Archive for written

(Oh boy I start this month of a poem a day with no confidence, trying to get everything ready for our trip to San Francisco tomorrow while holding a boy who seems to not feel well, he hasn’t slept all day and he spits up a lot of what I feed him. But no one said it had to be a good poem. So I worked on this mostly while watching Rosie’s water polo game while Henry sat angelically on Steve’s lap. That setting might explain the water. Yikes I feel naked.)


Sight

A boy and water,
I thought I would know what he looked like.

Swish, swish swish.

He’s out forever. Eyelids pressed to milk skin.

In a room of babies I don’t know if I’d recognize myself.
The lights were bright.

Photographs don’t tell what I see:
this looking into a white sky.

See, it’s better to be out because you can see.
There is no such thing as ecstasy,
but out, out. I was gone for an hour,

emptied as snow tilted in the snow globe of my head.

The echo of our lungs in here. My throat hoarse, my baby.

I don’t know which boy is mine.
Too much love makes form unclear.

Our lives near-sighted,
unswelling, eyelids closing again.

oh okay

napowrimo2009_1

30 poems in 30 days for April, national poetry month.

Circles in the Bedroom

The flower on the base of the nipple light.
His belly button filled with lint.
The nipple cracked like glass.
From which point hang the crystals.
Every piece of the chandelier.
The hot pink cat collar and its encircling spikes of blue-black.
Plastic white pearl lid.
Polyethylene blue with water inside.
Now no water inside.
Fuchsia pattern, tiny on the bedspread.
Black and brown dog dirt on the fitted sheet like fleas.
Black outline and black mobius of two hair bands.
The dog nose painted on the nightlight.
The dog nose holes.
All the pewter ones and one gold stamen porcelain drawer knob.
The brushed nickel doorknob.
Ugly white plastic curtain rings along the curtain rod.
Beat brown leather dog collar
around a dog neck, thick.
The fan encasing like tree rings.
A diamond.
A new boy asleep on the dirty fitted sheet,
eyes closed: two ohs, ohs.

paper dog

Searching for my dog’s form
I trace over a photograph and cut the background away.
It is not him but the longing for him.

Searching for the longing for my dog,
I draw a nose on the paper dog shape.
I connect a constellation of dog limbs, sinews, muscles, fur.
I don’t know how to cut around the fur that juts away from his back
like a thousand eyelashes.

I draw his ribcage, a spirograph of wind.
I draw him alive. My hand shakes.
It shakes around his open eyes.
I shade them in so dark the pencil breaks.

I bend the tracing-paper legs like deer limbs folded in.
I fold his ears, pleated pieces, a broken accordion dog.
I fold his tail, collapsing it into thirds behind his torso,
curled and bent around the sturdy halo of his ribs.
My dog in my pocket, I talk, Good dog, good dog, let’s go for a walk.

superfur

(In the homeless writing workshop today, I gave the prompt of Super Vision based on a gorgeous book I brought in — it shows the world that exists that we can only see with microscopes and other new technology. The goal: to try to see beyond what we initially see, and because writing asks us to do that anyway.)

.

I wake and scrape sweat off my chest: the dog has slunk up into bed where the baby will be.

Fur under a microscope has a gasoline rainbow inside.

Fur patterns on the sheets: fractals, snowflake articulations. Superfur.

A core sample of his body, down past the fur a layer of muscle, sinew, bugs, coral bones.

He arranges himself around his ribs, his coat of arms.

His blood a tattoo, blue river patterns.

Rice in his intestines. Bugs along his eyelashes.

On the mattress: dirt particles.

A spine shield, it protects my body from the window.

At night the husband mutters, takes a pillow and with sinew hands slams

the mattress, slams the mattress.

Dirt fur patterns scatter, reassemble on the floor,

dirt residue like cinnamon like fleas left behind. White sheets.

Or gray-white sheets.

The dog spine curves, folds, S1 S2 S3 pushes against me.

Each spine pearl, each rubber muscle, no ice cubes.

The down quilt: dead feathers coagulate heat,

dead feathers washed and clumped, falling out of some crack in the quilt,

stuck in the northwest corner of the bedroom,

and down into my lungs and the dog lungs,

down our windpipes, quiet flutes at night.

The baby is partially comprised of dog fur and down.

I swallow dust and the baby digests, becomes us.

I don’t want the dog off the bed.

Scaffold

Love with its scaffold of preservation:
She waits. Not yet. He might be blind.
Are his eyes supposed to be that foggy.
He puts his chin on her knee at the dinner table
and she only mistakes it for love once.
People give up their dogs, and babies die.
All four legs are twigs but they have yet to shatter.
Her hair is spun in two bundles, disassembling at night
so that later, when she is pregnant,
she will not feel love until the human makes a shadow,
the dog spinning fur fractals beside her,
white lily petals falling into the bowels of the fruit bowl below.

What to Expect

When you sleep, sweat collects on the back of your neck and in your palms.

Dandelion fur floats along your jaw in the spring but you can only tell at sunset, the sun sideways making everything fat.

Mornings you will not make it up a hill but it’s not your fault: you are 150 percent more plasma, more palms, more psalms, which does not feel like blood but more like children on your ankles.

Your face will look like the face of 2003, beer-swollen and hopeful. You will look up at the sky as you chew.

As if in hibernation, food will collect in the backs of your arms and under your chin and in your breasts and thighs. I am sorry, but you will not be able to zip up that dress. You will sit there on your bed alone with the dress unzipped, chewing. Light will dapple your thighs like an invitation. Your humor will not reply.

You will eat four eggs in the morning alone, alone. For lunch you will eat with the dogs, apples and cheese.

Your veins will tell everyone’s eyes where to go, to follow the map of unnamable tributaries: nipples swell and they do not descend like airplanes. Nipples swell like they are supposed to so you may turn away. You will sleep.

You may slam the porch door. There will be a thick boundary, a corset pulled taut like a failed parachute wrapped around you. All love is an intrusion.

You will sleep and dream in color of rhubarb and demons, and you may wake screaming.

When you lie on your back your right leg goes numb but not your left one. When you walk your left thumb goes numb but nothing else. When people need something from you your heart may be cold, no longer inside a diplomat but in a castle with a thick moat, your words like chain mail around your stomach.

While nearing the end of a book, you will cry and then sleep with that book in your arms, your breath a rhythm that makes the words a baby that doesn’t end.

seven pounds

I was remembering today how much pain I was in after the surgery two weeks ago. The most vulnerable part of my body was punctured with a needle and it left me huddled for days. It felt like my lower stomach had been punched one hundred times but from the inside. I remember resting on Steve’s lap as we watched a movie and telling him If I die, don’t do anything stupid like in that movie Seven Pounds.

around and around

There’s a woman who came to my homeless writing workshop last week who talked me five minutes’ late for class. She talked about how she wrote this poem some time ago and since then she hasn’t been able to write it better. It always comes out choppy. She has tried so many times, and each time it doesn’t “flow” — she kept using that word. Around and Around the Leaves / chase in the wind is how it begins. She spent the twenty-minute writing time transcribing the “choppy” version that was still in her mind. When she went to share, she explained that she’s been writing this poem since second grade. Second grade. She got it right the first time, but not again since. What an effort, somehow honorable, to keep trying to perfect the same 14 lines for forty years.

Dining Room

Our arugula a leaf pile on my plate. Or placed here and here to mark this:

Lapping sounds. The girl-dog pivots her ears, wags her tail backwards.
The ice cube hits the floor.

I could swim out to my mailbox and then swim back. Stay.

From here I can’t see the cats’ hearts. I used to, when they were small.

The dog sleeps, unwanting sleep, her eyes yolks, lids, yolks, lids.
Look at me slightly mapping. To get here and here to circumvent this. Sex on my plate.

The dog collapses. My heart kicks.

But it was not a cry it was the garbage truck, wet brakes, crying again at the stop sign.

(The cats with the invisible hearts are fine.)

Light makes the corner a light. The cuckoo clock births a turquoise bird.

The ridges of a dog spine kiss the circular rug, her heart blinking: Open. Open.
The cat rigorously loves her shoulder with her cheekbone. Look: love.

I don’t want to hear again about the dead horses. My dogs, what if. Quiet. Radio off.