Nine years and still
we cradle our grief
carefully close,
like groceries
in paper bags.

Eventually the milk
will make its way
into the refrigerator;
the canned goods
will find their home
on pantry shelves.

Most things find
their proper place.

Eventually the hummingbirds
will ricochet against scorched air,
their delicate beaks stabbing
like needles into the feeder filled
with red nectar on the back porch.

Eventually our child
will make her way
back to us. Perhaps.

But I’ve heard
that shooting
****** feels
like being
buried under
an avalanche
of cotton *****.

For now it’s another
week, another month,
another trip to Safeway.

We drive home and wonder
why it is always snowing.
Behind a curtain of snow,
brake lights pulse, turning
the color of cotton candy,
dissolving into ghosts.

And with each turn,
the groceries shift
in the seat behind us.
From the spot where
our daughter used to sit,
there is a rustling sound—

a murmur of words
crossed off yet another list,
a language we’ve budgeted
for but cannot afford to hear.

We are watching the clouds
bandage an incarnadine sky,

we are practicing our best knots,
weaving an army of tourniquets,

we are slow-dancing
barefoot on the edge
of a razor.

We are watching
a demolition derby
in the driving rain,

the smell of motor oil
mixing with gasoline,

the hard melancholy
of dying machines.

We are waltzing from room to room,
smearing our names on the floor,

we are keeping time to slow music,
bleeding out behind closed doors.

I
I stole my brother’s car and drove to Phoenix in the dark. Bluegreen glow of dashboard gauges, the faint scent of roadkill and desert marigolds. Tap. Tap. Tap. Insects slapping the windshield like rain. How many miles does it take to turn yourself around, to rise up from ashes? Keep driving. Drive until the sun blooms.

II
Some days were more dire than others. CCTV footage confirms I pawned a shotgun, a Gibson guitar, and my wife’s engagement ring at the pawnshop next to Fatty’s Tattoo parlor. The typographically accurate Declaration of Independence inscribed on my back also confirms this.

III
I ran the tilt-a-whirl at the Ashtabula county fair, fattening up on fried Oreos and elephant ears, flirting behind tent ***** with the cute contortionist with strawberry-blonde hair.

IV
I derailed in a dive bar.

V
I disappeared in a city lit by lavender streetlights, where buildings blotted out the stars and the traffic signals kept perfect time.
I picked through trash bins. I paid for love with drugstore wine.

VI
I closed my eyes on a mountain road. The sheriff extracted me from a ****** snowbank.

VII
I holed up for weeks in an oceanfront motel, dazed by the roar of the breakers. Each morning I drew back the curtains and lost myself in the crisscrossing patterns of whitecaps, the synchronous flight of sanderlings above the dunes. I dreamed of dead horseshoe ***** rolling in with the tide.

VIII
The moon over my shoulder tightened into focus like a prison spotlight. One night the barking dogs undid me. Goodnight, children. Goodbye, my love. I capitulated to the candor of a naked mattress. I grew my beard, an insomniac in a jail cell clinging to bars the color of a morning dove.

IV
I coveted the house keys of strangers.

X
I opened and closed many doors. I sang into the mouths of storm drains. I stepped out of many rooms only to find myself in the room I had just left. Despite all my leaving, I remained.

Our house is a black box.
We drape every window

but one, a pinhole
to capture the sun.

At night our eyes go dark as ink.
Our memories marbleize at
the edge of the bedroom.

Come morning,
we are nothing

but inverted images
fed by shared light.

You tell me to smile
and I braid your hair.

Upstairs, the children
develop like ghosts.

I put on another record
and the dark disc spins,

its needle lulled
into grooves the way
you are lulled into me.

We could almost dance together,
but the couple at the window

will not move until
we come into focus.

His wife is as
assiduous as
a mother bird.

She keeps
the windows
clean with rags
and buckets
of vinegar and
steaming water.

What happens here.

He sweeps
the ceiling
and ponders
the meaning
of the word
perspicacity.

There are
mornings
spent fussing
over underused
demitasse sets.

What happens here.

There are
afternoons
side-by-side
on the front
porch glider,

watching clouds
attenuate across
a porcelain sky.

What happens here.

The smallest
sounds never
fail to surprise
them.

How sparrows fold
like feathered paper
below rectangles
of polished air.

*What happens here,
happens over there.

Begin with
something
broken—

a bone,
a heart,
a home—

collect
the pieces
carefully

and work
them over

over time

tumble and polish
tumble and polish

make the pain shine.

Having lost her forever,
he steps off the escalator
into hard sunshine, drops
to the sidewalk and caves—
a troubadour whose songs
have been dismantled
by the sadistic hands
of a subway conductor.

Guitar strings slip his fingers,
and nothing will bring her back.
Not a song. Not a psalm. Nothing.
Not the angelic back
of his leather jacket,
spanned by a score
of safety-pins formed
into silver-studded wings.
Not his listless body,
tattoo-inked and wrecked,
blue quarter notes slinking
down a tight treble clef,
wires stretched across his neck.
Not his mind, spinning
in a head blue-veined
and stubble-shaved.
Not his angry steel-tipped boots.

He lost his love because he looked.
One by one,
the silver pins
have come
unhooked.

Meantime,
far below
the sidewalk,
banished forever,
she slumps cheated
and dispossessed
in the vinyl seat
of a hellbound
subway car crawling
with scorched graffiti,
spray paint-scrawled
filigree spelling her doom.
Ghost of a snake bite
below her knee.  

Mohawk depressed,
she leans against
the train window.
Dead glass reflects
a chorus of piercings,
steel threaded through
skin so translucent
her veins and arteries
glow blue and red:
mapped subway lines
circulating misfortune,
coursing with dread.

The train rattles along rails
encrusted with gems and bones.
Disgorging sparks and smoke,
it thunders into stygian gloom,
ferrying her to a heartless god.

What if her shadow
had made a sound?
A backward glance was all it took
to squander a lavish second chance.

High above his beloved,
awakened by moonlight,
Orpheus regains his senses
and gathers the guitar.
The case flung open
at his boots awaits a drizzle
of tossed dollars and coins,
piteous currencies of loss.
Hard pick between thumb
and finger, a downstroke
strum delivers plaintive
waves of power chords.

The song ignites
a crowd of women
in tight band t-shirts
and skinny jeans,
smacking cherry gum,
their flaming hair
casting embers
upon night air;
radiant specks
suspended
like lighters
in a sunless
stadium.

Spurred by his song,
the covey of maenads
coalesces and attacks,
enraptured, enraged.
A rush of bodies,
the crazed crush tears
him limb from limb,
splits him to close to cipher,
until what remains of the star
on the sidewalk is his heart:
the four-chambered *****
held in a hundred hands,
picked up and packed
into the red plush lining
of the grisly guitar case,
golden hinges snapped shut.

Entombed in coffin-black
chrysalis, the heart pauses
like an untouched drum—
a dormant instrument
awaiting metamorphosis
that, like Eurydice,
will never come.

My younger brother still fishes
when he can, when the weather
is agreeable, when he can afford
some tackle and beer for the cooler.

He sits alone on the river bank
and smokes and drinks and waits
in the shifting shade of cottonwoods
for the unmistakable pull on the line.

He fishes whether
the fish are biting
or not. He is intimate with
psychology and the placid
deceit of undisturbed water.

My brother is an angry man.

As kids, we fished
together on the dock
and killed them
with our hands.

Careful not to kneel
on scattered hooks,
we baited the lines
on our knees a foot
above brackish water.

We dropped fish heads
off the edge of the dock
and watched them float
down, almost out of sight,
settling into final stillness
only to snap back to life
(or the false throes of death)
by the white claws of *****
picking them into oblivion—
goodbye eyes,
goodbye gills,
goodbye teeth,
goodbye scales.

Brother, I don’t remember anymore:
was it triumph or merely shame
that left us shivering in the sun?

Burnt toast and
a spot of blood.

Father dresses for work
and leaves with a wave,
his gabardine suit
the exact same shade
as the storm cloud blooming
on the back of his left hand.

After breakfast, mother pins
his undershirts to the wash line,
clothespins clenched
between broken teeth.

From my upstairs window,
I watch his shirts stiffening
in the flinty December air,
a chorus of white flags,
obsequious and clean.

Mother recovers in the laundry room,
where the floor is dusted with feeble
grains of spilled detergent.

I spend the afternoon
preparing for the sound
of tires crunching on gravel,
for the sweep of headlights
across the lawn.

There are plans
and maneuvers
to arrange.

Counterattacks.

Even now, the snow
on the side of the road

has turned to the color
of my childhood.

Come springtime, when the magnolia
tree exploded in bloom in the backyard
I’d grab the bolt-action .22 from the closet
and call out to my sister to tell her
that after a long winter, it was time.

There were hundreds of them, and for hours
I’d knock those blossoms down while she
darted below the canopy catching every one—
stunned pink birds nesting in her hands.

We never missed, either of us, and when
the bullets and blossoms were gone,
she would laugh and shake the petals
from her hair and brush them from her
bare arms and neck like pastel feathers,
the soft relics of an unexpected snow.

Evening docks
like a desolate ship,
indigo and monolithic,

its umbral sails
swelling above
the distant hips of
a titanic continent.

Sleep tastes like a mossy anchor;
it lurches, shifts, and slips into gear—
the sound of stars grinding on stars.

I sail across an ocean of teeth.

I acquiesce. I drown

in the velvet
whirlpool of
your absence.

The girl in the black
bathing suit swims
through my dreams;

her orange eyes warn
me that summer
is coming.

An inescapable
swelter of air
threads itself
through the slats
of picket fences,

crisping insects
and terrifying
an army of black birds
bivouacked in the trees.

I hear the soft explosion
of hibiscus, red petals as
bright as belly wounds,

and the heartbeat
of the dog panting,
stupefied by the heat
of a relentless star.

Up and down the street,
abandoned children call
out from the bottom of
empty swimming pools.

I slouch in an aluminum chair,
trying to get black-out drunk
on warm gin and tonics.

The tidy rectangle
of grass around me
ignites in a legion
of slender flames.

I remember the dark room
and my father’s deathbed,
his whispered, final words:
dying is thirsty work.

I strip to my underwear
and fantasize about ice.
I pray for the neighborhood
sprinklers to spring to life.

I lost my first
wedding ring
that summer

we floated
on inner tubes
coupled together,
drinking ice-cold
beer in the sun.

A flash of gold
and it was gone.

I lost the boots
my father wore
in Vietnam.

I lost the first
pocketknife
I ever owned.

I lost my mother.

I lost my way
in college once,
watching heavy snow
smother the foothills
and switchbacks,
watching mountain
birds turn wide circles
above rough canyons.

I lost track of time but
found my father’s gun.

Winter will always
sound like the whir
of a cylinder spun in
an unfurnished room.

Mothers crawl home on all fours
and fathers crack their hammers
into the temples of the moon.

The dogs are long gone.

The children of catastrophe
flick their knives at the sun,

shuffling from ruin to ruin
in their parents’ heavy boots,

stepping over the skeletons
of buildings and hummingbirds.

The children of catastrophe whet
their blades on the skulls of childhood.

They shave their heads
and argue about the history
of chandeliers and ballrooms.

The frogs at the water’s edge
expand into dumb balloons.

Hunted by an army of hollow men,
we race toward the sound of a dog
barking at the edge of the world.

We sleep in shifts,
cursing moonlight.

In our dreams,
the horizon binds us
with a blinding flash—

your hand in mine,
our cells married
and incandescent:

each to each,
ash to ash.

The prison bus
passes this way

every now and then,
surfacing without

warning—a leviathan
of metal, grease, and glass

its dark windows secured
by squares of rusted wire

its diesel engine heart
spewing exhaust that

turns morning rain
the color of seawater.

The prison bus
does not stop
for stop signs;

red lights are nothing
but violent memories
strung in an overcast sky.

When the bus strikes
something in its path

the prisoners bounce
slightly in their seats,

lifted into
impartial air

liberated
momentarily

by the familiar
co-conspirators
of blood and laughter.

In his dreams,
the guard who
drives the prison bus
circumnavigates the globe,
plowing through clouds
of insects that shimmer
like fuel above the road.

Once you’ve gone
what more is there
to say about leaving

or, for that matter,
the impermanence
of measured words.

All I can do is stand
alone in the backyard
and listen to the wind.

A late frost killed
the magnolia buds

and the forsythia
never materialized.

And so I wait for the worms
to begin their earthy work.

I wait for the pink moon
to rise above the rooftops.

I wait for the smell of mock orange
and the blue of a broken robin’s egg.

But most of all
I wait for your
words to bloom,

to tell me, finally,
that spring is here—

that the gardens we tend to
have something more to say.

Our road trip memories align
as we pass a Farmall tractor,
fire engine red and rooted
roadside in a field of alfalfa,
a relic washed by cloudburst,
a workhorse dried in sunshine,
arrested air stack,
rusted crank case,
supple spider webs
in chaste wheel wells—
immutable old machine
somehow extinguishing
in the reflected acreage
of the rear view mirror.

Before kids we drove
a blue Chevy Corvair.
No seat belts (of course),

so you could slide next
to me in the bench seat.
We rolled the windows

down to escape the gas fumes
and the staggering smell of oil.
But oh the sound of the engine

roaring behind us in the trunk
as we accelerated close together,
the streetlights all turning green.

We leaned into loose curves,
navigating to the straightaway
where we would open up and fly

like lovers from some Springsteen
song until the road became nothing
and the car disappeared and it was

just you and me hurtling to this place,
suspended by our own combustion,
carried by time, married by velocity.

I
Among ten thousand trees,
the transformation begins
with the blink of a snowbird.

II
Snowbirds live.
Snowbirds die.
Wing tips span
the seam between
egg and bone.

III
I baked my snowbird
in a pie; the oven wanted
something beautiful to eat.

IV
A nest is a clever home.
At night, house windows
shine like yellow puzzles
for the snowbird to solve.

V
I steal the notes
of the snowbird’s song,
shackle myself to the silence
that blooms between the notes.

VI
Abandoned women
in thrift store robes,
abandoned houses
warmed by bedroom fires—
the snowbird understands.

VII
The mouth of a snowbird
is small but mellifluous.

VIII
Children with dusty fingers
color sidewalks with chalk.
Snowbirds alight there and dip
their wings into an apocalyptic sun.

IX
When the snowbird departs,
the branches of the juniper
languish like bitter crescents of lime,
ice cubes melting in a glass of gin.

X
To decipher snowy syntax,
etch lines on a sheet of ice;
get on all fours and trace
snowbird tracks in snow.

XI
Rain is turning to sleet.
The snowbird is awake.

XII
She crosses her legs
on the velvet settee,
exhaling cigarette smoke
in rings across the room.
The ashtray is a crystal grave
of severed snowbird beaks.

XIII
It was winter all afternoon. Across the city,
chimneys are spilling snow into the sky.
A snowbird shivers in the fireplace.
I close my eyes and gather kindling.

We gathered our water
and packs at daybreak
to hike hand in hand
toward the distant ruin—
a tall stone chimney planted
on otherwise empty acreage,
a kudzu-covered tower,
the ghost of a farmhouse
now a home to field mice,
black beetles and bats,
with bricks the color
of weathered blood,
vertebrae stacked
a century and a half ago
by a stonemason’s craft,
still solid and bonded
despite the slow decay
of arthritic mortar.

How long have we
walked together?

The morning
is all we have
left to ponder.
We walk for hours;
the chimney grows
larger at our approach.
I want to ask you
a question about
the night we met,
what you said
just before I held
you for the first time,
but then I catch sight
of my hand and realize
I am walking alone,
moving inexorably
toward a ruination
of my own making.
How could I have been
so careless? Unable
to stop, every step
strips something away:
my hair thins and falls,
as white and weak
as sickled wiregrass;
another step and my
body atomizes into
the stuff of stars,
pollen scattered
on a rising wind.

So this is what it
feels like to decay.

By the time I reach
the ruin I am mostly
cinder and ash,
a sorry vestige
sown in a quiet field,
a forgotten landmark
that strangers will visit,
if only to contemplate
how the evening fog
spindles like smoke
along the enduring
column of my spine.

A close read
reveals that
I am nothing
but a rough draft
riddled with
misspellings—

a work in progress
watered down by
superfluous adjectives,
non sequiturs, and
smothered verbs.

Love is an editor.

She courts me
with a pocket of
sharpened pencils,
blue and red.

She marks me
up meticulously—
dele, stet
dele, stet.

Decades punctuated
by intermittent edits.

Sunlight slanting
through an hourglass.

Her hair as white
as the final page.

When the end comes,
will she love me enough
to give me another pass?

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.

In her dreams, the docent
maneuvers schoolchildren

down museum corridors,
shepherding their bodies

into evacuated galleries
where nothing changes

except the patterns
of nails hammered
into plaster walls.

She speaks pedantic
falsehoods until one

by one the children
disengage and find

themselves a constellation
of nails upon which to hang.

A renaissance takes time, but
not as much as you might think.

Come midnight,
the museum is full
of masterpieces.

And though the works
of art make her weep,

the docent is inspired
to study each small frame
for a brushstroke

that might signify
the break of dawn.

The rain desires nothing but begins nonetheless.
One drop falls, alone at first, followed
by another and another, until
the neighborhood windows weep.

Across the street, her husband turns
his palm to the sky, steps into the storm.
His black umbrella blinks awake,
like the hole he creeps through
when his wife is sleeping, when
the window is open and the sidewalk is dry.

It can’t be helped.

It desires nothing,
but the rain, with
a million hands,
ravages everything.

The weather only makes it worse.
Cicadas sounding off at dusk.
The flowers blooming in reverse.

Your hand in mine.
Pour yourself another drink:
bourbon, *******.
Her hand in mine.

Our backyard has gone black,
the summer’s vestigial fireflies
devoured by limbs and leaves.

Lie on your back
and listen to me,
decode the blades
of grass that tickle
your ears and neck.

Love or silence.
Which is worse?

We pull at words
like dark threads,
composing curtains
for the windows
of a waiting hearse.

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.

You already have my heart.
And though I’m not dapper

enough to wear one, my body
is yours at the drop of a hat.

My mind, too, belongs to you:
before you even read them,

these lines are yours to open.
Slide a finger beneath the seam;

undo me with a concupiscent flick.
Spill me onto the bed. Take me in.

You’ve read me before.
Tonight, read me closer.

She left me with nothing but math.

Bedroom walls miscalculated
to the color of a bruised plum.

Moonwhite sheets tangled
into isolated geometries.

Her pillow, the sum
of broken equations.

Moonlight proves
distance by degrees:

light slanting
in the hallway,

the acute angles
of an open door.

We don’t dance here anymore.

We balance on wobbly stools
and order PBRs with whiskey backs,
sidestepping the looks we tend to give
each other in the mirror behind the bar.

Tonight is Christmas Eve again.
Again, tonight is Christmas Eve.

Reflected in a frosted window
framed by multicolored lights,
our waitress wears a miniskirt
and candy cane-striped tights.

Her laugh rings like the silver
bell of tomorrow’s hangover.

We are not the ones racking
another game of eight-ball
or feeding the jukebox or
tossing darts at the wall.

That’s not us, the hipster couple
exchanging sardonic repartee,
clever tattoos comingling as
they trade kisses in the corner.

Could that ever have been us?

Here is where we *****
it up and tamp it down.

Here is where we wait
for our future to finish
its careful unwrapping.

Here is where we say
thank you and drown,

tangled together in
ribbons of twilight.

The air is warmer
at the river’s edge.

The insects cloud
around your head,

and the white cottage,
the one your wife’s
father built by hand,

seems to be burning
in the afternoon sun.

The hammock strung
between two dogwood
trees twists in the wind.

There should be no shame
in recollecting the songs
she sang when the children

were young and unpredictable,
how they splashed in shallow
water, catching minnows.

Why not close your eyes
and imagine you hear her
calling from the other side?

The slap of a fish jumping
is like a palm to your cheek.

Out there, in the middle of it all,
silver scales flash in clear water—

a contorted shadow swims below,
hooked to impossible brightness.

When I was seventeen
I did a dangerous thing:

Rung by rung, I rose
into forbidden space,
climbing as an insect
would along a slender
blade of wiregrass.

At the top of the tower
I settled into thin stratus.

I took in my home town,
insignificant and benign:
car headlights sliding
on roads to park below
neon drugstore signs,
yellow house windows
and amber streetlights—
whole neighborhoods
stretched out like fields
lit by electric flowers.

I’m sure I saw the glowing
orange tip of the cigarette
my girlfriend was smoking,
rocking herself away from me
on her metal front porch swing.

While I cowered
there in that aerie,
the air reeked of rain,
smoke, and despair.
I remember my heart,
syncopated and suffering;
how it pulsed beneath
a scaffolding of bones—
a buried, burning flare.

So the Violets lived
in the long shadow
of a slaughterhouse,

separated from death
by cyclone fencing
and a scrabbly yard.

In summer, family time
meant sitting on the porch
drinking cans of Budweiser.

It took about a six pack
each to mask the smell
of cow and diesel fuel,

but the rumble of semis
and the relentless lowing
of cattle were inescapable.

In winter, woodsmoke
filled the small rooms,
slowly turning the walls

the color of ***** snow.
Icicles hung from gutters,
lengthening like knives.

The youngest Violet daughter
grew up, moved to Louisville,
and became a painter of vivid

abstracts.

I have one of her paintings
hanging on a wide white wall.
I like to pour myself a Scotch

and watch the mangled colors—
brilliant viscera sullying
a slaughterhouse stall—

the smell of peat and smoke;
the taste of earth’s undoing.

Hooded in porcelain enamel,
she stands with palms out-turned
to passing traffic and livestock
grazing in fields across the road.

She stays bone dry in driving rain;
on sunny days, bathed in shadow.

She’s been planted in the yard
as long as anyone can remember.

The mangy Bluetick hound sleeps
at her feet, unleashed, ears cocked
to the roaring of an unsound world.

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.

Don’t confuse the hypnotic
hum of highway traffic
with the anesthetic lull
of your dreams deflating.

Don’t confuse the murmuration
of small black flies above the bowl
of rotting fruit with the devastation
you feel in the hard pit of your soul.

Don’t confuse the blinding eyes
of white vapor streetlights
with the coruscating promise
of an unmolested path home.

Don’t confuse the empty auto lot
at the edge of town with an orchard:

tonight the gravel of crushed bones
blossoms in a shower of moonlight,
the interminable hush of a hard rain.

Some nights it
is alarmingly
imperceptible:
an exoskeleton ascends
on iron rivets and steel;
unseen scaffolding tapers
to a steady pulsing point
of phosphorescence—
a mechanical heart
circulating red light
into leaden clouds.

Some nights the air thickens
with cordite, grief, and snow.

Tonight with winter here
we can see the tower’s
beacon blinking through
a tangled scrim of trees
half a mile across town,
and yet even with our
bodies squeezed together
like radio dials in the dark
we are unable to tune it in—
the signal that would calibrate
our estranged transistor hearts.

Tonight the ceiling fan
clicks with every turn.

The bedside clock ticks
and tocks in moonglow.

I close my eyes
and one by one
the light bulbs in
the house explode.

The darkness
becomes me,
I think.

I wear it silky black,
a spider-tailored suit
imponderous as ether.

I focus on the anesthetic sound
of a future breathing inside me.

Memory folds like
an obsolete map—

a distant archipelago
of diminishing stars.

Years ago, I’m sure,
we married in a copse
blue with wild hyacinth.

Tonight the satellites
cut like diamond tips,

lugubrious orbits etching
across a bedroom window.

Dawn always blooms with
the sound of breaking glass.

You have to start
by finding things
to burn.

Turn the island
into a tinderbox.

Fill your truck with driftwood
and detritus hustled up from
derelict construction sites.

Scavenge plywood scraps
and lengths of two-by-fours.

Find a spot beneath the dunes
and dig into the still-warm sand,
your rusted shovel syncopating

with the rhythm of the waves,
crunching into the cool dark
hollow of a deepening pit.

By dusk, the hole will be capable
of containing everything you want
to burn.

Set the shovel down.

When the darkness
finds you all alone,
take the lighter fluid
in one hand
and a match
in the other.

Wait for the
wind to die.

If you do it right,
the orange embers
will crack and rise,
truant children
ushered home
by pacing stars.

If you do it right,
the smell of salt and smoke
will stay with you for days.

If you do it right,
the bonfire will
bloom like a flower
and consume itself
all night long.

In the morning,
your work will
have healed, doctored
by persistent currents
and the extinguishing
sweep of high tide.

It took Vegas two days
to teach me that winning
is the taste of salmon roulade,
green lip mussels and
pineapple glazed ham.

Losing is the smell
of shoe-worn carpet,
warm poker chips and
air recycled through the lungs
of a thousand desperate strangers.

I walked the Strip
an educated man.

I swallowed the lights
like squares of Starburst
candy melting to neon
in my shining mouth.

I found the desert in pitch
blackness and placed bets
on the stars with my eyes

until they fell from the sky
in a shower of silver coins.

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.

Here I am in the yard again,
shovel in one hand, plastic
bag in the other, trudging
toward the fence in my slippers,
determined to not feel squeamish.

The dog has been scolded
and brought into the house;
she whimpers at the back
window, watching my progress
across a quarter-acre of dormant
grass dusted with morning snow.

Up close, fixed by death,
the squirrel bares its teeth,
white and sharp, its eyes
the size of juniper berries.

I tilt it into the bag,
blood smearing
the rusted shovel,
and turn back, surprised
by the heft of lifelessness,
how dead weight pulls
a broken body down.

Gravity, it occurs to me,
is a relentless undertaker.

I walk and the bag swings
like a soft pendulum
banging against my leg,
counting out my steps,
confounding the dog.

You see, our yards are
nothing but undug graves.

If gravity is our undertaker,
then physics has pocketed
the stars, wearing a funeral
suit blacker than outer space.

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.

We never cracked the mysteries of Pittsburgh,
and Baltimore bled out inconveniently before

our eyes, another nervous snitch knifed outside
the corner convenience store in broad daylight.

Salt Lake City was too pure, too white,
theocracy carved into a wafer of snow.

We grew tired of watching Los Angeles
pleasure itself in the sun like a **** star,
interminably tan and vacuous.

And Chicago was too ******* cold.

So we settled here, where streets turn
the soles of our shoes to palimpsests

where every apartment elevator
offers a wall of infinite buttons

where grocery stores stock their shelves
with bottles and bottles of octopus ink

where neighbors open their curtains
and stand shimmering in moonlight

where weather mixes with nostalgia,
creating immutable, poetic forecasts

where water tastes like redemption
and the skyline rises like a chorus,

so much taller than the cities
we inhabited when we were

alive.

The bodies are buried
in boiler rooms below
precipitous buildings.

Tipped with gargoyles,
scabbed with windows,
the superstructures rise
on cords of carbon steel.

Inside miraculous husks,
the elevators lift and fall,

interminably.

Antiquated carriages
click like scarabs
on ropes and pulleys.

With interiors lit
by faint buttons,
the listless coffins

circulate our remains
behind gypsum walls.

When the elevator doors glide open,
an emerald chime sings your name.

Sometimes I conjure
the after after the end:

our plaster cities bent and broken,
entire skylines scythed as flowers,

skyscrapers rent into oblivion,
lofty hotels and office towers

leveled to dark flatline—
the monotone of a final

wind barreling down,
inexorable, with no one

to hear its elegiac howl.

I picture myself ensconced
in an underground parking

garage scrounging to survive,
dismantling abandoned cars

piece by piece to pass the time, or
curled on an improbable mattress

remembering how I once watched
two birds quarreling over a piece

of pizza crust on the sidewalk
as I walked home from work

and thought to myself
as they startled into air

this is not the end.

Sometimes I conjure
the after as it ends:

when in an instant

every last bird rises
into the sky as one—

a cloud of feathers and bone
devoured by a heartless sun.

When I was 17,
the wreckage
of my home
smoldering
a hundred miles east
of my degenerate
disposition,
I worked
the carnival,
bathed in iridescent light,
kicking the crap
out of time with
my alligator boots,
spinning carousel stories,
exhaling cigarette smoke
in circles above the perfumed
heads of carnal housewives,
the calliope music
swirling endlessly,
a loop of depot kisses
and whiskey lust,
my leather gloves
softened by torn
ticket stubs and
legerdemain.

Beneath big top canvas,
the lonesome doves
of my past tangled
with boxcar bandits
and funhouse shades.

I set the clowns aflame.

On taught ropes
of reckoning,
I tilt-a-whirled
toward evening’s
inexorable blade.

You sink in despair
but will soon float because of
the fear you displace.

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.

(after Edward Hopper’s Cape Cod Evening)

The light is everything;
it makes a godly sound

spilling through
the locust grove,

washing over
uncut grass,

negating
shadows,

baptizing husband
and wife in oblivion.

Melancholy blinks
like the black eye
of a whippoorwill.

Who catches the
notes of its song?

Only the dog.

Dusk, patient
as a chrysalis.

They can’t hear
the transmutation
yet, but they will.

In the late night light
of the bedroom lamp

you watch me watch you
undo your favorite dress;

you don’t stop until
the garnet necklace

around your neck
is the only thing

left in the world for me
to touch that is not you.