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Jonathan Moya Jul 2024
The Hudson sleeps
and the clouds sweep
over the moon.

I promise little dear
with this small  tear
I will always love you.

Sleep, sleep, sleep
peace, peace, peace
the promise I grant you.

This song is the fact
that your star remains intact
in my heart, steady and true.

The river’s lull,
the moons’s full glow
will always pull us through.

The path will be rough.
The road back tough.
Yet, my cloak will  surround you.

Startle not, this wet drop,
is but my love pulled tight and true,
My love pulled tight and true.

Around me, within me,
within you, around you
sings the song of just us two.

The song I sing
is but the sad  tune of this night.
It will not be the story of you!

My life has been rapture,
rupture and strife
like all others in life.  

But you shall be more than my sorrow,
more than my wants,
more than my sad thoughts.  

You will be the moon song.
The one that everyone sings
to overcome the night!

It’s just a matter of just time,
of just time, just  time,
time, time, time…
,
Jonathan Moya Jul 2024
i like to cling to the grime

the small grit of my father’s ashes
underneath my fingernails,
the part of him that refused
to fall to the rocks in the scattering

my mother’s scented oil in her hair,
her burning fat seasoning in the skillet
stinging my nostrils and eyes leaving me
seeing smelling less than my faultering ears

his ash sticks in the wall of my lungs
trying to pressure my air to diamonds
cutting me to his symmetry trying
always to rinse my blood of her tears
Jonathan Moya Jul 2024
When I look at the sky its blueness mixes
and cycles with thunder, lightning and rain.

I notice, the  vulture, content to feast on leftovers of once
beautiful things, fly  with the same majesty of the hawk.

At night, I see the stars burn bright and smell the rain’s petrichor snake off the worn sides of Racoon Mountain.

Yet, I the only thing that is neither sky, bird, mountain nor star,
wonder, spend so much time wondering, if this is peace or joy.
Jonathan Moya Jul 2024
Gray wolves howl invisible
on the granite shoreline
waiting for the sea’s answer-

standing tall on the headland,
against a wind that allows no trees,
signatures the stones with ageless storms—

howling to know why this once lush place
where endless fields of poppy intertwined with pine
is now defaced with crops of suburban homes.

Above, a falcon startled from its rocky perch soars
in its time- seeing in the shadows withdrawing
from clouds- the last glint of  beautiful stones.
Jonathan Moya Jul 2024
I’m gentle with the spaces
I know and walk through.

Every door knobs has fingerprints.
The dust and air is full of ghosts,

I make them free not by removing them but
tidying them up into their own wandering space,

letting them tell their stories so I can joyously
tell mine in the right place, time and words.  

I free myself to the opportunity they provide me.
I am loyal to them and they to me.  

The other day I heard my mother speak to
me in a frame of film, a pixel flashing by.

”I love it.  Love, love, love it!”, she said
to everything she touched and adored.  

My wife was wondering why I was just
sitting there smiling and writing.  

“I don’t care. I love it! I love it, too!” I replied
to the life that created me and lives I will create.

I have done the work of gathering, curating, loving.
I am close, closer to finally  getting it right!
Jonathan Moya Jun 2022
When her maman died
Marie flew ten hours to
the ancient French village
where the houses
steepled the church,
their mansard roofs
brown from neglect.  
The Weeping Willow
in front of maman’s
weathered hovel
did not match
Marie’s feelings.  
It never did.

Inside the furniture
had aged into antiques.
The handmade chaises
with ladder backs and
unadorned ticking,
French oak dinning table,
the vaisellier darker from
decades of hearth ash.

The rose print wallpaper had
faded to shadow bands,
the town print on the mantle
now almost sepia,
her first crib picture a fading
black and  white dream.

Maman’s single bed existed
pushed into the corner
of a windowless chambre,
almost a frenzied fever
blue room delusion of
Van Gogh’s last dying days.

Hanging alone in the closet was
maman’s noir widow’s dress,
the one Marie imagined maman
would be buried in.  That was
until Claire, the old neighbor next
door, gave Marie maman’s ashes
in a simple wooden box
with a gold filigreed clasp.
Pinned to the dress was Maman’s
will written in her eloquent hand
on unlined French folio.

These cinders, this shuddering land,
this dress with all its memories,
and grief would be her inheritance.  

Marie held the dress to her as
she returned to the archway
of the still open door.
The lace sleeves were  shorter
than she remembered,
but it would fit her very well.
Just beyond her, the country road
with its oaks grasping for union
stubbornly remained a horse trail.
Jonathan Moya Jun 2022
Her mother’s tale of the red string
foretold that Miko and Makoto
would be together,
tied little finger to little finger
by a taut invisible  blood line.
What she didn’t tell her
was that the line would fray,
break, need to be
retied over and over.

In their wedding photos
Makoto would stand stiff,
sincere in his white suit,
chrysanthemum in lapel,
hands by his sides,
close to her but
never really touching.
Miko in her red-white kimono
was almost a shrine
with butterfly ribbons,
a sigh more than a smile
adorning her face.

She imagined years
of ritual devotion
turning the gown gray,
the white high heels into
black sensible pumps.
Her gaze would eventually
never match Makoto,
it would rest on her feet,
turn inward until
she saw only herself
alone on the shore.

Makoto would spend
long hours in his cubicle,
drawing house after house
for others to live and work in.
At home the drawings would
fall into an exhausted heap
on the living room sofa
forming a charcoal pillow
for his weary head.  

Miko would put away
the uneaten food,
separating half  
into a bento box for
Makoto’s next day’s lunch,
the other half reserved cold
for her own silent noon meals.
She would dry her hands
on the old never worn
yellow girl’s onesie cleverly
repurposed to a dish rag.

Her mind drifted back to the time
they visited the Snow Monkeys of
Jigokudani bathing in their hot spring.
She would watch a mother macaque
and infant slipping their fingers
in and out of each other forming
rose strings in the slow rippling splash
until the last echo almost touched her womb.
She listlessly gazed at her feet as she
listened to Makato denounce
the silly animal antics she delighted in,
how he snarled out without regret
“Akachan wa noroidesu”
(Babies are a curse.)
Nevertheless he gladly purchased
the commemorative photo of them,
taken at the park’s entrance,
of them posing stiffly because
it echoed their wedding one.

On the bullet train back to Tokyo
she felt sick and rushed to the toilet.
There, Miko knew the yellow secret  
bought at Akachan  Honpo the
day before and hiding in her purse
would become a dish rag.
In the hygienic blue flushing water.
her hope turned to grief
and her grief became a silent wail
that emptied out, a crimson string.

Seated in her assigned chair
she glared at Makoto
staring out the train window
searching the darkening horizon.
He never turned his face to her.
He didn’t even know she was next to him.
Miko stared at the walls, stifling a sigh.

Inside her the red string
shriveled, then broke.
Her sky rearranged
to a desert. Her precious
water evaporated.

She awoke to Makoto,
saying not a word,
entering and shuffling
to the sofa.  

The gas stove hissed.
The yellow dish rag
laid close to the flame.
Another uneaten meal
existed unwanted on
the dining room table.

Miko, this one time,
never bothered to
awaken Makoto.
She walked to the
balcony searching
hard for but neither
finding sky nor horizon—
only houses,
some which Makoto drew,
surrounded her.
She put little finger
to little finger together
then pulled them apart.
Looking down,
Miko knew she
was destined to fall.
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