More NaHaWriMo 2018

More Haiku, or my attempt at the same, for National Haiku Writing Month, 2018!

 

Day 10

Kelly Belmonte,

thanks for the haiku advice.

It’s been most helpful!

 

Day 11

Watch the sky, squinting

against her lonely brilliance –

pants dying winter.

 

Day 12

I never could have

foreseen today unfolding

quite the way it did.

 

Day 13

“It’s only ten bucks,”

he said, through unseeing eyes.

“Why not get a job?”

 

Day 14 (Ash Wednesday)

One swipe of a thumb,

marking our humanity.

Momento mori.

 

Day 15

Let’s shoot our children.

And before their blood is dry,

we’ll do it again.

 

Day 16

Dark and deep the ground

that suffocates our children

and steals our future.

NaHaWriMo, 2018

A friend and fellow poet, Kelly Belmonte, whose blog I follow hungrily, alerted me to the fact that February is National Haiku Writing Month.

I’m not as adept at small form poetry as Kelly and others. Nevertheless, it is the perfect form to perfect form. An excellent poetry muscle-building exercise if ever there was one! So, always up for a challenge (more honestly, something to get me out of writer’s lethargy!), I here submit my pieces for the month so far.

Day 1

Five, seven, and five.

The perfect form for Haiku.

That’s okay by me.

 

Day 2

What if I were dead?

Would my one life have mattered?

What if I’m alive?

 

Day 3

Stuttered in pages –

life inside remembrances,

howls a paper wind.

 

Day 4

Then, I was angry

at ev’rything that rippled

and moved at random.

 

Day 5

I can see rumpled

corners around each morning –

darkness escaping.

 

Day 6

One can flee from death

to find herself, looking back

at what might have been.

 

Day 7

Regret is wasted

on a past, already gone.

There is only now.

 

Day 8

Why do we always

relinquish our sovereignty

over a trifle?

 

Day 9

Who can know the hour

when a dream meets its demise?

Dreams can sleep in hope.

The sound of your laugh.

I first posted this a few years ago. The reason I did so then is the same I do so now, to celebrate my wife’s birthday. In the digital age, discovering a person’s age is as easy as a cursor, a mouse, and a nosy desire to know something. But, in the interest of propriety, I say simply, “Happy _____ birthday, babe!”

Like thunder in rain-Rae's birthday16.jpg

Babe, you still brighten the road before me…

Poetry: rebuilding the world through the un-wasted beauty of redemptive syntax

Dylan Thomas, a favorite poet and writer, says this about words in poetry:

And these words were, to me, as the notes of bells, the sounds of musical instruments, the noises of wind, sea, and rain, the rattle of milkcarts, the clopping of hooves on cobbles, the fingering of branches on a window pane, might be to someone, deaf from birth, who has miraculously found his hearing…There they were, seemingly lifeless, made only of black and white, but out of them, out of their own being, came love and terror and pity and pain and wonder and all the other vague abstractions that make our ephemeral lives dangerous, great, and bearable. -as quoted by James Hillman in “The Rag and Bone Shop of the Heart” (a must read, by the way).

I bemoan earlier days when poets were the prophets of the people. Words, stories and cultural anecdotes were the food-stuff of our existence, not the quaint, winter-hazed mist on the edges of our choked, windowed lives. They took center stage where the very words themselves were the Homeric epic of small existences writ large through bardic retelling to others thirsty to feel their enjoining on the stalk of shared time.

I begin here a short series of poetry about poetry, words about words; the metalanguage of the language, lost but longing to be refound, non-linear and non-pragmatic, seeking instead to rebuild the world through the unwasted beauty of redemptive syntax. To that end, I give you…

I

There you lay, face down in a puddle of

old dreams. Your brow, damp from

sweating out doubt-filled promises-

the mantric words of small men, of sullen women

bathing on stolen rooftops of run down tenements.

* * * * *

Goliath has defeated David with small,

pebbled words, slung out quietly across

the distance between them, too far

for slings filled with ancient anger.

Gruff prayers traded for slick threats.

* * * * *

Setesh broods his flustering fare. He sits

at the table of the unmemoried death,

serving up sighs and groans – the language

of lusty crows, too boisterous to still

their cantankerosity; too new and

untested to feed even their open-mouthed young.

* * * * *

Brush off the fog that settles on

your hunger for colored story, embattled songs,

for words floating and submerged under the borders,

planted in places too deep to be found

by spade, knife, wallet or hammer.

Longing letters taste like a lover’s kiss.

Dismissals – on considering responses to things

That same girl passes him in the hallway, more aloof than ever;

like the neighborhood cat that pisses on my door.

There is no response to the constant

calling of her name. Just an unambitious purr,

the casual dismissal of a creature to

unreasonable expectations.

_

I passed him on the street yesterday,

that guy I met at the poetry reading.

It was hard keeping his eyes long enough

to finish a sentence, let alone fragments

of a conversation fraught with the dismissal of a

 “yes, it’s really me here” mystique.

_

She stood with a cardboard sign that read

hungry and unemployed with kids pls help god bless

I could see her through the Starbucks window

where my second Americano was already cold.

That second guy wasn’t as good as the first.

He never leaves me room for cream.

Is that too much to ask?

_

She wasn’t typically a make-up gal

preferring the girl next door simplicity

of less-is -more. But tonight

she dressed up, even eyeliner and dark,

red lipstick and skin-tight black dress.

He glanced at her twice at dinner

through the glare of his cell phone screen,

 that never dimmed.

_

I sometimes shudder to think what remains

in the shadows of what’s left after encounters

dense with the unwieldy results of non-praise,

of missing the open doors, sips not taken from

frosty mugs of welcome, the sleepy

dismissals of what’s right now,

hesitant on the stoop of another’s hopes.

What can they expect from me?

Gratitude? Platitudes? Assuredness? Distraction?

A snotty hanky full of rare humility, raw and pink?

_

The game starts in half an hour.

“There once was a girl from Nantucket…”: why I write poetry

poet's pen

“There once was a girl from Nantucket…”

There are as many ways of self-expression as there are people…self-expressing. One can say something in many and varied ways. There, see? Unlike other, non-poetic forms of writing, poetry evokes rather than explains. Now, good prose also can do this. But, somehow, there is an economy of words and focus of emotion in poetry, a kind of escalator narrative that moves us up and down at will, that prose cannot seem to create in as neat and succinct a way. Prose tells the story of our life on paper. Poetry crunches up the paper and then makes sense of the wrinkles. Prose seeks to pull petals off the flower and, in deconstructing it, find it. Poetry imagines the soul of the flower and, in ways both sensory and direct, introduces us. Prose tells us how beautiful the flower is. Poetry tells the flower how beautiful we are. In a real sense, poetry is a flower, a kind of natural face given to the mystery of our being.

Poetry doesn’t take us from A to B. It asks why we even need B in the first place, or at least takes the longer, scenic route. Prose needs readers to engage with its detail and form. Poetry needs but to exist since it is both beauty and the suggestion thereof. It is an invitation not to read but to be read. “If a tree falls in the forest” is a question we ask ourselves. The poet shows how cool a silent tree really is. It is the art of words rather than the science of language. Moreover, the lucidity and dominance of its spatial, nuanced non-rhetoric leaves a big, front door through which those of us thirsty for something other than exactitude and definition may find our Narnia. A good narrative will give us the tale, the wardrobe, the place. Poetry helps us live the tale. Prose ushers us to turkey dinner at Grandma’s house. Poetry ushers us to Grandma whose heart was the crucible of love out of which came our dinner.

I write poetry because, for me, it is prayer. It allows extreme right-brained thinkers like myself to engage with words in more dancelike fashion, treating them more like lovers than telemarketers. I can simply close my eyes and, through the mystery of my subconscious, knit to God’s own being, walk through the veil of here to there without having to explain why or even how I got there. Poetry is perfect for people who can’t figure things out but for whom the things are just as cool unfigured out. Mystery wins every time.

If you had no idea what the hell I just wrote, you’re not quite ready for poetry…just yet.

Photo: www.blog.ted.com

bathroom mirror conversation

Wait. What are these words

etched so blatantly in this fog-ged mirror

beside the shower

curtain of immodesty;

before me yet beyond my senses,

in ears endampened, engrossed, entombed-

like my murmuring heart?

Skin awash, adazzle;

insides asleep, awaiting…

There, there I see on glass, smeared,

perhaps by finger, nose, or shoulder –

condensation wiped from misty mirrors

word for word what I most misunderstand

and least fathom.

Traces left, glances of a face

revealed yet indeterminable; known, un-strange;

but surprising now, and terrible

soft and fearsome, lithe but

too big to hide even

in the darkest corners of my indirection.

Droplets dive to swim and speak

the intangible peace of this lilting voice.

Like an eyeball widget

refusing to stand still, darting to and fro,

never seen straight on,

just out of focus,

you write this tale, shrouded

in the vagueness of a loving stare,

adroit and sharp, a repeated repetition,

repeating yet again the same words:

“I have made you clean.”

Still, I know this face.

It is yours, subtle One.

It is mine.

It is ours.

of winter

perforate my insolated heart

with rock and stone and bits of branch

that scratch the earthen sky

with its insistent icy gaze

latch yourself rock, stock and thicket,

the budless arms of winter, skin and bone

wrap themselves around the icier heart

of my discontent

cry with wonder at my lack of wonder

this chill stream of unconscious boredom

alive in its deathly hold

we, together, sleep.

where once I stood

brazen, half alive but sure

of my surety finding

none but rockbed nourishment

in place of deeper food

but I refuse to dig.

in this time, non-colored

void of spring’s lithe dance

or summer’s lazy strolls,

only still

lonely, stilled,

stillness alone.

so be it,

come, sweet winter

come, bid me bid goodnight to my childish fears

hypnotize me, embalm and embranch me

let the stark, new life of death

feed this wafer-thin soul.

kiss me with frozen resurrection

till snow becomes dew

and we both

ascend