Six Reasons to Never Try Poetry

They call them mockingbirds, some are nightingales, a few may be owls or ravens,

but all are really pretending to be the pursuers

while they are in fact the ideal prey.

All are moths-

of which there are more than 160,000.

Drawn to their own demise, despite the heat, they repeat the fire dance,

a Danse Macabre in verse.

In all fairness, one should be warned-

1. You will never be good. Or done. Or get there. Never, nevermore. It will always be wrong, could be better, you should have never tried, a waste of your time, a sacrifice for nothing. If you want to feel a sense of completion or accomplishment, this is not the way. You will never be able to make it go away. Get a drawer, carry a pen, try to forget. 

2. You have only copied others far better than you-who copied those that were far better than they. 

All the words that are strewn about and unsorted,

the ones you polished up and put together and

something spectacular, or smooth, or morbid,

were not yours to put your name on. 

You were not the first person

to make your bed.

3. Warning: Also-they All die beautiful, decrepit and anonymous, poor and misunderstood. They pass away, they are evoked and manipulated, worshiped for saying one thing-over and over-apropos to those who know how timeless interpretations remains. They keep their keys. They take thier fortunes with them. The published, finished, are boarded up, condemned-to looting, pillaging and squatting.

The moth never learns from others smoke. The moth must devour the leaves and petals from poets of other seasons if it is to survive famished and cleansed by morning dew. 

Some say violets capture a certain raw nature, many others pine over roses, and there are those of silk, that bare no resemblance to prose, without punctuation or stamen. 

4. The night is shared by good and bad voices, loudest to those who listen.

5. Color is not necessary for presenting a beautiful display. Light and heat are most attractive when removed.

6. A moth is a critical link in the food chain. 

Fake eyes, ink stains, shadow, ash and dirt colored, clicks and sonar are extra like lyricality. Both predator and prey are symbiotic as reader and writer, both flock to the light despite the smoke and despite the act of dying every night. 

Painting By Michel Bouillon, Vanitas c. 1668 in [Public domain], via Wikimedia Commons.

X-plosion(s)

This is not what I intended to say.
Nor is this how I meant to convey this multi-
layered
meaning-making
sense of sense.
I set out, propositioned with pen in hand,
I aimed the ink at the receptive white page
to say this
one thing
and the damn poem veers left, starts
skidding out of control,
hits something solid,
rolls over
Itself
and only comes to an abrupt semi stop-
where interia is held in
mid-air,
over their heads,
emits an ominous scent,
and makes men
flee for fear of losing
oneself

A paltry passenger without my own;
controls, levers, pedals, wheels, dials, gauges,
buttons to push,
signs or signals to lead and follow,
I am
Left with this
loss of direction
I resign to not fight the fear
of dead ends.
Scribbling and scrambling
I get out while I can.


Image credit By Anonymous [Public domain], via Wikimedia Commons.

Buteo jamaicensis (red-tailed hawk)

Chickenhawk,

or common pigeon raptor,

an immigrant in suburbia,

your callused talons, prone to thievery

bone protruding shoulders, penetrate the blues

excess in feathers weighs one down.

Perch and peer,

wedged between a wishbone branch,

hurling her duck observations in high notes

as if swan songs were her only repertoire. 

Tenacious she, 

returns three days crooked, famished with

foresight, laser vision, and perspective-poised, 

she waits, she sees green, she feels envy.

The fluffy housecat chases his tail 

to satisfy his urges

the hawk launches

and draws his keen ellipse together.

Photo credit By U.S. Fish and Wildlife Service Headquarters (Red-tailed hawk  Uploaded by Dolovis) [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0) or Public domain], via Wikimedia Commons.

Sensual segments

The lotion in the squeeze tube

intended

to protect this crumpled 

and creased rice paper skin,

carries a strong scent, evocative

of all the horses I once knew.

The big baby boy finally comes along,

appearing one month old

already.

Somedays, like other times,

Her voice soothes

but most often it seethes

something in me.

Crap-

that coyote in a boat scared me!

the visitor exclaims-

pointing to a small hanging sculpture

Of a baby fox sleeping soundly in a hammock.

I knew it, but did not say anything

This time

it would be easier this way...

The numbers man heard poetry

at night.

It scared him. 

This time

he stood too close

to the source.

Contagion is terrifying.

Warm spreading in back of the head,

happens with Prozac

and Jazz musicians,

I have been told.

It may spread further

than just here.

As we were like this

One time

found in familiar fragments

of others, 

clarity comes to the assembly

in single file lines. 





Image credit By Clyde Waddell, American GI's at a bookstall in Calcutta, 1945' in [Public domain], via Wikimedia Commons.

Moving moments

Fell upon, as light as drizzling

mists indistinct as an inkling.

There was a sense of something strange a-

round the sharp corner.

He walks confidently 

into newly woven webs,

framing the finished work.

The ground sloped, gravity pulled a-

long his footing in a groove.

One in front of the other. 
He counted on this order. 

Crossed over to a new dimension,

blended into this one image.

He is held up

to the sky and draped in silk,

with webbing in the corners, 
brushed by invisible lines.

He finds her hanging
where he left her last.

Never again

does he take

the last passage 
back. 




Painting by Claude Monet, 'A corner of the apartment' c. 1875 in [Public domain], via Wikimedia Commons.

Blue windows

Practicing her new monologue
from a Steve Martin play,
it becomes impossible to forget
some lines.

Some lines
slap the face, others rattle the cage
just between the ears,
and linger in the room
like cooking dinner.

She recites the lines in front of her closet,
and in front of my closet,
in the sliding glass door
when its dark outside
as I put away the dishes,
listening to her practice,
again.

Distracted by the shutters that keep slapping,
I await my favorite lines
about the shutters that could never be-
come forest blue,
because forest blue is no color,
and denying this existence,
makes it true, naturally.

I try to picture a hole in the forest,
the sky peeking through the canopy,
but my eyelids flutter at the steam
rising and swirling on the stovetop.

Shutters do not occur in Nature, the lines note,
and I wonder about Pi, naturally.
I like Pi,
Newtons apples are the juiciest.

And these occupations
keep our lips moving along,
fingers fiddling with locks
and minds simply wandering off,
it takes time, an open mind, a window
and practice.

Look at the face, the hands, the clock,
she knows all the words Mr. Martin wrote.
Now, I can open the kitchen window,
letting the forest fly out with the green.





Artwork By Juan Gris (José Victoriano González Pérez), Spanish, 1887 - 1927 (1887 - 1927) – Artist/Maker (Spanish) Born in Madrid, Spain. Dead in Boulogne-Billancourt, France. Details of artist on Google Art Project [Public domain], via Wikimedia Commons.

Shaken not stirred Ma’am

(For Frankie)

It is hard to see things abstract.

We are more accurate Now

Encapsulating climate

When we mention Culture.

Let’s look at Value:

Price tag says, “As Is”.

No complexities.

No narcissism.

Loathsome luminaries loaded

In ink, inebriated, inoculated,

Imbibed in itself-“As Is”.

The Sardines became the Gollum.

O’Hara, Oh everywhere, oh Sun, Oh oranges!

Can you feel the rust coming on,

Or is it Out?

Aren’t we all magnetized toward the morbid,

the dark, the obscure, obtuse, or abstract,

as they can be good for hiding things in corners, 

shading over or making shadows. This depth 

achieves something like,

making good on promises.

Sometimes he seemed gay,

they say, he was happy, in so many words.

All the time, they say, they were true,

the poems. Because they were simple

they cannot tell lies.

Portraiture is paraphrased,

how does one escape?

Clouds come and go.

Meanwhile, the pastoral artist demonstrating

how much one can hold,

runs out of colors, runs out to resupply,
runs hot, then cold.

Any poem can be an apocalypse,

this is how they all End

(in grey), 
except the last words say,

All days look the same. 



Image credit by Berenice Abbott, 'Radio row (NYC), 1936' in [Public domain or Public domain], via Wikimedia Commons.