There once was a race of cake men
equally divided between
birthday and wedding types,
each born into whatever flavor
was selling that day—
usually chocolate or vanilla,
but towards the end Neapolitan-
whose faith was strong.

They succumbed to the next door
country of cake eaters,
who reveled in their two week
long cake eating festival.

The eaters would line up with
their forks and plates
and slice off a big piece of
cake men as they fled to
the nearby country of pie people
who granted them asylum and citizenship
because their people were
mainly rhubarb and mincemeat
and we’re suffering through fruit blight
that was destroying their fabled variety.

Soon the festival yielded
to a full scale invasion.
You see, the cake eaters were
tired of waiting in the sample line.
They ate the cake men to the last crumb.

With all the cake gone they ate the pies.
But by then the idea of cake was a lie.
The cakes were now  mostly pies.

When the last forkful of pie
was in the cake eaters mouth
it screamed:

I will not be eaten by anyone
who can not see my beauty.

The eaters never thought that a cake
could be admired and never eaten.
They had no sense of the art and beauty
that was the filling of the cake/pie men’s faith

That last bite of pie became poisonous
and from then on the cake eaters
(who were now forced to make their own)
could never fully have their cake and eat it
without throwing up or dying.
They were now forever doomed to eat
their meat and vegetables.

Icarus’ sister exists only in living stone,
the watchful daughter of the craftsman
in the middle of his own labyrinth,
once his prized creation, placed in
the prime line of his drafts, design, eye
of his genius, now a relic existing
in a dusty nowhere cobweb corner
stained with Minotaur blood,
watching her fleshy father
falteringly stitch wax, feathers, twigs
to a frame that could not
take the water and sun of every day birds,
not even the weight of a son’s pride
who complacently raveled and unraveled
his father’s clew, half hearing  cautions,  
his mind flapping beyond the planets.

She cried over how Daedalus could
dote over such mortal error
while she exists in perfect neglect,
cried a tear turned prayer that
mixed with the dust, the murderous
blood crusting the rusty teeth of Perdix’s saw,
knowing hence  that men **** their best dreams,
fear the successful  flight of  their ideas, and  
that her faith, trust now forever lived with the gods.

Hephaestus heard her and bellowed her mind,
taught her to seek inspiration in the rejected
metal slivers that littered the workshop
like the sand of Naxos where Theseus
left Ariadne in her abandoned dreams.

In the cry of that other lost daughter
she heard the sound of ascent,
saw father and son in erratic flight
and followed to the top of the labyrinth
to watch two glints align in descent
and one splash into the sea.

Graced with the knowledge
that forbearers would
name the waters below for this fool,
she deposited Icarus in their father’s arms,
and flew away on brass wings of her own design,
wingtips skipping waves, seeking the sun.

Maleficent: Mistress of Evil (A Movie Poem)

The absence of love
makes one a villain
in other’s hearts.

In the proposal
the weeping willow
sheds its leaves
to the sky,

while in the bowels below
the servants of the earth
forge war,

pull iron from earth
as it screams
to be reclaimed.

Above, silk napkins
unfold into laps
with a curt snap of wrists.

Into the depths
the princess falls,
into the opposite of heaven.

She opens her eyes
to the evil above her, around her,
near her, pouring out
like bearings onto sheets of gold.

“Maybe,” she thinks,
“we can exist
without fear of war?
Find a way together?”

This is no fairy tale,
but yet this
is precisely a fairy tale.

She dreams of her wedding
where all are invited
and all are expected.

She can see butterflies
swirl around her wedding gown,
her face reflected in a golden bowl,
the bloom of thousands
of attending fairies.

But yet, she is still falling,
full with the wisdom
that the spindle
curses everything it touches

and that her subjects are locusts
fated to swarm the earth
a thousand years
enduring the evil promised them,

until she burns herself out,
the last blood of the Phoenix,
destined from ashes to be transformed.

“Are you okay?”,
my wife asks
when I cough.

“No. I’m fine.
Yes. I’m not”,
I respond,

stumping her
in the poetic irony
of words that

encompass the
yes and no
and the in between.

She flips the finger
at me and I return
the bird to the nest.

We go back to our life
and our tablets,
the drip, drip of my chemo
and I wonder about okay.

“No.  You’re fine.
Yes. You’re not.”,
the bag stares in response.

He taught them
where to carve
the dead parts
so the rest could live,
to find its flow
and tap its sap.

With every mistake
the mentor took each
student by the hand
on a short walk
to the middle
of the forest

where it slopped
into pools
thick with inky water,
where the mist
often got trapped
between light and dark.

He mixed water and mud
and pressed it into their chest,
took a sharp branch
and gently scratched
his secret words into them,
until it became a tattoo.

He then gave each a bag of seeds
and a canteen of pool water,
guided them back to their errant tree,
chanted for them to mix both
into the thirsty soil until
it no longer screamed for inspiration.

The students repeated this every day,
watching the grass bloom infinite variations,
discovering their tongues speak
at first his and then their secret words
until they knew all of them,
even those yet to be spoken.

Our marriage is old enough to vote now
and on this our porcelain anniversary
I vote “Yes, I do,”  over and over again.

A score of fine filigree plates I will gift us,
two broken to match the fragile times,
the eighteen days past the towers fall
when we married amidst grief and joy.

Our Noritake sacraments survives the bombings
of a blasted world, the cracking, fractures,
the buffing of our mistakes to a translucent
perfection, all frozen details rimmed with gold.

Cancer is etched on the lip, but so
is cure, joy, longevity, beauty, respect,
and the watermark underneath, our keepsake
forever, irreplaceable love.

Abandoned in the middle of the blasted field,
its arms shredded, legs battered,
the chair exists in broken splendor
catching the best of the speckled light
dancing in the quivering shadows.
Lines of the seated father stain the backrest,
motherly molds are left behind in the seat foam,
the relentless kicks, tattoos of children’s feet
bruise the red velvet of the front rail.

At dawn, pulses of light run along its rails
dispersing all shadows to the wet ground.
At the speed of forgetfulness
two robins alight on this storm orphan,
widow, widower, this sole survivor,
with twigs to build a new stick home.

Tiananmen Square is a clean place today.
Everything is swept before it can
***** in the history of place.

No sign exists of the tanks that rolled,
the man in front of them,
the blood that flowed
like red sorghum seeds.

The cracked bricks
have been replaced
with new tera cotta tiles.

The first  memorial plaque
is invisible until you are
standing on top of it,
located at the Great Court
at the University of Queensland
4500 miles away.

IN MEMORY OF
THOSE WHO DIED IN TIENAMEN
SQUARE IN JUNE 1989,
its three lines read,
using the Aussie spelling.

In San Francisco  a 9.5 foot statue
modeled after the original
Goddess of Democracy
is located at the edges of
Chinatown in a park of
concrete and manicured trees.

On the anniversary Chinese police
put out temporary signs in  
in the center of the Square warning
DO NOT LAY MOURNING WREATHS.

Banner displayers, victory gesturers,
those doing solitary hunger strikes,
are detained, questioned, disappear.

On the Party web the students are scrubbed.
The only sign of blood that lingered
in the summer air that June morning
is a  photo of the lone soldier who died
in the “counter revolutionary turmoil”.

The plugged in young are unaware.
They only know that the Party
reserves the right of your total erasure.

Just as the memories of Hiroshima/Nagasaki
are vanishing horrors in the Japanese soul,
Tiananmen is not worthy of ghostly echoes,
or even the lies printed in every official history.

Truth is the secret kept dark by the victors,
it’s locked in prisons and dark closets,
it speaks with the voice of exile

In the dark light and smoggy air,
only dogs and the grieving blind
know the true scent of Tiananmen
hidden under the shiny tera cotta.

I have no taste for whiskey,
although it seems over the years
I have developed a proclivity for cancer,
for building the nacre into  pearl.  

It’s funny how one can live with death
scooted to the borders, listening to it
rap the door with sub-audible gusts
that only your dog hears and barks at.

The holy trinity, my wife calls it,
three masses on the left, right,
concluding down in a ****** triangle,
a parasite, a dark natural beauty of my years.

The bad genes of my parents play out their divorce
in my body, diabetes and cancer
fighting for the claim to death’s victory,
my only peace being to cut them both out.

The Great Physician puts my cure
in the hands of fallible demigods,
whose inclination is to bury hope in the
condolences of the other well-intentioned masses.

“It’s great that you feel no pain,
Your color looks good today,” they echo
as the pallid tv weatherman I met
in ruddy years on the brown river shuffles by.

The nacre of the cancer ward-
an open shirt skeleton on oxygen,
two old black men  talking loudly
about seasons of diagnosis and mistreatment,

just waiting, waiting, waiting to get better
caws at me as I make my way
to the reception table just bright enough
to not seem an open casket.

My wife fills out three pages asking
for family obituaries while I answer
on a tablet forty questions about death,
five about life, two about insurance.

I wait in quiet sitting in a clinical green chair
Listening  for my name to be called,
thinking not about the culled pearl
but the beautiful oyster thrown way.

Rapid City wears its patriotism like a shroud.
Corner streets are populated with less than
life-size statues of past presidents
squinting at the distant Black Hills
where the grandeur of Mt. Rushmore
casually crumbles their bronze dreams.

Wax settlers, loggers and gold miners
stake claims with souvenir hunters
touring a mine, panning for fool’s gold.

In nearby Custer, 75 breaths  from Wounded Knee,
shops hawk Chief Joseph, Sitting Bull, Geronimo t-shirts
proclaiming them “ The Original Founding Fathers.”
Mixed in are those in star-spangled letters and fireworks
proudly streaming “Welcome to America. Now Speak English.”

Rushmore was dynamited from a cliff
by a creator who spent the rest of his life
erecting grand Confederate gestures
out of ****** Georgia quartz monzonite—
finished and opened 100 years to the day
after Abraham Lincoln’s assassination.  

Thirty minutes from Rushmore, existing in its shadow
on private land filled with dusty trails,
unfinished after seventy years,
probably still unfinished after twenty  more,
facing away from these great stone faces,
emerging from the side of great Thunderhead Mountain,

on an ivory stead with a mane of flowing river and wind,
exists the Oglala Lakota warrior Tasunke Witko
the worm of Crazy Horse the Old and Rattling Blanket Woman,
sibling of Little Hawk and Laughing One, memory of the spirit of
Black Buffalo and White Cow who walked with an Iron Cane,
all enclosed with him in this massive breath of white stone.

The history of this great Indian space stretches the land,
four times higher than the Statue of Liberty,
extending beyond the warrior frown, the pointing left arm.
The horse’s ear alone is the size of a rusty  reservation bus.
When finished it will be the largest sculpture in history,
bigger than the land, breath and all of Indian memory.

It was the Vision Quest of Chief Henry Standing Bear to show the whites that the red man had great heroes, too.
In a man named Korczak he found a kindred spirit,
a storyteller in stone, a survivor of Omaha Beach,
who when the first wife faltered, found a second
who gave him enough children to carry, sculpt the Bear Dream.  

The big chief’s face is still the only finished part.
Korczak’s wife and children toil with the rest,
struggling to capture the essence of a warrior
who never allowed his shadow to be snared
in the false glow of the white man’s light,
trusting only the rain beams that fall

onto his people, mountains, plains and buffaloes,
onto Paha Sapa, “the heart of everything that is,”
where the Lakota huddled while the world was created,
now a land of broken treaties and dying dreams,
drenched in the dust of tears underneath,
while this white face torn from red gazes East.

Elvis loved his peanut butter.

Gladys, who loved him the most,
as all good mothers love their children,
would feed him grilled Hawaiian bread
sandwich after sandwich of peanut butter
with chopped caramelized bananas,
or gently mashed fork bananas,
sometimes with bacon, sometimes without.

He dreamed of peanut butter and
Gladys would feed those dreams
with Fool’s Gold loaves made each of
one pound peanut butter, jelly and bacon
lovingly folded, like Graceland,
into  two foot slices of Italian bread,
cut by Gladys into pyramids
so the crusty part would never
hurt her Little King’s mouth.

He would go to bed with peanut butter
on his breath, on the roof of his mouth,
his tongue pressed to his palate so
that the peanut butter would never dissolve.
He would greet the dawn with
peanut butter morning breath,
peanut butter on his lips and  
peanut butter cloud swirls on his cheeks,
peanut butter like ant trails on
his satin pillow cases and King size sheets.

Gladys would be in the kitchen
plopping a tablespoon of buttery
peanut butter into  a skillet  
before adding two eggs and Canadian bacon.

The peanut butter shaving cream Elvis used
would still be on his neck and Gladys
would kiss it off in vampire pecks
that still made him squirm.
She would curl his cow lick  
in place, as she kissed his forehead  
smelling the scent of the peanut butter
pomade that gelled his beautiful pompadour.
.
And when she died, and he died,
it was those peanut butter kisses
he missed the most in his world.

The stars on the flag started falling off
when Private Walker returned home
to Tennessee after six months of being
in country in Afghanistan.

At Camp Leatherneck on the treadmill
he folded five points to pentagrams,
imagined fireworks nova his welcome back.

The flag rarely flapped in the arid silence
of base camp.  Was MIA everywhere else.

He landed unmet in
Chattanooga on Veterans Day
in time to catch the parade highlights,
which happened two days earlier,
being ignored on the airport monitors  
in the hustle of terminal traffic.

No flags decorated Broad street shops,
no watchers waived the red, white and blue.
Police motorcycles fronted the parade
and patrolled the back in sunglass alert.

Two Vietnam vets shouldering hunting rifles
marched grimly in parade formation followed
by alternating school bands and ROTC cadets.

All two thousand stars dripped down,
faded blue in the rush to show the next ad.
Every which way he looked
the rushing crowd turned his back to him.

He remembered Anousheh, the girl
whose name meant everlasting/immortal.

The child who hugged him,
kissed his forehead when he gave
her a Hershey bar from
his mom’s care package
while patrolling the base perimeter road.

The friend, the daughter, the grandchild
who died in a Taliban wedding bombing,
one week after her seventh birthday,
three days after their embrace.

His heart, his tears, his breath,
his every word was Anousheh.
All was and will be forever Anousheh.

And when he prayed
he prayed like Anousheh,
and on his knees at the airport
he faced her outbound heart
and prayed for a mutilated world.

The rain creates its own ballet
starting with a lone figure on a bridge
holding an umbrella in the fog
splashing teardrops with his feet,
doing jetes over the larger puddles,
until the wind inverts his shade,
plies turning to pirouettes,
approaches cascading to the portal
and the head of the street,
dancing to a cityscape beyond.

At the last turn they meet cute,
their outward canopies entangling
rib to rib, shadow to shadow,
a plastic bag covering hair and
half her face, soggy groceries
nursed to her chest, an oversized
purse dangling her wrist, pulling
her down, falling, wishing for
something, someone, anything
to stop the descent, the crash.

He catches her in perfect repose,
umbrellas twirling the pavement,
as he slowly lifts her to him just a
breath and heartbeat away,
their hands touching, a thousand
raindrops pulsing on and in them.

Her parasol dances away from her
over the edge into the swirl below,
his caught before flight is vigorously
shaken to form.  He stuffs fallen
apples and pears into the pockets
of his rain jacket.  She discreetly
stashes a box of tampons into
her coat’s hidden lining. The umbrella
is their only shelter as she holds
it over them while he carries her
in his arms to the nearest cover,
a bodega with a green awning.  

At the corner of the drizzling mist
a mother swaddles her boy
in the hems of her rain dress.
Unprotected singles cover
their heads with open hardcovers
or purchases clenched in plastic bags.
Couples step in unison huddled
under their vinyl domes.
It’s all a parade under black and white,
a synchronized rainbow of attitude,
adding  to the grand Romantic ballet
of bending, riding, stretching, gliding,
darting, jumping and turning to and fro.

The finale has the last drop crying
to the pavement, to the street,
washing the asphalt in its clarity,
a lachrymose river flowing down drains,
the mechanical traffic dispersing
the  rest in butterfly waves that
sends the ensemble to the edges,
leaving the coryphees alone, apart,
staring at each other in the evaporation,
waiting forlornly for the first trickle
to return and kiss their skin with joy.

Every touch is a devotion,
every soft phrase a prayer
to life, to continue living.

A nightingale, a dove
gowned in heavenly blue
a ministering survival chant.

Thank you
and double checks
are abundant.

They minister
consistent kindness
for they live
among the blasted.  

There is no sniping,
no rivalries,
just respect and support.

They are special.
They are there by choice.
They work double shifts  
or come in on short staff days.

The cancer center has regular hours
No Nights.  No weekends.
Burn out it is low.  Effort is high.

Their patients are a pretty grateful lot,
so their compassion comes easily
from the first tuck to the last.  

The nurse knows
some will sleep
and some will awake.

Everyone dies,
but today they
will  be spared,

for tomorrow
is nearly far off
in the rising sun light.

Everything is a continuous white line
that goes on forever to the horizon
where the  next dream is always ahead.

Just you and the mustang
a body and a machine
moving through space and time.

Drive like you mean it.
Drive hard.
Drive tight.

The Mustang is a wild bronco
not wanting to be tamed,
just unleashed- and all the cowboy
can do is hang on for the ride.

The highway is a ***** slick *****,
eight miles of grit, passion, pride
and wild love that rides hotter
the wetter she gets.

At one point she becomes
weightless, disappears, and
the only things that matters
is who you are.

Bless the blessings.
Bless the moon
for bestowing dreams
that illuminate the soul.
Bless its beams.
Bless the way it reveals
revelations in the dark,
black letters inked on white vellum
daring to be read
that release the heaviness of the mind
in the lightness of eternity.
Bless the idea
that frees, not oppresses.
Bless words that shed
their flesh for the revolution.  
Bless the protest sign
that replaces the trigger.
Bless the chalk mark that teaches
and not outlines a body.
Bless the creative mind
that marches with determined feet.
Bless the gravestones never needed,
those living bodies never
requiring  homicide reports.
Bless all the never used bullets,
the limbs that remain whole.
Bless all those who die
in their right time,
their memories properly recorded.  
Bless their smiles.
Bless your laugh.
Bless the eye
that sees, believes,
that still has vision and faith.
Bless all the prophets
who were right.
Bless the heart
filled with good emotions.
Bless the choir of our tongues,
the hymn that uplifts.
Bless all the times
that God has granted us
the chance to do the right thing.

he knows the earth beyond all
seeds

the earth
that is untroubled

in the scorch of afternoon
light

the petals
of the angry sun

Long the land watches for death or harvest
amongst the lulling black mounds
a slumber in piles,
huddled so neatly
without blankets
from the shivering wind blowing meanly
under the sway of the killing night’s climb.

Underneath are all bones,
life clutching the long tilled soil,
the farmer’s harlot oft despoiled,
denied wages, seeds scattered, an ever
cursing field,
demanding her coin,
the child
torn, sold from her womb.

All you wicked men
what is wrong with you?

There is no black Justice
seen on the Sistine Chapel.

Only the stupidities that
can make a stuff bird laugh-

the small axe ready
to cut the big tree down.

https://youtu.be/b0Tk-FoiX_0

Based loosely on theSteve McQueen anthology  of films.  The first in the series is titled Mangrove.  The title is from a Bob Marley song.

Trupie Pole, this Field of Death
is called in the old Slavic tongue,
shares its grief with the ruins
of the Catholic Church,
its relics long since relocated
to the hollowed knots of oaks
that populate a crooked forest.
Stick scarecrows, their bag heads
floating phantoms, protect the border.

Even the trees grow stunted where
the ground was soaked with blood,
limbs swaying towards each other
like separated twins begging
uselessly for reunion.  
Each blasted vein and half leaf
still echoes with the shriek,
the soil still leaks rust when trod,
memories of false sanguine
still glisten on overcast mornings,
and the howl of fog never dissipates,
while rumors of griffon vultures
returning from the dead
to paw for a taste of the catacombs
below are abundant as gnats.

In a wooden wagon the grandchildren
of blood huddle in desperate acts
of remembrance and procreation
ignoring the old woman with a babushka,
and somber dress fertilizing the field
with  tears for the thousandth time
for the sleeping twin under her boots.

The steel bar that holds the torso up
gives it a spine and makes it art
and not some headless, armless, genital-less
mutilation pushed from a machine
going faster than the white signs allowed.
I see it only on my iPhone,
backlit with its perfect abs and ***-gutters
not unlike the headless *******
penetrating endless **** on pornhub,
the unsolicited **** pic galleries popping up
whenever I try to click away.
Everything  breakable and tearable in me
has been torn and broken
and yet I envy this immortal stone
suspended here in cyber space
that can be smashed to white pebbles,
pulverized to dust
and still never bleed
or feel pain.
It exists,
a twist of idolized flesh
to be touched
and wondered over,
polished to a high sheen
by centuries of passing hands
until the fetish leaves me
admiring and detesting,
the remnant echo
of the true and beautiful,
a once true and beautiful God.

The lightness of paper
soft enough to crumble
to a chirping palm ball
released into the air,
an imagined perfect pitch,  
too gossamer to float
to its ultimate arch,
unfolding in the web  
of alluring sunshine

aspiring to be
in its unfolding angles
a thread of silk
caught into the patterns
of a spun handkerchief,
flapping finely down to dirt,
flagging to human desires,
a reverse puff tucked black
into a left back corner pocket.

In its extending it is
****** wood pulp
culled and hewn
from rings of fine pine,
rising in its descent
to barely glimpsed evolving
beaks, talons, feathers
caught in the spider’s web
and shook down by thundering axe.

“If you do not write or film”,
the director wonders,
”am I alive?”

“What limbo am I in
when the shooting stops?
When my camera no longer
holds the beautiful prism.”

His films stay the same,
only he changes,
exchanging the silver screen
for glistening tin foil
heated under with a match.

When his pain matches
the others, he prays.
When greater, he’s an atheist.

The films are his only company.
He lives with them and for them,
remembering the cinema of his youth
filled with the scents of ****
and jasmine and summer breezes;

remembering the cave
where he learned
to read the light,
understand its alphabet,
and eventually, vocabulary
with each discovered ray.

He smiles as the music track
of little angels being taught
by the local parish priest
to match his voice note
by note flickers in.

The memory monster haunted Mavette on the 
platform, the gym, pass the graveyard,
scolding her for leaving the tiniest 
remains of food on her plate, scourged 
her for reading that ***** Jew, Levi.

The swastikas chased her in her dreams.
In her hole in the earth the dogs and 
stamping black boots would pass over her.

She lived with that history everyday,
escorting curious, mournful tourists
through the remnants of Auschwitz.

She knew all the ways of death, could 
recite the roll of who died and lived
over, over until the loop was her life.

Her sister in Detroit would receive 
a postcard from her every week 
with the name of a Jew gassed 
and a list of their left overs 
that were burnt or sold during 
that particular time of the war.

Her sister never wrote back
and sick of receiving this 
unsolicited ******* and 
emotional ***** would 
unceremoniously match 
every neatly written note.

Today a bunch of high school girls
were pleading with Mavette
to put them into the chamber 
and turn on the gas for they 
all wanted a great TikTok moment.

Mavette was tempted but
that was never allowed and 
the echoes of their laughter
followed her and ruptured 
into a migraine by shift’s end.

The next day, a squad of Israeli soldiers,
in a moment of exposed reflection 
after crying and singing the Hatikvah
whispered to each other
“That’s what we should do to the Arabs.”

She was only a little ashamed 
to share their thoughts,
these children and young men,
enraptured by the practical thinking
of those exposed to the simple, 
recreatable reality of the 
**** killing mechanism. 

The next day she did not rebuke
the teenage boy in the brown shirt
who said: “In order to survive 
we must become a little **** too.”

For once she wanted to escape
her hole in the ground and 
be the one with the dogs and guns,
be the one with all the power. 

if she could not escape death in her dreams
she could live by becoming death in them.
Mavette, the Angel of Death—  the idea 
comforted her nightmares and dreams.

And she took her gun and 
locked herself inside the chamber and 
asked those outside to turn on the gas.

Mr. Rogers grace exists
in miniature cities of kindness,

the tranquil tones of forgiveness,
level to the eye of a single frighten child.

For him, and in that moment,
that child is the  most precious
thing in the world.

He blesses them with positive ways
of dealing with their feelings;

the benediction of accepting them
for exactly who they are;

even when everything doesn’t
go exactly the way they hoped,

shows them how to smooth the
dissonance into a beautiful inner music;

store up the blessings
of an ordinary day;

love the ratty, special toy,
even as it grows old;

to know with absolute firmness,
as parents, that anything

mentionable is manageable
and to be human-

and that’s ok.

In the cancer museum
I imagine where mine
would rest in peace and ease.

My eyes scan rows of organs:
Disney’s lungs on top of
Newman’s own **** pair;

Ingrid Bergman’s left breast
bump Bette Davis’ right—
indiscreet voyagers;

Audrey Hepburn’s colon
nesting Farrah Fawcett’s
like Tiffany Angels.

I saw my spot next to…
but the doctor called me
back to look at the scans.

He pointed out my growths
grouped in a triangle,
told me of their plan/cure-

called them clouds but they seemed
caterpillars vegging
out on my intestines.

I imagined them cocooning,
metamorphosing to
surgical butterflies

or staying just rounders,
yellow earrings just for
Audrey’s and Farrah’s lobes.

Then the doctor turned it
and the picture became
more terrible things:

rats, sharks, wasps all vying
for valuable shelf space
in the small gallery.

Tourists and soldiers from
the plane crash/war museum
wander in wondering

why there are no jet planes
reassembling in slow
motion horror, dog tags

melted into the seats,
flesh in the torn engines,
no screams of real terror,

just the crowd bumping and
marching into me in silence,
sometimes taking pictures

while **** yellow chemo
solution runs down my
leg in pupae slime lines.  

The last one opens me,
looking for spikes of grief
or fury.  Finding none,

not even a cold tomb,
just a rip, tear, dim sounds
as the crowd echoes down

and surges out the door
for all the Holocaust
store souvenirs next door.

I hear my heart rustle
in the computer bytes,
the breath of trees

and swallows in my files,
a dusty cross inside
releasing butterflies

to the sky as I step
back and watch all
****** into the blue.

“Do you think I got it
all in?” the doctor says,
snapping my last picture

On her last ride on the Arkansas river, 
she watched the world turn crooked, 
all the hickory shading yellow, 
their leaf tears forming 
sunny arrows in the flow, 
nuts falling in the glide, 
bringing smoker memories 
of hams cooked under their roast, 
red maples tapped for their syrup, 
the unharvested loblolly pines
dropping their branches 
almost in caress, one last kiss.

Inside she could feel the cross 
go slanted in her golden bedroom,
envision her daughter taping 
together the amber pages of their Bible
turned to Luke 8:24, felt the Arkansas’ lull,
her in breath becalming the storm inside,
while shedding a tear for her gray mutt
with a rill of white running up his snout
and down his belly, staring at the spot
where the burned ashes of her bedding 
would be buried.

I like America’s Got Talent,

especially when they have dog acts.

I love dog acts.  I cry at dog acts.



I wish dog acts would bark and chase

those young kids and aspiring adults

who sing opera every year and

get into the semifinals off the stage;

chase the pretentious dance troupes

and acrobats; half-funny comics;

the children who sing lustily in adult voices;

the seniors with fading contralto dreams;

the day glow CGI artists who

illustrate on a big, dark canvas;

the magicians with their card slight of hand,

even the ones who just do regular magic—

right off the stage with a bark and

a push of their snouts.



Dog acts are pure.

They sit.  They heel.

They stay.  They obey.

They even sing, dance and draw too.



All acts should be dog acts.

All dreams should be dog dreams.



Every million dollar winner,

mongrel or pure bred,

should have a 100% canine heart—

even though they would trade it all

for a pat on the head, good treats

nice walks with you and belly rubs.

Doldrums, doldrums
eviler than the devil.
-
The Cyclopes’ prism eye  
revolves around me
in a mechanical chatter.
-
It calls out desires at night,
a mermaid cast up on shore
-
that awakens with the caw
of a thousand slaughtered gulls
-
sending me scrambling
back to the darkness,
-
afraid to touch
the brightness of hell.
-
Doom to scrub the deck
till shining like
a ***** whale’s pecker;
-
falling in the whitewash
and awakening to a gull
worming at me boot laces;
-
tugging barrels, lugging barrels,
spit polishing the insides of them.
-
Gulls have the souls of sailors
hidden inside their caw,
-
and when the weathervane
points to the east side wind
-
for seven months the waters
be too great to launch or land
-
and I be ****** near
wedded to this here light.
-
Or she be a figment of my imagination
and I just be gull food
to peck on on these rocks?

When a cloud dies
doves and eagles
dip their wings
in mournful ‘memberance.

When the sky dies
it rots black
in despairing soot
of ash and pain.

When the moon dies
it’s mourned
by the elliptical kisses
of the planets beyond.

When a planet dies
the universe gently cradles it
and lullaby’s it to the sun
until it falls to sleep.

When the universe dies
the lonely sad earth knows
that all the trees will go dark
when the world dies.

I collect the death masks
of everyone I see,
many ready with their
mouths turned to  the earth,
eyes closed tight in hellish denial.

Except for L’Inconnue de la Siene
pulled from the river in utter peace,
lovely as Ophelia floating in the reeds,
the resuci Anne of two centuries
of death and resurrected respirations.

Her I grant the heaven she envisioned,
rescue her from the sterile pummel
of kisses and mechanical resurrections
for the body forever remembers its debt
to the devil’s dance of an aspiring life.

I am an exiled poet like Dante
finishing the Paradisio and Inferno
before the malarial last vision
and stone cold gasp reveals
the world and God as just a trick.

I witness the world pleading mercy
to the executioner before the beheading.
“No, no Madam you must die.  You must die”,
is the death mask maker’s answer before
the axe man takes his three swings.

I wonder, like Keats, before the wax
embalms his consumptive face
“How long is this posthumous
existence of mine to go on?”
The answer coming one year later.

I know the world will die, like John Dillinger
in a hale of bullets under a movie marquee,
its death mask ceremoniously displayed
next to its ***** pickled member
and the Sheep Child bleating for love.




Notes:
L’Inconnue de la Siene is a famous death mask created from a Parisian suicide.  Her death mask was a popular morbid collectible found in many French households of the late 1800’s and early 1900s. The Death Mask was also used as the face of a  popular CPR teaching mannequin known as resuci Anne.

The Sheep Child is a reference to the James Dickey poem about a creature that was the off spring of *******.

John Dillingers pickled ***** is rumored to be a part of the Smithsonian museum’s  hidden collection of oddities.

1.

If there is wild moving water
there is a trout in it
waiting for the cast,

the whip of line in air
splashing a weigthless fly
on the mirror surface

luring the rainbow fish
to break the heavy air
for the angler’s fantasia.

                    2.

The Rogue is flowing
with trophy size cutthroats,
chars and steelheads,

yet the angler only feels
the stillness, the endless  casting,
the motionless standing in place

until time is forgotten,
his scheduled life forgotten,
what needs to be done next forgotten

only the emotion is left,
the heart of spirit ferrules,
the casting, the rod

with its wheel seats
made of rosewood,
inscribe calligraphy

in golden ink, shiny agate
guides in bamboo,
its garnet threads and

extra fine brass wire
in a five weight
ideal for trout fishing,

the anglers long boots
planted firmly in the stream,
getting lost in the ineffable moment

until the closing
orange hues of autumn
are reeled in and stowed away.

On the 11th month,
the 11th day,
at the 11th hour,
Meagan wore her poppy
on the right side
at 11 O’clock,
just like her father,
John McCain
taught her.
Holding her
newborn girl Liberty
close to her—
and taking care
not to disturb
the many small flags
proudly fluttering—
she placed
another exactly
the same way
on his grave
just kissing the
white granite words
PRISONER OF WAR
LOVING HUSBAND
FATHER AND POPPA.

Aye, chihuahua, canis familiaris,
land piranha nipping at Aztec heels.
 
Aye chihuahua!
 
Heart of a Techichi warrior
becoming yipping snarling *****,
eyes pulsating, patellas luxating
at the stench of **** erectus
US-es post-alus carrier-alopulus
approaching, adorned in
sky colors crowned in ivory pith.
 
She is fed on belly rubs and Kirkland’s
grain free turkey and pea stew
in the red can, served in a faux
Wedgwood bowl which she gently
mauls in her tiny maw with the
crooked right canine.
 
Queen Sharma is a diminutive avenger  
who brooks no men, except Daddy,
yet dotes in squealing delight
at the touch of women and children.
 
Her territory, a peed-on scent trail,
extends from Guinevere to Lancelot
to Tristram to Merlin to the end
of Camelot Lanes, Streets and Places.
Neither hated squirrels, rabbits
and other canine species are allowed.
 
She can neither jump on the sofa
nor forge mighty streams.
What she lacks in peripheral vision
she makes up for in astute echolocation
and good stiff sniffs of her nose.
 
Yet she has a deep dark secret
that stains her royal dreams.
The scruff under her neck to the chest
in the russet form and color of a fox,
which she struts with a rooster’s pride,
is the product of her Chi-Chi mater
cohabitating with a spritz of Pomerania,
making her neither chihuahua nor pomeranian,
but yes, an adorable pomchi!
 
Yet that neither bothers her nor me
as she paws at the bed covers draping the
leader of this pack, burrowing under to
be close to my side, and dream dog dreams
of walks and car rides and never leaving me.
of walks and car rides and never leaving me.

With the sound of sirens screaming outside,
ten knocks on the door, the shout of authority
flooding in from the red steel,
would Joe American give up Anne Frank
hiding in the attic among his dusty relics,
the crawl space shared with a family of rats,
living under the loose floorboards among
the stacks of hidden zombie apocalypse cash?

What if Jane American found Anna Franco
shuddering with her dos hermanos, madre, padre,
in the dark corners of her garage?

Would she give them 2 vests, 3 pair of pants,
two pair of stockings, a dress skirt,
jacket, shorts, lace up shoes,
wool cap, and scarf?

What if her daughter Sarah saw a black hijab Anah
patiently hidden in the foliage of their old oak tree?
Would she gift her her favorite blue fountain pen?

Would she embrace her, or if ordered,
break the neck of her rabbit?

The hospital gown they gave me
is the same one with clouds
my mother and friend once wore,
a hand me down filled
with the aura of grief and hope,
of time and death.

My name and date of birth
are the only thing the nurses ask
as I am led to the mold
in a treatment room
filled with a halogen haze
and an all encompassing white-
almost a verisimilitude of heaven-
pulled and pushed to the mean
that is marked in black on my body,
strapped in and slid to the center.

The  mechanical eye
revolves around me three times,
a trinity of hope, despair, life,
as I listen to bagpipes humming around,
the brightness forcing my eyes closed,
the wave tingling as it passes underneath.

I am connected to the past
by the fear of death,
separated through
the hope of cure,
knowing that I won’t
die in the gown of my mother
or with a four inch hole on my back
like my friend.

The eye whirls slowly around
one more time, then stops,
barely ten minutes passing
in an eternity of thoughts.

The nurses offer me curved arms
that lift me up, allow me
to swing my legs over
and touch the floor,
my backside exposed,
as I raise myself up
and walk away, death dates
of loved ones haunting my brain,
seeing only the ashes of clouds
of myself and others around me.

I have something I must confess to you
I pick my nose, eat all my buggers too.
This causes distress and disgust I know    
still off the floor I’ve  eaten food that glows.

Science says that it’s all just for the best
for I immunize against just those pests,
my antibodies delight in the twirl
of not taking a break from this ill world.

Be too clean enough, watch your body die,
a clam unable to grow pearls inside.

The history of hay fever  attests
it started an aristocratic pest
until more begats trickled it to the rest.
Years later immunity herd resets
made your older ***** hand many bros
less the cause of your sneezing and your woes.
Now cleaner living, hygienic hands,
less man, swing it back to the wealthy clans.

The fate of humanity all well depends
on the fact antibodies never end.
Evolution favors the hardy bugs
making man one of its many doomed shrugs.
Disease, extinction, not in human plan,
he will fight, fight to be part of this land.

Vaccines have prevented much needless death
giving antibodies a daily test.
We have avoided all that still does ****
yet  allergies still make one run to hills,
allowing even worst auto-inflamed chills.
Giving all your antibodies a rest
is not the answer for ****** distress.

Time to adapt bodies to the new world.
Not **** both good and bad in the big furl.
Let it listen, learn and train friend from foe,
not pay attention to the ad man’s show.

Man has conquered this small space to survive,
he must evolve away to really thrive.
We are unsafer when we **** all risk,
to immunize, immunize is the trick.

So I will pick my nose, eat my buggers,
knowing I am creating new lovers
not afraid at all to hug each other.

You worked hard for the plum,
to bite into the Mariposa
before the heat comes
and it rots.  

Its purple plumpness
pulsates with juice,
so dark and clear
through and through.

The comfort is not startling.
It’s the taste you know
from a thousand memories,

What takes you back
is the shock of seeing
your heart in your palm,
the taste of your blood rich
in this other thing.

Yes, it’s not what you hoped,
maybe more for such
a late summer surprise.

Yet, in the shrinking light you
don’t begrudge yourself
this small purple reward for
a lifetime of regrets and doubts,
unborn hopes and still-born pleasures.

This plum blossomed
despite you,
apart from you.
 
It reached you
skin sweating
ripe to be your miracle.

It’s not just sweet,
it’s sweetness,
full of the seasons
of its short life,
your everything- nothing joy.

Bite into it, and
you must bite into it,
taste its smallness
in your fullness.

Feel it run
down your cheek
overflowing your palm.

Feel it mesh with all
your runny happiness.

On this acre of unspoiled comfort
the hard winds blow once again now.
Through this acre of unspoiled comfort
the house falls once again now.
This acre of unspoiled comfort
so unlike a broken cry.
This acre of unspoiled comfort
once so sun caressed with smiles.
This acre of unspoiled comfort
once standing on unburied dreams.
This acre of unspoiled comfort
lingering near death.
This acre of unspoiled comfort
praying for its life now.
This acre of unspoiled comfort,
now I pledge my love again.
On this acre of unspoiled comfort.

My silent little dear
snoozes in his cradle
beyond the noises
I can no longer hear.

The quiet drip of
rain and sink,
the swoosh of
inside air circulating,
the vibrations of life
I can hear only with
mental captions on,
are the inaudible sway,
that separates you from me.

Can you hear my smile
with closed eyes,
will you love the
silence or the noise?

Will you delight in
birdsongs or  
in fluttering wings?

Will you laugh at
the music of the spheres
or delight in quiet
thoughts and contemplation?


Child of my April dreams
and September haunts
who breathes in the
whitewash walls of my soul,
what you choose to see or hear,
at first walk, I will protect  
under the signing of my hands.


*This is a poem about my looking back at my baby self, before I contracted Scarlet Fever and became  near deaf, wondering what I would choose if I had the option to hear or be deaf.

I lose one sock every other washing.
The wisdom of the washer and dryer
says that God is stockpiling the lost one
to be reunited with the other in heaven.
Does that mean those with perfectly
mated, never separated pairs, are
doomed to the spin dry of eternal hell?
But then, it’s Smart of God, not letting me
hop around on one foot in my nakedness.

Socks are greater than love.  
They remind us that things
lost will eventually be found,
show the foolishness of looking
back to see what’s coming.
They are reminders that
rain is the reason clotheslines
have disappeared.

The not not bird
listens to its not not song
in the not not tree
near my not not door.

And in its song it hears
something not not grand
compared to all the other
not not birds
in all the other not not lands.

The not not bird
doesn’t know
all the not not things
it’s suppose not to know.

It sees not the not not leaves
written in this poetry.
Smells not the not not flowers
swaying not in the not not breeze.
Hears not the buzzing of not not wings
of all the yellow not not bees
supping on all this wondrous not not majesty.

For this not not door of mine
is neither not not open
nor not not close.
For that is not the not not providence
of this not not poem to define.

I choose wether or not
all this not not nonsense
shall be or not not be
in some future not not prosody.

For those who beg to decline
I privy thee to write
your own **** not not rhyme!

I never thought brick dreams could tumble in the wind.
My wife collects our scattered memories in a undersized bin
like a child on the tide line collecting beach glass and seashells.
She listen for the sound of blood amidst the dying wind
mistaking rustling pages for her breath cycling in and out,
her pulse beating on the surface of paper, cloth and wood.
She searches for artifacts that match/mismatch my cancer-
the progeny the tornado left scattered in the brick and wallboard.

I listen to the wind and rain ping on my ward’s windows
unaware of her scavenging, unable to sleep in the harsh light
that doesn’t erode the pain or the glitter of memory,
the constant Kabuki of nurses, doctor and blood drawers,
the chant of machines that make me mistake
the sterile for the sacred, the soundtrack for the profound.
I see my wife in the mud, inches from my eyes,
putting away the jagged, clear granules of our life.

Everything
louder

than the
earth

spinning under
you

will make you
doubt

you are
alive.

The Sumatran orangutan, gardening her spot  
comfortable in the canopy and lush tree top,
nursing her young month-old,
fell fiery below, seventy-four holes
in her when the shooting stopped.

Four air gun pellets pierced her left eye,
two her right, leaving her darkly blind,
a howling Homer, Milton in orange pain,
bereaved, childless, now a wild-less refrain
scratching the earth for any hopeful frame..

Her collar broken, lacerations from sharp objects
on her upright arm and leg, one left finger a socket.
Her fiery camouflage that hid her in the canopy light
is singed in the clearing flame, her skin turned night    
just another victim of human slight.

She will suckle her ghost child five years until mature
for the pain she has there is no real animal cure.
Use to solitude she is now truly truly alone,
even as the human rescuers reset her broken bones.
For in the war between good and bad man she is the lure.

Spared the ignominy of being a rich Clint Eastwood’s pet,
she will live out her life in sanctuary and uneasy stress
away from those who fear a Planet of Apes,
a refugee of the Air Gun War with her own tamed space,
PTSD, therapy, rehabilitation and very high tree state.

Being black in Japan
means you have more white spaces
on the day-night trains.

The darkness of U.S.
allows yellow jaundice to
shine its rising sun.

Empty seats allow
black thoughts to make room for small
breezes of knowledge.

That Ainu minstrels
shouldn’t be doing Doo-***
on Nippon TV.

That the jet blackness
of Naomi Osaka
not be a shade light.

That the Shogun kept
no black slaves be an excuse
for all other ones.

That racist white face
teaching black black face hatred
is not a shoeshine.

That racism is a
presumption and is not a
a very good gene.

The force is another Jedi mind trick
that convinces the soul that all
that is Sith is not necessarily sin
but the whining of a baby Yoda
aware of his Death Star.

Soldiers patrol Bethlehem now.

The Kaaba hosts no
circumambulating mustati.

The Ganges’ bathes
in its own sin and ash  
releasing no Moksha.

The Vatican quarantines
even  its Cardinals as
The Pope holds mass
to an empty St. Peter’s Square.

In Chicago, a 7-year-old girl named Heaven,
will not die today, not become  
the most expensive candy in the world,
as her mother watches her, the miracle of today,
walk all alone by herself to a closed sweet shop.

The earlier horror leaves DT  
a broken drunken man
building smaller worlds within worlds,
boxes within boxes,
memories within smaller memories
to keep the monsters from eating
the shining he has left.

He is forever moving
to the same room
with different people.

“We are all dying”, he thinks,
“The world is one big hospice
with fresh air.”

The calico cat jumps on his bed,
sensing it’s time for the long dream.

“Nothing to be scared off, it’s just sleep,”
are his last thoughts as he
fondles his sobriety chip before
meeting his father in their shared dark.

The man takes a drink.
The drink takes a drink.
The drink takes the man.

In his dreams the world is full of
superheroes, vampires and redrum
reflecting backwards in the mirror.

He doesn’t end.
He just flys away.
Heaven is full of the shining.

Parasites: they insinuate themselves
into your head, your heart, your art

They exist in the schizophrenic zone:
the lower right corner of your painting
looking for patterns that go to childhood,
the well rehearsed gestures that
allow them to take over,
plant the image in your agitated brain
that makes you doubt your love,
sign over your entire identity,
make you think that they can ****
with a scrape of peach fuzz,
until everything smells, feels,
tastes exactly the same-
a collision of **** and water
that knows money and not art
is the iron that smoothes
out all those creases.

The concrete jungle is the exam.
Their goal is to dominate it.

You enter through the black portal
searching for the thing you lost
in the right corner a long time ago-
the thing you call son or daughter-
tapping out SOS with your forehead
on the button on the wall
that connects with the light outside
until it reads SON to that distant brain.

Whether you **** someone or betray
your country doesn’t matter.
It is just the thing you keep
hidden  in the basement
that doesn’t know  
that all it needs to escape
is to walk up the stairs.