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You cried me a cage
or I did
until I stood behind bars
each metal rod a
feeling that wouldn’t
blossom in my breast
or one growing
in yours.
Freedom is a hairpin
******* a lock, but
it sure as hell ain’t
running away. I
had a dream
last night
standing at your
door, banging out
too-late I-love-you’s
in Morse Code. You
didn’t answer. Nursing
your pain like
dying embers.
I’d like to swallow it whole
burn blood and fat
till it melts, though
it’s kinder this way
me on my side of the pond
East of yours.
The only person
you can save is
yourself, little
girl. Stop
playing with knives
build yourself a
room of
mirrors, find the
dark, coward
place that doesn’t
say no and
look her in the
*******
eyes. You can’t
be molding clay
any longer, re-
forming into
distorted sculptures—
how you think they’d
like to see you. Hit the
kiln. Shore up your
edges. It’s time we
took up some
space.
((Whit Holland challenged me to write about an ordinary object close at hand, and now I challenge you all to do the same. :) Use #knickknacks if you participate.))

I.

Something about
corduroy
seems old from
beginning and
chocolate brown
hides stains
less effectively
thank you might
surmise (cat hair
even less), but
there is something
to be said for
free when
shipping off to
a second degree.
Four roommates
(one almost
married), three
lovers (one previously
mentioned), two
states (but not that
far), and one
hard-won diploma
later, there is
still something
to be said for
free, and for
familiar and
perhaps also
for family.

II.

In my kitchen
there sits a
teapot
small, porcelain,
vaguely oriental,
floral-patterned and
stained
in the creases,
a ring of
bergamot brown
lining center. You
live
in that tea-ring,
in faded exit signs,
in owl-boxes and
memory,
bitter-sweet like
Earl Grey.

III.

Mom says they
just don’t make
clothes
like they used to:
sturdy, thick-
woven denim
never popped a
button, but
cuter
with the sleeves
cuffed. It
doesn’t matter
how many of
us
wear Papa’s
old jacket, it’ll
still be here
when we’re gone.

IV.

On my little
table, between
notebook and old
lamp there sits a
perfect pinecone.
It smells a bit like
my siblings on
a fall day,
drenched in
leaf-bits, crunched
underfoot and
piled to make
walls and
beds and
pillows. We were
prepared
to live there,
beneath boughs,
beneath clouds
and dreams— maybe
one of them
knows
why we left.
The spoken word
          is a  w i l d  thing,


It                               around,
              leaps
                              

                    ping-pongs from
           tongue           to            cheek


                     knocks down
                                                        teeth

 ­                        on    its    way    

                         out,

            shows up a little
            mangled, rough-
            housed.

I prefer it tame,
locked safely
behind thick
pen-stroke bars
in a prison of
crisp, cream
leaves or
LED screens.

Then, with a
        whip
                 crack it’ll
jump through
hoops, balance
             on
             a
             leg, ride
elephant poems
to a few cheers.

I swear it
ain’t mistreatment;
you see,

words

keep
   their
      meaning
      when
    written
   up
 tight.
Rhiannon,
quick nymph,
tell me a story;
teach me to
speak to the
trees.
Magic may be a
secret, gone
for the telling
but language,
she needs to breathe.

Do the beeches creak
or grumble? I’m sure
the pines are rustling
whisperers and the willow,
old weeper,
is sighing
near the oak
who admits in a moan
that times they’re
always a-changing
the sapling soon
will be grown.

Rhiannon,
sweet girl,
I’ll join you
near the babbling
river, that fool
together we’ll sing
to the ancients
within us
their knowledge
will pool. In
time our ankles
will lengthen
earth-hungry, plunge
into the ground, our
bodies
amber and gleaming
will reach
bark-clothed, sky-bound.

Rhiannon,
dear rowan,
do you remember
all that we
used to be?
Boughs tangled, roots
curled together
weave our tale
in the language of
trees.
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