Fall into that
hole in the shape
of your body

and keep
falling until
you reach a

silent, empty
space, where words
have lost their

use, and emotions
pass through,
like tourists

and your name
has a hollow
ring to it.

The sunrise looks like
something ******

the cat coughed up.
Having not done his

homework all year he
is failing algebra class.

He wakes up in bed,
then falls back asleep.

He’s in the front yard
and can’t find his pants.

The school building is
like a jigsaw puzzle that

is impossible to solve.
The sunrise looks like

something ******.
He wakes up in bed,

then falls back asleep.
Of course he doesn’t

know that he is asleep.
He’s forgotten how to

balance the equation.
The edifice is a puzzle.

I’m in the produce
aisle and the local
fortune teller is

hurling strawberries
at me, as she yells,
Wake up, we’re in for

a wild ride and we
won’t be the same
when it’s over! Then

she charges toward
me, nearly knocks me
over and gives me an

electrified kiss. This
is the time when
peasants harvested

wild strawberries, she
says, then laughs like
a broken church bell.

Listen and
Silent have

The same
Letters.

What’s up
With that?

I am assembling
a new gray tweed
suit. The plodding,

solitary elephant is
wandering on a dark
road. I am not an I.

Pinocchio is missing
an arm and speeding
in a big truck. I am

an eye that floats
overhead, smaller
than a pin-point,

nothing really.
In the murky
night Pinocchio

hurtles toward the
idle elephant, but
swerves at the last

moment, then I’m
wearing the tweed
suit, even though

it’s missing a
sleeve, and all three
of its ivory buttons.

The room is empty
except for an egg

sitting on a chair
in the passing sun.

In the foreground, a
child’s marble, made of
clear glass, incandescent,
aglow with blue and
green streaks and swirls,
on a table cloth the color
of the ocean on a
bright day, and in the
background, a window,
the inky night sky, the
luminous but gray moon,
smaller than the marble,
flat, distant, and in
the glass, an adult’s
face faintly reflected,
small, ghost-like, colorless,
embedded in the
starless black space.

Who knew there
are so many
poets—lurking

in the shadows,
walking in the
sunlight, running

naked on the
beach, or sleeping
in defunct malls?

The wind-up
clock chimes

from the other
room. On the

wall, a painting
of a landscape

five-thousand
miles away.

The room
illuminated

by lamp-light,
as if it were

the middle of a
long dark night.

Dried, faded
red carnations
on an electric
blue tabletop,

a dark green
avocado sliced
open, revealing
the inner canary-

yellow flesh and
sienna-brown
seed, and in
the foreground

a child’s doll,
prone, naked,
generic-beige
plastic skin, an

impossible figure
of a woman, all
rendered in an
even, flat lighting.

Gulls are crying
just outside my

window, as I

construct a ship
in a bottle.

The electric blender
is crying as it spins
round and round and

the spilled milk is
making its way to
the edge of the

counter, while the
refrigerator hums its
solemn tune and

something pops up
in the toaster, charred
beyond recognition.

The answer: three.
Two to hold the
ladder, and one
to shoot the gun.

I’m sorry. I
was distracted.
So, what was
the question?

In this
world,

even a
simple

cherry
blossom

constitutes
a miracle.

That's not a
pencil, it’s a
brontosaurus.

I know I am, but
what are you?

Six out of seven
fabled dwarves
are not happy.

They ski down-hill
laughing absurdly,
madly, in sepia-tone,

like an old photo.
One says: ? The
other replies: !

They are judges.
The distant court
house looks small,

like a doll house.
A girl is on the
hill top, her eyes

glisten like a
policeman’s raincoat.
But she doesn’t exist

yet. One day she
will look you in
the eye and say: .

The tea
kettle
whistles

in the
kitchen.
Then all
is quiet.

A cloud
moves  
slightly

and the
room is
a little
brighter.

Even though
there is

nothing about
himself that

he likes, he
defends his

image like he
is singing

the final aria
in a tragic

Italian big
time opera.

What are you doing
to yourselves? I can

not suitably reply
to the question  

posed by the vast,
unfathomable

sea, as my little boat
barely stays afloat.

She is a copywriter
at a law firm, where

the men remind her of

the creepy guy in the
produce aisle, with a

head of iceberg lettuce,

leering at her, smiling
—as she contemplates

the bright blank screen.

An ode to
the broken

world, its
stories and

images
stretched

like taffy to
satisfy an

insatiable
sweet tooth.

As we know from
studying history,
there are four
essential
occupations—
rodeo clown,
shadow, pirate,
and facsimile,
and this revises

a previous
inventory which
included saint,
and saint is now
understood to be
simply an enhanced
facsimile of either
a rodeo clown,
shadow, or pirate.

The open sky
reflected on

the winding
river’s water,

and I slowly
pass by, an

undulating,
a rippling

image for a
brief moment.

Is there life
after death?

The better
question,

Is there life
before death?

Dry dirt as far as the eye can see,
an empty landscape, then I turn
and see her, and she says,
How did we get here? and I say,

I think I’m asleep and dreaming,
and she says she thought that too,
then a fierce wind, and all is
brownish-gray air-borne dust,

then the monkey yells, Cut!
and he tells David Crocket,
the camera-man, that they
have truly captured reality

with great verisimilitude,
and the next thing I know is
I’m here, face down in the water
and washing ashore on a very

small island, a big sand-bar, really,
and she is naked, in a fetal position
and the monkey is kneeling over
Crocket’s corpse like an alter-boy,

weeping, and she yells, Shut-up,
you ***** little ape! and the monkey
howls and bites her on the leg, and
she crawls to one end of the sand bar

and I to the other end, and all is water,
as far as the eye can see, and the
monkey, a television actor, then a
director of acclaimed historical dramas,

is lamenting that Crocket was, The
Da Vinci of the modern age, and I’m
thinking, Da Vinci? Yeah. The guy
who never finished anything, and I ask,

How did we get here? and she says
she must be asleep and dreaming,
and I’m thinking, Yes, that must be
all there is to it. We’re dreaming.

Who is it that sits
on the cushion
on the floor, here
in the twilight,
during the final
hours of spring?

Living on
the roof of
hell we tend
the flowers
that perfume
our sacred
interim home.

After carefully
observing us,

the monkey
declares, You

are certainly
not a part

of nature,
what are you?

Fish in
a tub
swimming
in circles.

I am standing with
five rolled-up pages
of poetry in my

hand, ready to lunge
forward and smash it
into oblivion, when

she says, Don’t ****
that fly. Can’t you
see it’s praying?

The green
grass is
wet from

rain. Her
elegant
footsteps

have left
their delicate
impressions.

He is a
yardstick,
a measure
of something.

He is a
body, something
worn like a
suit of clothes.

He is a
string of words,
a sentence
to be parsed.

He is an
individual,
a myth
that is told.

He is a vast
space,
a screen life
is projected on.

Just the outline
of the thing, the

stench of something
rotting somewhere,

the inexplicable
puddle of water in

the front hall closet,
but for some

a chance, like
the universe,

to emerge
from nothing.

He can’t help
himself. He

knows his
thoughts are

distorted, but
like a criminal,

he’s compelled
to return to

the scene
of the crime.

Employ science,
the way a poet
employs words.

Employ belief,
the way a
mathematician  
employs arithmetic.

Or, be the eye
that sees, and be
employed by death,
the way life is
employed by time.

X is dragging the body of the
dead history professor, a man of
enormous girth and monstrous
height, through the empty

landscape, then the vast ocean
appears and X drops the body
into the water, where a shark
whose ancestry is four hundred

million years old, eats it, as X
recalls the professor’s sleepy
eyes, artificial smile, and
remarkably unreliable memory.

The finch
sings its

song as
if it just

discovered
itself in

the wonder
of nature.

It chirps and
and squeaks,
and whistles
and buzzes.

For twenty-two
million years
the hummingbird
has been

singing that
same song, that
simply says,
I am here.

You are
bathed
at birth.

You are
bathed
at death.

One can
bathe in
every

moment
and shed
the dust

and soot
before it
accumulates.

Even in
these
perilous
times,

flowers
are
blooming
everywhere.

Now, in the other world,
we are building a bridge,
from one thing to another,

and of course it’s a
metaphor for our
condition, since

this word is broken,
a hell, of our own
making, like most hells,

so, in the other world,
we build our
envisioned bridge

which is as real as
a broken clock, as
tangible as a body

floating face down in a
lake, but now, in this
world that we destroyed

there are no longer any
bridges, so in the other
world we build our way

to a destination
yet to be known,
yet to be reconciled.

The magician pulls the

rabbit out of the hat.
The dog in the field

follows the fresh scent.
The magician produces the

dove from the handkerchief.
The cat hears the quiet

mouse behind the wall.
The magician saws the

living assistant in half.
The owl in the forest sees

clearly in the black night.

There is an avalanche of syllables
uploaded day & night. It’s a wonder
one can find a verse to connect with
in the mountain words. I’m grateful
for those I have found. It’s like those
two hands reaching out to each
other, painted on the ceiling of the
Sistine Chapel by some dude a
long time ago.

And I’m trying to read the longer
poems, those that might take
3 - 5 minutes to read—oh, the
commitment—the same amount
of time it takes to brew a
cup of tea. In both cases, it’s
time well spent. If you read this
past the first few lines, thanks.

A dead chicken
on the sidewalk,
embers—little bits
of  burning paper

drifting in the
air, a man asleep
in a king-size
bed in an empty

warehouse, a “she
done me wrong”
song with a slow
cha-cha rhythm

playing somewhere
distant, and no one
there to talk to, and
no where to go, and
no way to get there.

The cuckoo
sings to me.
The cuckoo
was sacred
to the Greek
goddess Hera.
The cuckoo
sounds like a
flute and often
sings at night.
Those Bavarian
clocks got it
wrong. Clearly
goddess Hera
had it right.

The riddle of
everyday life.


A balloon rises
as a paper airplane
descends, and below,

a yardstick,
one end broken
off, while a ripening

pear sits on a
nearby chair, as
the drama unfolds.

I was the shadow
puppet, a barking
dog. Then became

the vigilant cat, that
apprehended the
ruse. Now I am

the rarely seen
mouse, too swift
even for the cat.

The sky is
icy and blank.
There is no
one visible,

anywhere.
A phone rings,
from some muffled,

distant location,
as the garage
door
mechanically

lowers.
I stand near
the heater,

gazing out of
the window.
Everything
is stark and

frozen,
like printed
words on a page.

The pilot is flying the
small white airplane in
circles, for the fun of it,
in the cloudy blue sky,

and below the black dog,
in the red car, is looking
out the window, barking
at nothing in particular,

and across the street
the banker in a gray suit
scurries, preoccupied by
a problem at the office,  

and in the apartment
above, there is only an
awareness, sitting on an
empty chair, breathing.

The verbs are living in
caves on mountain tops.

You can only call your-
self on the telephone.

The nouns are wearing costumes
to look like you, or the place

where you live, or the thing
that you bought recently.

Your mail is being spell-
checked by smiling burglars

who ply their trade by
strolling through the front door.

Adjectives have a dress code;
blue suit, white shirt, red tie.

Everywhere you sit there
is a whoopee cushion

that makes a long
repetitive mechanical laugh.