In theory the moon
is a terrible dancer.

But tonight, waltzing
alone in an open field

I feel her graces
on my shoulder,

her moon rhythms
measuring time
against my neck,

a delicate crater punched
into the small of my back.

She has never
been this close

to me

so I am unashamed
to be dancing with her

like this

for the first time,
a solitary partner

casting shadows
on frosted grass,

spinning over furrows,
long scarf precariously

close to my clomping boots
keeping three-quarter time,

pausing only when she
whispers the word lunatic

in my ear,

a bewitching farm girl
flirting
from her stratosphere
far away.

You hold my hand
like a cartographer;
latitude and longitude,
coordinates of our life,
discrete geographies
mapped together—
discrete geographies,
coordinates of our life,
latitude and longitude:
like a cartographer
you hold my hand.

Until you pulled
the trigger you
knew nothing

of wild boars
except tales
your father told

you as a child,
but suddenly
there it was

fierce and feral,
yellowed tusks
flying at you—

the tall novitiate.

So when you
raised the rifle
to your eye

and fired,
your mastery
of boars burst

over African
grassland,
splattered

in a grisly shower
of comprehension:

red words
splashed
on knee-high grass,

paragraphs hashed
out in final breaths,
until the depleted

subject of your study—
tumescent body
and stiff squat legs—

lay dead in African
savanna, the obsolete
entry you never read
in your Encyclopedia Britannica.

Despite the Bakelite ****
etched with a range of degrees,
the vintage Wedgewood oven
has only two temperatures:
warm and nuclear ash.
But **** it looks good—a sleek hulk
of white porcelain and polished chrome,
a 1950s Cadillac parked next to the fridge.

When the house is dark
the fluorescent stovetop
glows like a dashboard
illuminating candy wrappers and road maps,
and the kitchen soon stretches to landscape.

I wander in, whiskey in hand, and stand
on a road cutting across a darkened field.

Below cast iron burner grates
pilot lights flicker and burn:
blue seeds poised to blossom
when the Bakelite dials turn.

I reach for the bottle
and the kitchen ignites
into a meadow of larkspur.

Fragrant flowers
mixing bourbon;
I drink it all down,
let the blues drive.

The farmhouse
also awakens,
pine floorboards
and joists unsettled,
plaster walls rattled
by midnight voices.

In certain rooms,
the lace curtains
sift moonlight
with graceful fingers.

Shadows making their rounds
slink past doors and bedposts,
curl into unlocked keyholes,
uncoil time across the duvet.

Just outside, familiar silver trees
conduct an orchestra of illusions:
branches graze the metal roof,
tap tap tap on windowpanes.

It goes this way for hours,
sounds of a haunted choir.

When sleep comes
my dreams are like
balloons brushing
against razor wire.

A maul is not an axe;
an axe is not a maul.

One is for splitting,
the other for felling.

Of course to trees
such distinctions
are immaterial.

Walnut rounds
scattered on grass
stare into juniper
scratching the sky—

tall pallbearers
shiver in wind,
whisper above
dead medallions,
unblinking eyes.

The handle I hold
like a divining rod;

metal blade forged
by inchoate words,

honed on grinding
letters of precision.

My father a medic in Vietnam
for many years refused to wear
his wedding ring because he said
of countless times he had to handle

the aftermath of soldiers jumping
out of helicopters at the exact
moment their wedding rings caught
on protruding bolts or couplings,

leaving their fingers and rings
aboard Hueys while they fell
caterwauling in air below crimson
contrails dissolving in rotor wash

only to land, godforsaken,
in flooded rice paddies,
shocked and shaken, disjointed
but alive, forever joined in holy
matrimony to far-flung wives.