The cuckoo
sings to me.

The cuckoo
was sacred

to the Greek
goddess Hera.

The cuckoo
resonates like

a flute and often
sings at night.

Those Bavarian
clocks got it

wrong. The
cuckoo is a

singer of the
hallowed song.

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.

I won’t bore you with the
whole story, I’ll go right
to the end, when it’s
the day of the wedding
between the gangster and
his bride, the lawyer, and
the priest at the church
is eating his lunch, a
strip-steak with creamed
spinach, as the bag-man
delivers the airline tickets
for their honeymoon in
Borneo, and the gangster
is tossing the gun
into the river, as his
bride is passed-out on

the floor of the church,
under the circular apse,
having been struck on
the head with a sacramental
chalice, and the priest, who
is really a spy, is dead,
apparently poisoned
by God knows who, and
the gangster is on his way
to Borneo, alone, as the
concussed lawyer-bride is
half-awake and can’t remember
where she is, how she
got there, or why she is
wearing a very ******
creamy-white wedding dress.

I am sitting on a branch,
near the tree’s top, next to

a Capuchin monkey and
we are watching a man

wrestling an alligator. In
the distance an industrial

truck belches black smoke
as it nearly runs into a

very old man slowly crossing
the intersection. Then the

monkey says, Looks like the
dude’s got the alligator in

a choke hold. And I say,
The old guy barely made

it across the street. Then
the alligator gets free and

scurries away, but gets run
over by the truck. ****, says

the monkey, then, I got a
job, working with a private

investigator. The monkey
peels a banana and hands

me a piece as I ask, Doing
what? The monkey looks me

in the eye and says, Help
solve crimes. I say, Sounds

like a TV show, and the
monkey replies, Yeah, very

much like a television show.
And we watch the old man

very slowly amble down the
street—until he is gone.

They are on a mountain
at the edge of the world,

on her white parachute
draped on the ground under

the cherry blossom trees,
naked, vulnerable, while

down in the valley the
trees are on fire, even as

the oceans are swelling
and flooding the coasts,

and they feel the fever
in the air, the infection

in the atmosphere, and
as soon as they patch

his balloon and ignite
the flame, it will float

away in the hazy air,
to who knows where.

night falling
clouds

dusky pink
murky gray

over the seaside
sailor’s head

this envelope
sealed

labeled vital
information

enclosed
lying on the

pavement in
front of her

house what is
it? her foot

moving it
aimlessly

like the sailor
on leave

then spinning
like the

drunken sailor
then a gust

of wind blows
it down the

street like the
drunken

sailor’s
white cap

forgotten the
next morning

like it never
existed

What I saw at the
moment of my death:

a mouse trap,

a card trick,

a woman riding her
bicycle in the park,

a businessman

who lies for a living,

an empty kayak
navigating the river.

The minotaur, trapped for many
years in a labyrinth, is the
sailing master, pilot of the
ship. His mother, a depressed
biologist, is below deck,

lamenting the loss of her
husband, a bull who was
killed by a matador—now a
pirate, chief executive of an
international fast-food company.

The rigger, master of the sails,
tracker of air and ocean
currents, hermaphroditic,
was a juggler, a high-wire
walker in the traveling  circus.

The look-out, with telescope,
in the crow’s nest. An orphan,
raised in a Taoist monastery.
Describes his life as a
journey of wandering solitude,

All looking for—refuge—
a place to live, to be,
an island with fresh fruit,
not sinking into the sea,
and not on any pirate’s map.

There isn’t a
single

soul on
any of

these dark
deserted

streets,
in these

sleeping
homes, in this

barren
parking lot,

in these
abandoned

stores in
a failed

mall, in
these lifeless

restaurants, and
I don’t know

where I
am or how

to locate
myself on

this dank moon-
less night.

The Minister Of State
reads the speech
dictated by the toiling

titan of industry,
inventor of the gadget
that everyone needs,

while titan’s wife, the
Baroness, though
talented with an

umbrella and tweezers,
sits idly waiting for a
delivery from the

publicist, who works
into the long night,
crafting the narrative

that all of us fall
into, like the words
in this sentence.

Thank you.

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.

it’s dusk as I
enter the grocery

a jug of distilled
water in my cart

in the cereal aisle
Octavio Paz is

constructing a
boat-shaped

sculpture with cereal                                        
boxes and asks

can we ever
escape this brutal

dream? the air
smells of tequila

and musty pages
of an old book

I say I’m just here
for oat milk and

corn flakes—as my
cart drifts briefly

away from me and
he rushes toward me

kisses my forehead
and leaves the store

tears streaming down
his weary face

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.

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.

The opportunistic
nouns are using
the lying adjectives

as they all cling
to the period, which
is catastrophically

overheated, as it
spins round and
round, and the  

verbs are moving
to the endless
margins where they

can just be, then
all is black ink,
the text redacted.

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.

In this
world,

even a
simple

cherry
blossom

constitutes
a miracle.

After carefully
observing us,

the monkey
declares, You

are certainly
not a part

of nature,
what are you?

In the end, it can all
be explained, and none
of it can be explained.

Tomorrow will exist,
of course, but by
then it will be today.

Language becomes
a long gurgle and
a quick sputter, and

as expected, by those
still paying attention,
it is irrevocably broken.

The boy on a bicycle
speeds by in a blur, as
a paper airplane drifts
over the dog, curled up,
falling asleep, and
the egg sitting
on the counter
waits patiently
to be cracked open,
like the sun suddenly
rising in the morning.

This poem may  
be lovely or
clever, but it is
analogy, made
of appearances,
insubstantial, like
a finely attired,
beautiful corpse.

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.

I am in

the present I was in

the past I

have seen the future and

we’re in it

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?

Is there life
after death?

The better
question,

Is there life
before death?

I am weighing
the poem and

it’s too heavy
it contains a

great white
shark with a

shoe in its
stomach

don’t know
how it got

there and a
mysterious

envelope
in the mailbox

those stay I
think still when

one looks at the
poem in profile

it resembles a
fat man exiting

a fast food
restaurant

I tried a trash
compactor but

it’s still bulky
maybe the

pregnant woman
should go—it’s

heartbreaking what
happens to her

Even in
these
perilous
times,

flowers
are
blooming
everywhere.

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.

The man in the
cellar is forging
the books of

history, as the
ghost in the attic
is starting to

realize that he
is dead, and the
piano tuner in

the den is an
international
spy, and the corpse

is in the trunk of
the car in the vermin
ruled alley and the

ghost sees that he
can simply leave
this world, which

he suddenly does
and all of this—
instantly left behind.

Glide, loop, float
gulls on a
crisp breeze.

Trudging with
groceries, an
elderly man.

Dim blue glow,
a clock—what
this long in-

complete life
sees in the
wondering dark.

Death, so close
to the mail-
box at noon.

Glide, loop, float
gulls on a
crisp breeze.

This is after the
grandly mundane
drama, after the
endless timeline,
after the tallying,
after the lure of
the handcrafted,
kettle-cooked salty
potato chip, after
the endless conquering
of it and them, this
is after the hypnotic
spell of perfumed
images, after
being a verb disguised
as a noun, after
pretending to be
a palpable thing,
this is after  
being something, and
this is after
being nothing.

In the butcher shop
Bob sees Salvador
Dali, who is carving
a life size figure of
a woman from a side
of beef. When finished
Dali whispers in
her ear the question,
“How do I obtain
a clear mind?” Bob and
Dali wait for an
answer. She is silent.
Bob eventually
gives up, but whenever
he visits the butcher
shop he sees Dali,
sitting, his limpid eyes
wide open, waiting
for the answer
from the woman
of his vivid dreams.

From her window the
pale, willowy young
woman, a midwife,
watches a paper cup
being tossed around in
the wind. The dark ocean,
the great progenitor
in the background,
illuminated by waning
moonlight. She waits
for his headlights
to appear, her fiancé,
a fleshy, ruddy man,
the town’s undertaker,
who brings freshly cut
carnations, and a
long, warm embrace.

Maybe I’m a fraud,
maybe I’m not the
guy who empties the
trash bins, maybe I’m
a theoretical
physicist failing
to piece together
a story of
everything, maybe
my wife is really
dead and I am in
love with a memory,
or maybe I’m the
guy who has a gun
loaded with blanks
ready to fire at
anything that moves.

Not the knife’s
butcher drunk
in the walk-

in cooler, nor
the finger-
printless gun

in the church
pew next to
a sleepy

hymnal, she
confesses, if
you want to

**** a thing,
strangle its
tender pink

throat—just
give it to
academia.

There was a
snowball fight.
A ****** nose.
A forgotten glove.
The evidence now
under a blanket
of white. Only
partial footprints
remain. Soon they
too will be gone.

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.

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.