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 Oct 2016 Dave Hardin
Prabhu Iyer
summer of reed-boats when
dreams meander
in the puddle streams

Unbeknownst where
parts of whose strings die,
what song
does that violin string?

running figures past the
empty braille notes
in deep recess

what song does that soul string?

pirate song of the drunken ship,
as hale as the winds alive,
but parts of me are'nt!

now string a song for the jammed soul

dying in bits.
we mourn death - but what when parts of the being die?

some soul grunge here
The barn door swings open
with a heave of rusted chain,
padlock clanking on timber.

Step inside the barn
and the air is cooler.
Dust motes hang
in shafts of light.
High above you, witness tobacco sticks
tucked into the crossbeams like bones.

The tractor is dead.
But there is a baby doll
propped against the wall.
She has wisps of desiccated hair
and straight bangs that hang
over an empty eye socket.
Her bland face is spidered with cracks.
The ragged hole in her chest—
such an indelicate wound—
reveals a wire skeleton.
Her right hand, missing three fingers,
cannot smooth the tatters of her dress.
Her naked feet are ***** but
undiminished and intact.
She smiles, almost.

The doll watches you watching her.
A wasp lands on her one good eye.

You step toward her through slants of light,
dust settling on your shoulders and shoes.
The metal roof temporarily catches
the shadows of planes and birds and clouds.
As mice scurry beneath canvas drop cloths,
the barn door closes slowly behind you,
pushed by an unexpected breeze.

Many summers ago
you were married in this barn;
it rose up like a cathedral around you—
white candles and the smell of fresh straw,
relatives warm in their folding chairs,
a man playing acoustic guitar, golden rings.

The old baby you see is new,
detritus gathered alongside
dull hacksaws, scraps of lumber,
the mechanics of broken things.

It is time to turn around now.
It is time to walk into the meadow,
wearing your most beautiful dress.
It is time to notice the sun high in the sky,
to feel your heartache cooled as you buzz
between the shadows of tall flowers.
Feet propped against porch railing,
I breathe in autumn's mounting chill.
Beyond the porch, the giant sycamore
catches afternoon sun on bone white bark.
Yellow leaves drop, amputated
hands scratching air as they fall.
Limbs sway, inscribing grief in the wind.

Standing up straight, I grab
the shotgun and stride past
mute chrysanthemums toward
the woods to meet the dying light.
I

She’s sleepwalking again,
my nine-year-old daughter,
who shares the bedroom
with her sister down the hall.
She’s kicked off the covers
and wandered downstairs,
somnambulant, her bare feet
moving as though in a dream
across the kitchen’s linoleum
floor to the back of the house.
The porch door smacks shut—
a gunshot—and she is gone.

For a time, I watch her from
the open bedroom window.
Her diaphanous nightgown
absorbs August moonlight.
She steps slowly, a pale flame
floating across the back field,
the wiregrass up to her knees,
avoiding a copse of redbuds,
skirting shrubs and stones.

When her small figure succumbs
to shadow at the edge of the trees,
I put on my bathrobe and follow.

II

At first, she is lost to me.
I break into a delirious run,
scratched on my cheek
by a redbud branch.
Reaching the tree line,
I see her standing still,
shoulders stooped,
a luminous cattail
bending down.

She hovers above a sleeping fawn,
the warm bundle curled at her feet.
I contemplate the white spots
scattered on fur, thinking, velvet stars.

But when I place a hand
on my daughter’s shoulder
I see blood flowing fresh
from the doe’s abdomen;
red entrails slipping out,
pooling on pine needles.
Stepping closer, I remember a moment
earlier that evening: a jar of preserves
spilled carelessly on the kitchen’s stone counter,
the soft dishtowel soaking scarlet in my hand.

At the edge of the creek, a second doe
watches us with opaque, joyless eyes.
My daughter puts her finger to her lips;
the doe tenses, blinks, and bolts away.

I lift my daughter and carry her carefully
home, her head buried in my shoulder,
blades of grass clinging to my bare feet.

III

My daughters' room:
holding her in weak arms, poised
to lay her on top bedcovers,
I notice her sister’s empty bed,
neatly made, the blankets smooth
and tight across the mattress.

An anemic moth bangs
against the window pane.

The light flicks on and suddenly
I am awake, remembering all of it:
the dry diagnosis, the slow whir
of hospital machines, the smell
of old flowers, and somewhere
in my daughter’s stomach,
the cruel mathematics
of cells metastasizing.

My wife stands in the doorway,
her hand on the light switch.
My arms are empty. I gaze
down and see our daughter
nestled under covers,
breathing softly, asleep.

I see the pale white skin of my clean bare feet.

You’re sleepwalking again, my wife says.
She touches my unsullied cheek, hooks her
fingers through mine, and shuffles me down
the hall to bed. Head sinking into the pillow,
I gaze out the open bedroom window and weep.

The moonless sky cradles its constellations:
bright grains of salt scattered on soapstone;
my hand trembles, unable to wipe them away.
had read some of his poems
but never stood at his statue
a local boy become a famous lad
revered crafter of a shropshire lad
now here i was with my digital camera
knowing full well it was no chimera
being here at the shrine of a wordsmith
whose professorial gaze is wide and sweeping
i tell you straight that for joy my heart is weeping
you will ask if i am a friend of narcissus
that mythical lad with conceit like a colossus
for after i've gone click! click!
i see my image embedded in the shiny black marble
and i feel like a visiting poet embraced by another in stone
yesterday i was walking along the main street of bromsgrove with my wife, my grandson and our son-in-law. with a plastic mug of hot chocolate in my hand i somehow ended at the base of the statue of  a.e. housman, professor and poet. I went click, click, click with my camera and when later i looked at the pictures, there i was, like a familiar etched inside the photograph of a view of housman's statue. a capital experience!
There's the pen, the page, an audience, the stage
a play to play for all today.
I am few and far between the footlights and the scene
is changing constantly.

It'll be severance pay one day,
one day we'll all be *******
the pieces will still fit
but we'll all come unglued.


Love the grease and like the paint
you ain't got much to lose
you might bomb
but they must light the fuse.
It's nothing but a courtyard where they play hard and that's not to hard for an old soak
you don't feel it the way that you used to feel it

it feels like a skin's peeled away and some new growth quite tender is coming through.

growing pains? and it's a pain growing up,
do we all know that to be a glass ceiling truth?
we do and we do it because we have no say in it
so we face it and it places us at odds with our natures,

it's nothing but a courtyard which is the playground of
frogs, dogs and mad Gods and they all want a piece of me,

history will show but never enough
 Oct 2016 Dave Hardin
Jim Hill
Impressive in his houndstooth coat,
he is noticeably provoked
by crimes against Wallace Stevens.

Beneath his office window
a student meandering to class
takes a twig
of boxwood in his grasp and,
without a moment's thought,
casually plucks it off.

Seizing upon an epiphany,
(or moment of regret)
the Professor turned and said to me:
“We shall all be plucked in time,
or driven down beneath the tread
of farmer feet, in mud as red
and thick as congealing blood!
Driven down like grain
by men with callused hands.”

The world's weight now suspired,
he turned his gaze
to the walkways below,
signalling, I surmised, that I should go.

Death,
I had to concede
is an undignified affair:
random and incoherent in its sweep.
We are naked, riven,
utterly alone, and strewn,
once reaped,
into the soil that was our home.

But not the tall, brown men
of the whispering halls,
where fates are drawn and snipped,
(where capacious noses lightly drip)—
they are plucked with the tenderness of frost,
tucked into filing drawers,
and lost.
 Oct 2016 Dave Hardin
Doug Potter
I cup a Pall Mall, it is 10:30 p.m.,
December & Montana
frigid.

The store’s back window is unlocked,
I take white bread, ham
& mustard.

Hunker curbside, make sandwiches
& eat, I am less

hungry, cold
& 14-years
old.
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