bones of the suns

view from the updraft, suspended

The bones had to set when we broke them—
we set them in ash after each burn,

beside skeletons of former homes, still smoking.
We needed new cells to grow. Hold still, they said,

teaching how to manage the waiting period.
They meant faith—but without the work

it looked half-dead in our mirrors. We listened
for wolves. We saved their prints in boxes

for someday—for sorting, for display. But what
do you name the waters rising high enough to jump

to the next roof, hoping that one holds? Other questions
scratched outside us. Siri, what do you know of shelter?

It was something to do; knowing you had no service
didn’t stop the need to speak. We reached ready

for the next ledge, and she might have said, You can wait
until dark.
Siri, we might have answered—I believe,

to heal our unbeliefs. The ghosts before us pointed next
and up ahead. We had begged to see it. But one wing,

caught in the updraft, suspended—still looking back—
It was the wreck we marched from. It looked away.

We looked away. It was possible, then, to keep wishing—
merrily down a lane to the land of the dead.

Tracing its thread against honey-slick tongues, we offered
first milk. Some kept their breasts bound for harvest moon.

And when it came, there would be blood, and money—
enough to say: we’ll be okay another year

until time
comes to pull it back again— the sun

of our once
and future sons.

Cymatics

Aural imagery

I saw a sound. It rattled the bones of the last days of a time. That time of frayed signposts. Or times. The time was current. The time moved past futures. The time was possible, and all of us at stake. Now I watch for it everywhere, in hope of hearing. It is everywhere, but my eyes are not so good, having been too thoroughly trained by all that would erase her appearance.

To Watch

Our spectacles

Where are the bones to rattle? When the wind moves it may find only these trinkets we used for cheering the spectacle of the hour. C’mon, the saying went, lighten up, and we waved the shining tendrils of metallic-plated streamers at the end of plastic sticks to make our own wind. It did not cool us in the end. No one could stop to say it, but there were moments when those ribbons caught a light like something you might put out to bring a body home.

Those bones. That sound.

Bones of the Earth

With Isamu Noguchi.

Here is a survivor whose work breathes beyond current styles, with a character all its own. Here is a wanderer, an activist, often in motion, and yet the work exudes tranquil elegance. The space from which you create is neither here nor there. It is another space.

To be part of all phenomena means that you may be anywhere, in contact with all other phenomena, means a kind of freedom that means you do not belong anywhere.

Here is an ambiguity that is conscious of its refusal to lift the veil. How can forms so carefully defined elude exact interpretation, except by design?

When asked what you are after, you say only, emergence. Perhaps you anticipate certain questions about your meaning when you decide to add, as if by way of explanation, only this: rocks are the bones of the earth.

***

Inspired by the art of Isamu Noguchi.

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