Showing posts with label 2014. Show all posts
Showing posts with label 2014. Show all posts

Saturday, August 22, 2020

The Wandering Eye




The Wandering Eye



I made you
from a map, a hawk and a flower.
I thought you
clockwork-canny, full of power,
a road-veined eye for
spying the highway hours;


a bird, a map,
a flower meant to be
a fragrance and a passage 
 seeking sea.
But so far away
you flew there could never be


a coming back
despite the lies, despite the slick pretense,
so to see you now
as a morph'd and piddling glance
on a burning
globe of constant transience


is only another
blink of blight and fear.
You tell me this
is the you who's real and clear;
fine words from one
who's broken every mirror. 






August 2020, 
(with fragments from March 2014)













posted for




























Images:Still Life with Spherical Mirror, 1934 © M.C. Escher   Fair Use
footer, artist and title unknown,  Fair Use


Thursday, November 10, 2016

Babylon


Babylon


When the way is smooth
we trip on nothing
because we're made
 to kick things down.

When the belly's full
the brain cramps,
sells thought
for adrenaline.

Small griefs swell like seeds;
so the vein sprouts the needle,
the mountain's slick slope 
shakes its entropy, an avalanche

rumbling us down while
the summit recedes.

We forget

when living's too easy,
we make times get hard.

~February 2014.  revised November 2016










an old one revised, for Fireblossom Friday






Top: Aerial View of Capitol Hill, Public Domain  via wikimedia commons
Footer: Ruins of central Amarna, Egypt, the little temple of the Aton(Amarna Bâtiment du centre ville, zone du petit temple d'Aton)by Kurohito
Shared under a Creative Commons License  via wikimedai commons





Monday, October 31, 2016

Dead Woman's Crossing



Dead Woman's Crossing
a ghost story






When the moon was a witchboat small and tossing
in the fade-time where night can see day as her twin,
down the red-dirt highway to Dead Woman's Crossing
came the carnival rolling on a dustbowl wind.
They spindled the midway, freakshow and toss-ring,
before they spiked twenty ripe melons with gin
for Harvest Home in the dark of September,      
so the marks could do what they don't remember.

Then night seemed to give a coyote-moon cough
that shook her gold earrings, and Katie showed up
with her deathrattle tale of carnival past,
how she, the schoolmarm, met Fannie the Dove
how love like a cloudburst caught her at last 
on a September midway, bent moon above;     
a granite fist traded for a velvet hand
and a five dollar ring for her wedding band.

The Dove blew out of Texas like a broken branch            
running  from Jesus, Daddy Jim and the law.
When she hit Mrs. Hamm's Saloon and Hog Ranch
she knew she had almost no time left at all
but still more than Katie, hellbound for a ditch,
face pale through the water where the black crows caw.
Thru plugged ears the Dove hears the walking night moan,
thru shut eyes sees the bridge where Katie talks on.

The heat lightning flickered as midnight slammed shut,
Kate woke from a nightmare where she was the wheat
waiting dry in the dirt for the thresher's cut,
for the whiskey hard times in tangled sheets,
for one scar too many from a White Owl blunt
while the tumbleweeds wrote her name in the street.
She put on her bonnet, she packed up her grip,
met the Dove smiling with her child on her hip.

They posed stiff as strangers on the early train,
the nights and the men left behind in the dust.
They got off at Clinton in the quick July rain
with the last of the wheat burning red as rust.
When the moon was a witchboat sailing the plains,
as diamond eyes smiled into lily-white trust
in the carnival night, storm in the willow,
the teacher slept sweet with her red-haired pillow.

The next day at midday, two girls and a child      
left town in a buggy to laugh and laugh last.
Fannie screamed like a bobcat, the wind went wild;
Katie's man rode up through the tall sawgrass.
The Dove saw the buck-knife draw a cutthroat grin;
all she knew was to make the scared horse run fast
from the man who had Katie, all his, all dead,
while the Dove had poison and a red dirt bed.

When the moon's a hook, a witchboat, a sickle
when the last of the wheat stands brown in the ground
while Orion runs after Hecate the fickle
above the dwindling lights of a dying town,
the Dove does her dance to a penny whistle
and a dead woman calls her child with that sound.
Now every fall when the carnival tops the ridge
it rolls without stopping past Dead Woman's bridge.





~September 2014





 

 


This poem is written in the ottava rima form, with lines of eleven syllables. Or tries to be. It has been edited extensively.



Process notes: Dead Woman's Crossing, also called Dead Women Crossing, refers both to a small community by that name in Custer County, Oklahoma near Weatherford, and the nearby bridge over Deer Creek where the decapitated body of schoolteacher Katie De Witt James was found in August of 1905. The events (other than my imaginary carnival) described in this story are factual up to a point, with completely fictitious biographical details and explanations of my own invention. You can get the details (as far as actually known) of the unsolved murder of Katie De Witt James and the poisoning of Fannie Norton here in this wikipedia article.

 'Grip' is an archaic word for a small traveling bag. Prostitutes of that era were often referred to euphemistically as 'Soiled Doves,' a term also used to describe women who had lost their virginity, were free with their sexual favors or considered  loose morally. White Owl cigars, including 'blunts' are an inexpensive brand that has been made in the South since 1887. They have about the same place in cigar hierarchy as Swisher Sweets (once my own occasional brand.)

Fannie Norton did use the name 'Mrs Ham,' but the eponymous Saloon and Hog Ranch is a flight of my fancy taken loosely from the life of Calamity Jane, who in her youth is reputed to have been a working girl at the infamous Fort Laramie Three Mile Hog Ranch, a 19th century 'military brothel' and stage coach stop near Fort Laramie, Wyoming, also said, like Dead Woman's Crossing, to be haunted.





Images: Circus arriving in Seligman, Missouri, late 19th century
Public domain via wikimedia commons 
Dead Woman's Crossing, by Nathan Gunter on flick'r
Shared under a Creative Commons license






Monday, October 12, 2015

Amant Fantôme






Amant Fantôme




In the time of hollowing oaks
in the gauzy dark there came
a rattle and a pounce. 
Memory the housebreaker
stole the lintel from
the dolmen, drank the juice
that sports the flower, 
chipped rime from the quicksilver lips
of the ghost that lights my heart.

In the time of moon-eyes' spying,
in the white night there came
a kiss like falling rain
a laugh like falling leaves
a stroke thru stormgrey clouds,
and love was a combing,
a black floodtide 
that drowns
as it recedes. 




~October 2012


















Image: The Abbey in the Oakwood, by Caspar David Friedrich
public domain, via wikipaintings.org


Wednesday, December 31, 2014

The Music of Birds and Lions

The Music of Birds and Lions






If I had to say something about it
I would just mention
the way your eyes
moved through me
like fever through a lion,
like the brown-soled boots
of a Victorian explorer
walking lightly
with ownership, a dominion
powered by steam

careful to always
keep an echo
map of the outback
in beige buckram binding
firmly gripped in your mind,
referencing page dogeared,
recording the reasons
not to fall behind on
a dangerous journey;

or that your hands
were always sliding in
a slipstream of tasks, were
water, embracing stones smooth
in their blue satin beds,
leaving behind a geologic
Alexandrian library
of lithic messages, codes;
languages of a few extinct
species of birds, envoys and diplomats;

that your long fingers on the stops
were your flight feathers,
playing a recital of calling macaws
that come at nightfall to color
shadow-fronds of sunset palms
with their rest;
but there's no need to
talk about what you stored
under my skin, or tattoos in birdsong
that can't be forgotten

so I only strum the music of it
where the lions rise
in the mauve gauze of
the jungle dark.



~December 2014





posted for    real toads


The last Get Listed for 2014
Process note: I wrote this earlier in the month, when I was undrugged, and it already had several of Michael's words embedded in it. I put a few more in today as I tweaked it, using
 in one form or another music, few, grip, feather, steam, embrace, rise, fall, water, shadow, bed. 







Images: The Sleeping Gypsy, 1897, Henri Rousseau
The Moment of Truth, 1892, Paul Gauguin
Public domain via wikiart.org