Amy never finished her wine

It was in the dregs,
like literal coffee grounds
where the future could be red
and read
as follows;

Two sides
are always connected
somewhere in between
heads and tails,
his and hers,
love and hate
and living and dying
is your Prophecy.

When picking sides
it is safe to presume
that both are sharp enough
to draw blood

and switchblades
thrust open
hearts of flesh and palms
close into fist balls
tossed at those within arms reach.

A residue that stains,
the names of things,
the unswallowable future,
the absence of anything
consumable, the thirst
for pain is a craving
for love and hate.

Desire
of our own destruction
is still desire,
making it
Big
never makes anything smaller.
Having it all
is the same as not imagining
more.

It all becomes the same
sharp point,
*"this is how you switch the blade,
you always hurt the ones you love,"
perhaps passion points us
toward the pain
of never knowing
when we are finished.

*Lyric written by Amy Winehouse

Painting by Jan Davidsz. de Heem (1606-1683), 'Still life with fruit and wine' c. 1642 in Public domain.

Hot Spring

Well, we can depend
on the constant flow
of water out of the spigot

In these modern times
nails lined with dirt
hold nothing
together

And so few knew
cleansing could be so
bone-chilling,
the cold C
sterilizes me
still
leaving
a residue of salt
inside the deepest wounds

For hope was on the other side

The H begins at the same
temperature
If we wait
sometimes longer than others,
immersed in it,
the degree of Hope rises
from tip to tip,
from pipe to vein

Although, we all know
one drop
was never enough
to remove the stains
or replenish the well
completely
and for good

it was always our turn
of the faucet,
our choice
from which side
to draw
out from some hidden
seeming eternal source.



Artwork by Károly Patkó (1895-1941), 'Woman washing herself' c. 1931 in Public domain.

A duel purpose

I try to hold my balance on the
edge of this blade
whose hilt is in your firm grasp
and our history of incidental equipoise
clumsily
refuses to align-

would not any line
a muttering muse utter
true up to,
assist or desist us en guard
such strife-like loves twist on life
when the incision has been made

deeper, for us
while trying to maintain a sharp sense
of the point that tips
scales and armor
by design and intent

to inflict and to cradle conflict,
to penetrate and promptly
turn away-saying nothing
about the warm blood spilt
and simmering on the cool concrete
where we once made connection.


Painting by Jean-Léon Gérôme (1824-1904) 'Duel after a masquerade ball', c. 1859 in Public domain.

Graves and Beds

Often times
of late
I sense I am
two steps,
three ridges back and
one unburnt bridge away
from living the prophecy
being held for me
in some place
I am afraid
to go out of the cave
without any possessions
fear seems rational
but staying
inside while the earth crumbles
around me
ends
one way
eventually
the choice is made
for and by us
evenhandedly
all or nothing
for better
or worse
flowers lie.

Painting by Calude Monet, 'Rounded flower bed', c. 1876 in Public Domain. 

Sundialing

Under the darkness
I wait for daylight
and it slowly drains
all energies made
over-this-night.

I find myself
empty and long
for the warm light
to wane
or die
back down
knowing this
way we live is insane
and making it not so different
from this sentence.

The years blend by lumens
and erase all traces
of anticipation
for another
night
to escape
for day to come,
for the light that never
dawned upon me...

unrisen and incapable
of my occasional
need to know
what a future holds
without hands.


Painting by 'German Master' unknown, Still Life with skull, sundial, wax jack' c. 1620 in Public Domain. 

The life of a spark

Just beneath the skin of surface
something darker
traveled through
like a current
can only be felt
in volume.

Right outside of the visual range
a source of heat
like an explosion of light
ignited
all that could be flammable
was taken asunder.

What lurks like intuition
our own shadow seems detached,
aloof and cool to the touch.
An absence only felt
as nothing
that could be caught.


Painting by Winslow Homer (1836-190) , 'Campfire, Adirondacks', c. 1892 in Public Domain. 

May Grey II

After so many May days
that curtain the skies with a fine marine haze
only breaking up under the heat of midday
donning a robe of satin blue wash
without any white spots
there was nothing more to be done

On other thick
midweek days, the same sky
holds up
a solid grey smoke screen
sprinkling into something
like too much timelessness.

Today the sky tosses
shadows and demands
attention with
thick padded clouds which
loom and tromp and roam and all
seem to know each of our names
and where we live precisely
by our current shape.

This high wind
has brought a wash of relief,
like warm atmosphere
even while
things were still moving
I felt still...

and kept getting my focus
pulled into the deep sky
and mesmerized
by the outlines,
the shifting journeys of these
mammoths
made of magnetic mist
I am drawn
into.

The harder I focus
and try to hold these empty gatherings
in my mind, tracing as they were racing
past, suddenly,
as if met with resistance,
and shyly they all slow
to an amble
and stall directly overhead.

And all that seems given
in the world
for closer observation
is made up
of grey matter
upon further reflection
I think the cloud sees me blue
while it seems white.





Painting by John Constable (1776-1837), c. 1821 in Public domain.