January 2017


poem30 Jan 2017 08:00 am

814px-Joseph_Stella,_1919-20,_Brooklyn_Bridge,_oil_on_canvas,_215.3_x_194.6_cm,_Yale_University_Art_Gallery

stop the car, stop the car (we’re on the bridge) I’m getting out
I’ve have got to see
do you see? a light down in the bay
under the water, it’s calling up to us
can you curb the urge? climb onto the rail and scramble over
to the other side, but one more step. and the push
it boils up from deep inside, and you know
it just feels right; this thing is what you
were born to do

as the cars and trucks rush by, lost in their exhaust
and automation
if they see you at all, they don’t care
or feel the way you do
machines, deaf to the siren song
and blind to the beacon in the deep, green water below

it’s yours, this urge; they can’t take this thing away from you
so let it play out as it may on your conscience
like fingers on the keyboard, pressed into the service
of a Bach suite
it is not death you are afraid of, it is knowing (as you do)
that you will not die, after this, but only emerge

if you’d never grow up, if you’d never change
if you’d have everything you had ever known stay the same
and be powerless when in changes, in spite of everything
you are or try to do
all that you have got to do
is cowardice; grow deaf and blind like those machines
that bearing their passengers and cargo across the bridge
oblivious to the chance, this one chance
to be ever so much more
than they are, or could otherwise be

to be really and truly alive, you must dare to leap
and, leaping, break your chrysalis against the water
and emerge, triumphantly aware of the wings you’d grown
under a shroud of flesh and bone

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poem23 Jan 2017 08:00 am

354px-sun_quan_tang

Cheong stood apart from the other mourners
on the cropped grass inside the ring of graves.
A waste of his time,
waiting for the two kings,
and Cheong too old to have much time
left to waste.

Seventy-seven sandstone slabs,
each garlanded with paper flowers,
each with a chiseled name.
The seventy-eighth slab
void of flowers,
his son’s name standing alone.

Cheong had incised the name himself,
back in the spring,
the fields ready for planting,
but Cheong practicing
on fragments of sandstone,
working with hammer and chisel
until he was certain
his hand would not slip,
that each character would be properly formed.
April when he’d chipped out the name.

Fall now,
the war over,
a demon slain,
though it hadn’t been a demon
that killed his son,
but men,
the Red King’s men, raiding,
the raid that started the war.

A waste of Cheong’s time, waiting.
No king, no gold, no paper flowers
of any use to his son.

Cheong was contemplating leaving
when the two kings arrived,
bare-headed, white-robed,
walking ahead of a company of soldiers.

King Xau, Cheong’s king,
stopped at the far edge
of the ring of graves,
bowed three times to the mourners,
said, “We are sorry we failed you.”

Not much of a speech,
but the young king’s voice
hefted with loss.

The other king, the Red King,
the one whose soldiers
slaughtered Cheong’s son,
said nothing at all.

King Xau went to the nearest grave,
read aloud the chiseled name,
bowed three times, very deeply,
said the name once more,
looked to the Red King,
who echoed the name.

King Xau moved to the next grave,
read aloud the chiseled name.

Men said that Xau slew the demon,
that when the Red King saw him do so,
then the Red King knelt to Xau
and pledged peace.
Cheong old enough to remember eight wars.
Words as worthless as paper flowers.

Xau came to Cheong’s son’s grave,
said the name aloud,
put his hand to the bare stone,
touched each chiseled character.

The king a white-robed blur.
Cheong’s son dead.

 

Painting by Yen Li-Pen, from the Thirteen Emperors scroll in the Museum of Fine Arts of Boston
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poem16 Jan 2017 08:43 am

kusakabe_kimbei_-_20_funeral_service_in_a_temple

Day 1

So much noise,
so much hurry.
Tires screech and I land
like a discarded feather,
face up,
eyes toward the stars.

Motor sounds swirl,
dragging red streamers.
The air is warm,
the pavement warmer.
The night grows sharp
as the body snatchers arrive.

Faces hover.
I feel pressure,
here and there.
Their hurry dissipates.
In their eyes
I’m already dead.

I don’t blame them.
How are they to know?
They are merely
collecting karma
for their next incarnation.
I’m grateful to oblige.

They wrap me in cloth,
gentle as an infant.
They offer prayers,
then lift me into a minivan.
Fingers brush across my eyes,
the night becomes permanent.

Day 2

The morgue,
as silent as a library,
as dark as a dreamless sleep.
It allows me
the necessary time
to find order in my life.

I wasn’t the best husband,
the best father,
the best person
I could have been,
but in my heart
I tried.

It is said there is shame
in inaction,
to take what is given
and carelessly throw it away.
For this
I am guilty.

But I did not love any less,
I did not desire any less,
my failing
was in not knowing.
For this
I am guilty.

And though I had abandoned
everything I’d known,
and had become homeless
in every sense of the word,
I hope I leave in my absence
more than I have taken.

I hear the attendants come and go.
Bodies are removed,
bodies delivered.
It begins to smell like flowers,
flowers more fragrant than memory.
I am hopeful.

Day 3

I can no longer hear.
I merely sense the ebb and flow
of energies,
the monks from the monasteries
chanting prayers
for the lost and the damned.

It is said
when the body and brain
cease to function,
the mind is the last to depart,
the mind lingers
to ensure safe passage.

All my life
I was in a race with time.
If I didn’t succeed,
or meet a certain expectation,
I thought I had failed.
I was wrong.

Time is insubstantial.
What matters is happiness.
In happiness lies all truth,
all understanding.
In happiness lies the gift of love,
to give and to receive.

The chanting enters my consciousness
in waves so perfect
it is as if I have become part
of a great chorus,
one that only the voice of death
can sing.

My eyelids become translucent.
I can see each helpful soul,
their heart beating
like a miniature furnace,
each holding a candle
to light the way home.

Most of all
I smell flowers,
beautiful potent
undying flowers,
of a scent beyond description,
beyond ethereal.

The moment approaches,
like a gentle wind.
The fragrance multiplies.
I let the wind take me.
I am at peace at last.
I fill with joy.

By Kusakabe Kimbei – http://www.baxleystamps.com/litho/meiji/05071624_20-1.jpg, Public Domain, https://commons.wikimedia.org/w/index.php?curid=10477501
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Uncategorized09 Jan 2017 08:53 am

Hello folks,

I will be at Arisia next week, so please look me up to say hello if you are around.

If you are in the Boston area, Arisia is an amazing SF convention with representation from all of the arts. http://www.arisia.org

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poem02 Jan 2017 08:14 am
File Name : DSC_0340.TIF  File Size : 17.0MB (17774746 bytes)  Date Taken : Wed, Feb 4, 2004 3:46:25 pm  Image Size : 3008 x 1960 pixels  Resolution : 300 x 300 dpi  Bit Depth : 8 bits/channel  Protection Attribute : Off  Camera ID : N/A  Camera : NIKON D1X  Quality Mode : HI (RGB Uncompressed)  Metering Mode : Matrix  Exposure Mode : Manual  Speed Light : No  Focal Length : 32.0 mm  Shutter Speed : 1/4 seconds  Aperture : F5.6  Exposure Compensation : 0.0 EV  White Balance : Incandescent  Lens : 28-105 mm F3.5-F4.5  Flash Sync Mode : N/A  Exposure Difference : +0.5 EV  Flexible Program : No  Sensitivity : ISO250  Sharpening : Normal  Image Type : Color  Color Mode : Mode I (sRGB)  Hue Adjustment : 3  Saturation Control : N/A  Tone Compensation : Normal  Latitude(GPS) : N/A  Longitude(GPS) : N/A  Altitude(GPS) : N/A

File Name : DSC_0340.TIF
File Size : 17.0MB (17774746 bytes)
Date Taken : Wed, Feb 4, 2004 3:46:25 pm
Image Size : 3008 x 1960 pixels
Resolution : 300 x 300 dpi
Bit Depth : 8 bits/channel
Protection Attribute : Off
Camera ID : N/A
Camera : NIKON D1X
Quality Mode : HI (RGB Uncompressed)
Metering Mode : Matrix
Exposure Mode : Manual
Speed Light : No
Focal Length : 32.0 mm
Shutter Speed : 1/4 seconds
Aperture : F5.6
Exposure Compensation : 0.0 EV
White Balance : Incandescent
Lens : 28-105 mm F3.5-F4.5
Flash Sync Mode : N/A
Exposure Difference : +0.5 EV
Flexible Program : No
Sensitivity : ISO250
Sharpening : Normal
Image Type : Color
Color Mode : Mode I (sRGB)
Hue Adjustment : 3
Saturation Control : N/A
Tone Compensation : Normal
Latitude(GPS) : N/A
Longitude(GPS) : N/A
Altitude(GPS) : N/A

He recanted. His mouth was full of stars, but he
took away the telescope. He pressed his hands
together, folding away his history in order to save his future.

They let him live. Another day, another month.

Inside the woman’s body, the cells stack together to form
a new constellation with double helixes; a new
rotation in between her torso. She didn’t know she was
with child until she walked outside, and realized he was right
about the sun. The earth went around it, like the child went around her.
She was not the centre of the universe anymore.

He went back to research. Another day, another month–uncaught.

Then he was. She visited him in prison. They talked all night
until the blue faded to pink faded to blue again. “Our paths are our future,”
she said. “Together, we’ve created something new.”
“Anyone can do it,” he argued. But he folded his hands & stared up
at the sun while she went away. Between bars, he didn’t pray.

They let him live another month. Then another. Until there were nine.

When his son was born, he remembered his theorems. His formulas.
His wife became a cluster, her body full of craters made
with new life. Together, they had a future. A baby had a name.
So when he didn’t recant before a judge, he did it for the future’s sake
of a shadow-boy he’d never meet again, but always understand
in the lines of DNA and when his wife looked at the sky.

illustration “Crabtree Watching the Transit of Venus” by Ford Madox Brown, By Manchester City Council. – http://www.manchester.gov.uk/townhall/venues/murals1.htm, Public Domain, https://commons.wikimedia.org/w/index.php?curid=1900925
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