’s good to see—
It’s me! Let me tell you about me.

Yes. It is you again.
Whom I meant to welcome.
Around whom I now cannot breathe.

Your voice filled the room before you entered.
Your stories, hungry as fire, asked to be fed.
I mistook the smoke for mystery.

Sometimes I miss the kind of silence
that didn’t need my attention
to exist.

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.

give me a web

to reject another tired hero’s story

Yes, I see those stories, too, all around me. The location and abundance of which some will exclaim, “are everywhere!” 

No matter where I go, the one that interests me most is not a story, for it is made of what would not be recognized as such. It tends to feature a non-hero whose non-feats go unnoticed by being what they are–– more constant labors, and no less common than the fact of the web appearing between the branches of the fig tree overnight. 

Many of those who  proclaim most loudly that stories are everywhere! are in fact looking for the same story––as anyone armed with hammers for hands, might learn to see only nails. This much-sought-after tale is another version of the hero with his labors, slaying or banging on whatever he can’t pick up. 

Lately I have grown very tired of its droning echo, and I do not think I am alone. This one, I think, has gone far enough. Give me more spider, more web, more patience, less noise. 

Lately, I think, give me no more of these old stories, only quiet tending: of the careful meal, the clean floor, fresh sheets, attentive care. 

It is possible I live at the beginning of the end of the age of an old story. As someone still alive inside it, I lack the perspective I would need to confirm or refute this suspicion with any presumption of accuracy.  

Finding the ability to make those quiet and non-storied, daily events happen is the only narrative I can find valuable right now. This is partially because I could use some help with these things and also because I have grown very tired of that other clamor. 

I am also weary of those who make, as a habit, a racket to entertain. These are different from those who make an entertaining noise for reasons they have not intended. I am weary of those who throw plastic affirmations when it is clear that all their expression can do is reproduce the old pain. 

The makers of these pseudo-joys, in an effort to to capitalize on the coin of the realm, regularly add to daily misery by their steadfast commitment to cellophane-wrapped optimisms. 

Meanwhile, so many dead. And also, so many able but unwilling bodies, who have made their non-decisions with brilliant sheens of glamour, who feel justified in their non-decisions to leave unwashed those dirty sheets, who unprepare the careful meal whether or not they will eat it, or to remember what hour of what day it is, now.

Zeno’s moon

notes from where the tortoise wins

Moon, don’t go. I have been too much in the sun with the golden people smiling fun. Listen, moon. I know what I am and I consent to this distance. If it connects me to you, let me trace the pads of my fingers along its lines. For nearly as long as I can remember, I have been reminded by the golden summer titans that my movement, whatever it was, failed to count as well as Time’s. The jolly clock-faced father-god. Time, they told me, bowing as they shushed my complaint against their rush, was fast and I had to keep up.  I did, blaspheming. 

Zeno had point about the arrow. If at any moment it was at rest in one position, in a time made of moments, how can it ever move? No, Achilles does not catch the tortoise. To do this he would have to reach where the tortoise began, by which time the tortoise would have moved on.

Fortunately, after this pause, the golden people have all gone to chase the sun, and it’s just us again, with the tortoise, stitching moments with no roundly sure clock face in sight.  I’m glad you’re here, moon. I know you won’t be, always. But I won’t go chasing all those not-yets, not while I’m drunk on the wave of your fragmentary diamond lights, winking into seas to kiss the shore, and me.

devotion

study in shade

hear these minor tones, dissonant echoes, nocturnal murmurs
whisper of hellhound behind, tremble sound haunting hollow
taste of revenant ash in throat, beneath each note this velvet
dissonance—

here where sea pushes into land: roaring liquid love, thunder
crashing at the lip of the last wave—and the next.

where Pollock pours black enamel over raw canvas, painting
like a man already buried. Here is love freed from time.

here are the rites of the bull cults, the fetid silence
of hardened blood, evicted angel beating one wing
over trembled flame—

no longer showing but shown through.
no longer singing, but sung into—

by jagged notes, passing through
the charmed demon winding sand
ripping the sails that carried you
and when the sails are gone––

all sea
all sound.

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