We all stumble , falter and fall
No more than the dust after all

We rant , pretend or rave
But there are no words coming from the grave

Our time is spent whether we pay
Our lives granted a fixed number of days

How many full moons caught your eye
Now you are asking me "Why?"

Don't you see all of it is in vain
Brings us back to the quesion of dust again

The answer my friend ?
It's blowing in the wind



Last stanza by Robert Zimmerman aka Bob Dylan .

Each day is
as a procession of
redundant clopping
on the ground
rhythmic sounds
that anesthetize,
mesmerize

have we become blinkered
along this trail
through life

like a steed in harness
undistracted by
glimpses of
clouds of hate
along the horizons
or seething storms
blowing in from the seas

<•>

blustery company/unexpected costs

rain-all-day, with a heavy creme topping of
blustery wind window rattling, par excellence,
making the houses's insides rumble so much,
the trees fringes bang-pleading to please be allowed in
so loud that you suspect some are already hiding within,
probably, more likely, those leprechaun Elusives,
up to their usual no goofy good

the poet's fellow summer travelers visit, Canadian geese,
clustering by the Adirondacks thrones four,  
who add another weathering to their grayed, somber,
thoughtful demeanor this day,
all in the Poet's Nook, which though forlorn,
surrounded sounded by sixteen! chubby flyers, admirers,
(their ranks expanded from fourteen of yesteryear),
asking where is the poet-boy, and the chairs explain that his
standing in the rain days are now past his prime,
inspiring modalities, so rest easy in the knowing geese lore that,

he,

through those famous civilizing lace curtains,
see-through visors, of  embroidered, embedded flowers,
the poet boy is watching your brood, not being rude,
just dry inside, contemplating their admirable
weather resistance, and writing of them with loyal affection,
his gaggle of friends, **** avians, favorite weekend guests,
not requiring feeding, cleaning up after, or their laundry done

delighted, they edge closer to him, where he, residing/semi-hiding,
in the sunroom where he writes and contemplates the
unexpected costs of human life
that he tries to pays forward so others may never have such a chore

coming ever closer, now nibbling next to the empty
tree swing, used by neighboring kids and in secret,
their parents,
and the wet freshly cut, delivered green grass,
a feast for them, beneath the oak tree

do they have unexpected costs as well, or do they know
all their predators and threats, that may yet diminish the happy sojourning, the tourney of flying south, and its trials/tribulations?

too long, too long I know, the poem,
but to the devil with you
inexperienced, impatient multi-taskers, this, a poem~moment
that would be dishonored by the breech,
needs lengthy fulfillment for the unexpected costs,  
the randomness of events that can't be guarded against,
demand never ending vigilance, and endless imagining

and the geese, saddened by his absence and his travailing
thought patterns, explain, that this is why we geese,
we gaggle travel, why our long necks swoon and swivel,
ever wary of the unexpected surprise dangers,
why we post guards forward and aft,
not to be taken unawares by foxes or men

the human's gaggle is their random, undisciplined,
by their solitary nature,
travailing thoughts
which they they foolish believe they can master,
but cannot, which then, is why, we geese,
we will always annual come to covenant, co-tenant,
visit the poet-boy in his nook, and rest him briefly, from the
terror of unexpected costs, be his inspiration,
for the poets nook, now, by custom,
our refuge, and his, as well, and better together...

Forest inquires:

How do you decide, choose your design, find its guise,
give it a face, surrender to the poem's own
vanity,
        and choose the poem's alignment?


                                                  an­ answer forms:

this alignment idea,
you think it simple,
everybody understands
what your inquiry means

alignment -  the appropriate relative position

we live in relative position to each other, our poems too, for they are but written synapses of our close captioned interactions, seemingly random, but assuredly not, as we invest in ourselves, seeking the mysterious appropriate answer
                                                                ­                        from the Theory of Poetic Relativity

                                                   ­             i love your question;                              hold it to my nostrils,          
                                             ­             smell the coffee aroma wake up blast inherent;
                                                                ­      
 kiss its robust childlike cheeks for the simple   soulfulness essential arousal;
for you see sir you have found
the appropriate position that relates us, our mindful words;

                                 answer no good, wholly insufficient?
                                        perfect.
                          as i close this quick cooked to perfection laboratory solution, take note

                              
                            ­                        the earth has moved
                                our hearts have beaten a measly thousand times
                                    time and space have appropriated our prior
                                          
relativity

when you return years hence this poem's shape will perforce have moved. for words are weathered flux constant and yet inherently unchanged except for the part of us that changes with every re-reading  

and what was


**right before has left and the center has moved again

have at heart the next breath
second then the minute
then the day the next week
healing
our broken spirits
into years we have been
taken into lives
into hearts we loved
into those we have broken
into dreams we spoke not of
into memories we forget
into days we choose  now
where the time
of a sunrise
is something
we choose
now
and is not at a whim