A most pious man
whose well-tempered music
brushed the cobwebs
from the throne of God

Evolution was made manifest
across deep time
these lyrical figures
achieve the same purpose
in the space between the morning star
and the dawn

A fallow field
is sewn with pearls
a moonlit beach
illuminated by shadow
every scrape of the fiddler's bow
merges mind with the present
harvests the meaning
in the moment

The composer
that good man
was
for a time
church organist at St. John's
its notable steeple leaning
all askew
as a rebuke against God
or perhaps the drunken architect

A finger of candlelight
plays across the manuscript
a fugue echoes
through the still church

And though no living person
on that still winter's night
shares the organist's solemn delight
the stirring mass of possibility
that is posterity
awaits

I've given poetry readings where less than a handful of people were present. It's a humbling experience. It’s also a deeply familiar experience.

"Poetry is useless," poet Geoffrey ****** said in a 2013 interview, "but it is useless the way the soul is useless—it is unnecessary, but we would not be what we are without it."

I was raised a Roman Catholic, and though I don’t go to Mass regularly anymore, I still remember early mornings during Advent when I went to liturgies at my parochial school. It was part of my offering—the sacrifice I made to honor the impending birth of the Savior—along with giving up candy at Lent. So few people attended at that hour that the priest turned on only a few lights near the altar. Approaching the front of the church, my plastic book bag rustling against my winter coat, I felt as if I were nearing the seashore at sunrise: the silhouettes of old widows on their kneelers at low tide, waiting for the priest to come in, starting the ritual in plain, unsung vernacular. No organist to blast us into reverence. No procession.

Every day, all over the world, these sparsely attended ceremonies still happen. Masses are said. Poetry is read. Poems are written on screens and scraps of paper. When I retire for the day, I move into a meditative, solitary, poetic space. These are the central filaments burning through my life, and the longer I live, the more they seem to be fused together.

Poetry is marginal, thankless, untethered from fame and fortune; it's also gut level, urgent, private yet yearning for connection. In all these ways, it's like prayer for me. I’m a not-quite-lapsed Catholic with Zen leanings, but I’ll always pray—and I’ll always write poems. Writing hasn’t brought me the Poetry Jackpot I once pursued, but it draws on the same inner wiring that flickers when I pray.        

• • •

In the 2012 collection A God in the House: Poets Talk About Faith, nineteen contemporary American poets, from Buddhist to Wiccan to Christian, discuss how their artistic and spiritual lives inform one another. Kazim Ali, who was raised a Shia Muslim, observes in his essay “Doubt and Seeking”:

[Prayer is] speaking to someone you know is not going to be able to speak back, so you're allowed to be the most honest that you can be. In prayer you're allowed to be as purely selfish as you like. You can ask for something completely irrational. I have written that prayer is a form of panic, because in prayer you don't really think you're going to be answered. You'll either get what you want or you won't.

You could replace the word "prayer" with "poetry" with little or no loss of meaning. I'd even go so far as to say that submitting my work to a journal often feels like this, too. Sometimes, when I get an answer in the form of an acceptance, I'm stunned.

"I never think of a possible God reading my poems, although the gods used to love the arts,” writes ***** Howe in her essay "Footsteps over Ground." She adds:

Poetry could be spoken into a well, of course, and drop like a penny into the black water. Sometimes I think that there is a heaven for poems and novels and music and dance and paintings, but they might only be hard-worked sparks off a great mill, which may add up to a whole-cloth in the infinite.

And here, you could easily replace the word "poetry" with "prayer." The penny falling to the bottom of a well is more often what we experience. But both poetry and prayer are things humans have learned to do in order to go on. Doubt is a given, but we do get to choose what it is we doubt.

A God in the House Book Cover
Quite a few authors in A God in the House (Howe, Gerald Stern, Jane Hirschfield, Christian Wiman) invoke the spiritual writing of Simone Weil, including her assertion that "absolutely unmixed attention is prayer." This sounds like the Zen concept of mindfulness. And it broadens the possibility for poetry as prayer, regardless of content, since writing poetry is an act of acute mindfulness. We mostly use words in the practical world to persuade or communicate, but prayers in various religious traditions can be lamentations of great sorrow. Help me, save me, take this pain away—I am in agony. In a church or a temple or a mosque, such prayerful lamentation is viewed as a form of expression for its own good, even when it doesn't lead immediately to a change of emotional state.

Perhaps the unmixed attention Weil wrote of is a unity of intention and utterance that’s far too rare in our own lives. We seldom match what we think or feel with what we actually say. When it happens spontaneously in poetry or prayer—Allen Ginsberg's "First thought, best thought" ideal —it feels like a miracle, as do all the moments when I manage to get out of my own way as a poet.

Many people who pray don’t envision a clear image of whom or what they’re praying to. But poets often have some sense of their potential readers. There are authorities whose approval I've tried to win or simply people I've tried to please: teachers, fellow writers, editors, contest judges—even my uncle, who actually reads my poems when they appear in the Pittsburgh Post-Gazette, where he used to work.

And yet, my most immersed writing is not done with those real faces in mind. I write to the same general entity to which I pray. It's as if the dome of my skull extends to the ceiling of the room I'm in, then to the dome of the sky and outward. It’s like the musings I had as a child lying awake at night, when my imagination took me to the farthest reaches of the galaxy. But then I emerge from this wide-open state and begin thinking about possible readers—and the faces appear.

This might also be where the magic ends.

• • •

I write poetry because it’s what I do, just as frogs croak and mathematicians ponder numbers. Poetry draws on something in me that has persisted over time, even as I’ve distracted myself with other goals, demands, and purposes; even as I’ve been forced by circumstance to strip writing poetry of certain expectations.

"Life on a Lily Pad" © Michelle Tribe
"Life on a Lily Pad"
© Michelle Tribe
At 21, I was sure I’d publish my first book before I was 25. I’m past my forties now and have yet to find a publisher for a book-length collection, though I've published more than a hundred individual poems and two chapbooks. So, if a “real” book is the equivalent of receiving indisputable evidence that your prayers are being answered, I’m still waiting.

It hasn’t been easy to shed the bitter urgency I’ve felt on learning that one of my manuscripts was a finalist in this or that contest, but was not the winner. Writing in order to attain external success can be as tainted and brittle as saying a prayer that, in truth, is more like a command: (Please), God, let me get through this difficulty (or else)—

Or else what? It’s a false threat, if there’s little else left to do but pray. When my partner is in the ICU, his lungs full of fluid backed up from a defective aortic valve; when my nephew is deployed to Afghanistan; when an ex is drowning in his addiction; when I hit a dead end in my job and don’t think I can do it one more day—every effort to imagine that these things might be gotten through is a kind of prayer that helps me weather a life over which I have little control.

Repeated disappointment in my quest to hit the Poetry Jackpot has taught me to recast the jackpot in the lowercase—locating it not in the outcome but in the act of writing itself, sorting out the healthy from the unhealthy intentions for doing it. Of course, this shift in perspective was not as neat as the preceding sentence makes it seem. There were years of thrashing about, of turning over stones and even throwing them, then moments of exhaustion when I just barely heard the message from within:

This is too fragile and fraught to be something that guides your whole life.

I didn't hear those words, exactly—and this is important. For decades, I’ve made my living as a writer. But I can't manipulate or edit total gut realizations. I can throw words at them, but it would be like shaking a water bottle at a forest fire; at best, I can chase the feeling with metaphors: It's like this—no, like this—or like this.

So, odd as this sounds for a poet, I now seek wordlessness. When I meditate, I intercept hundreds of times the impulse to shape a perception into words. Reduced to basics, the challenge facing any writer is knowing what to say—and what not to.

• • •

To read or listen to poetry requires unmixed attention just as writing it does. And when a poem is read aloud, there's a communal, at times ritualistic, element that can make a reading feel like collective prayer, even if there are only a few listeners in the audience or I’m listening by myself.

"Allen Ginsberg" © MDCArchives
Allen Ginsberg
© MDCArchives
When I want to feel moved and enlarged, all I have to do is play Patti Smith's rendition of Ginsberg's "Footnote to Howl." His long list poem from 1955 gathers people, places, objects, and abstractions onto a single exuberant altar. It’s certainly a prayer, one that opens this way:

Holy! Holy! Holy! Holy! Holy! Holy! Holy! Holy! Holy! Holy! Holy! Holy! Holy! Holy! Holy!

The world is holy! The soul is holy! The skin is holy! The nose is holy! The tongue and **** and hand and ******* holy!

Everything is holy! everybody’s holy! everywhere is holy! everyday is in eternity! Everyman’s an angel!

Some parts of Ginsberg's list ("forgiveness! charity! faith! bodies! suffering! magnanimity!") belong in any conventional catalogue of what a prayer celebrates as sacred. Other profane elements ("the ***** of the grandfathers of Kansas!") gain admission because they are swept up into his ritualistic roll call.

I can easily parody Ginsberg's litany: Holy the Dairy Queen, holy the barns of the Amish where cheese is releasing its ambitious stench, holy the Pittsburgh Pirates and the Internet. But reading the poem aloud feels to me the way putting on ritual garments must to a shaman or rabbi or priest. Watching Patti Smith perform the poem (various versions are available on YouTube), I get shivers seeing how it transforms her, and it's clear why she titled her treatment of the poem "Spell."

A parody can't do that. It can't manifest as the palpable unity of intention and utterance. It can't do what Emily Dickinson famously said that poetry did to her:

If I read a book [and] it makes my whole body so cold no fire ever can warm me I know that is poetry. If I feel physically as if the top of my head were taken off, I know that is poetry. These are the only [ways] I know it. Is there any other way.

Like the process of prayer—to God, to a better and bigger self, to the atmosphere—writing can be a step toward unifying heart, mind, body, universe. Ginsberg's frenzied catalogue ends on "brilliant intelligent kindness of the soul"; Eliot's The Waste Land on "shantih," or "the peace that surpasseth understanding." Neither bang nor whimper, endings like these are at once humble and tenacious. They say "Amen" and step aside so that a greater wordlessness can work its magic.

Softly and steadily we munch
A roller motion action
As we gently pass over
Living in a contented silence
Randomly we each call
Hollow pipes we are played
By the holy organist
As life plays its tune
Understood be very few
As we submit to the herd
And spiral around a oneness

Mooing and mooing
With a great gusto
We send out O's
circles spiraling
Softly blowing bubbles
With an oily shine
We are carried forward
In these bulbs of light
Air filled with vibration
Caressing and holding
Our community with
An invisible film
As we all feel this
Light headed embrace
And the golden ring of community
Is placed on our finger
We say "YES YES YES "
For we love her very much  

Living free of hierarchy
As everyone is equal
Servant and master
Divorced from the conflicting
Ties of politics
We are as level and free as
The planes from which we graze
Living a freedom faraway from
Rank and power
And enjoy the vast out stretching
Places where our hearts unburdened
By mountains unfold into unlimited spaces
Collapsing within each breath
We spread our Love with the ease
Of melting butter in the African sun
Far and wide

In the mating season
We may bumble around
Like bumper cars
As you can not underestimate
The force of each individual
As we bang and bang our way  
Through life until opportunity knocks
Until life says yes
As our our stubbornness
Is not just the perfect No
But the perfect Yes to
And mothers reward our newborns
With her loving milk
The perfect colostrum
A silky bliss

In the expansive community
Of wildebeest and cattle
Where endless love
Can spread like water
We can learn so very much

As evening falls,
The walls grow luminous and warm, the walls
Tremble and glow with the lives within them moving,
Moving like music, secret and rich and warm.
How shall we live to-night, where shall we turn?
To what new light or darkness yearn?
A thousand winding stairs lead down before us;
And one by one in myriads we descend
By lamplit flowered walls, long balustrades,
Through half-lit halls which reach no end. . . .

Take my arm, then, you or you or you,
And let us walk abroad on the solid air:
Look how the organist's head, in silhouette,
Leans to the lamplit music's orange square! . . .
The dim-globed lamps illumine rows of faces,
Rows of hands and arms and hungry eyes,
They have hurried down from a myriad secret places,
From windy chambers next to the skies. . . .
The music comes upon us. . . it shakes the darkness,
It shakes the darkness in our minds. . . .
And brilliant figures suddenly fill the darkness,
Down the white shaft of light they run through darkness,
And in our hearts a dazzling dream unwinds . . .

Take my hand, then, walk with me
By the slow soundless crashings of a sea
Down miles on miles of glistening mirrorlike sand,--
Take my hand
And walk with me once more by crumbling walls;
Up mouldering stairs where grey-stemmed ivy clings,
To hear forgotten bells, as evening falls,
Rippling above us invisibly their slowly widening rings. . . .
Did you once love me?  Did you bear a name?
Did you once stand before me without shame? . . .
Take my hand: your face is one I know,
I loved you, long ago:
You are like music, long forgotten, suddenly come to mind;
You are like spring returned through snow.
Once, I know, I walked with you in starlight,
And many nights I slept and dreamed of you;
Come, let us climb once more these stairs of starlight,
This midnight stream of cloud-flung blue! . . .
Music murmurs beneath us like a sea,
And faints to a ghostly whisper . . . Come with me.

Are you still doubtful of me--hesitant still,
Fearful, perhaps, that I may yet remember
What you would gladly, if you could, forget?
You were unfaithful once, you met your lover;
Still in your heart you bear that red-eyed ember;
And I was silent,--you remember my silence yet . . .
You knew, as well as I, I could not **** him,
Nor touch him with hot hands, nor yet with hate.
No, and it was not you I saw with anger.
Instead, I rose and beat at steel-walled fate,
Cried till I lay exhausted, sick, unfriended,
That life, so seeming sure, and love, so certain,
Should loose such tricks, be so abruptly ended,
Ring down so suddenly an unlooked-for curtain.

How could I find it in my heart to hurt you,
You, whom this love could hurt much more than I?
No, you were pitiful, and I gave you pity;
And only hated you when I saw you cry.
We were two dupes; if I could give forgiveness,--
Had I the right,--I should forgive you now . . .
We were two dupes . . . Come, let us walk in starlight,
And feed our griefs: we do not break, but bow.

Take my hand, then, come with me
By the white shadowy crashings of a sea . . .
Look how the long volutes of foam unfold
To spread their mottled shimmer along the sand! . . .
Take my hand,
Do not remember how these depths are cold,
Nor how, when you are dead,
Green leagues of sea will glimmer above your head.
You lean your face upon your hands and cry,
The blown sand whispers about your feet,
Terrible seems it now to die,--
Terrible now, with life so incomplete,
To turn away from the balconies and the music,
The sunlit afternoons,
To hear behind you there a far-off laughter
Lost in a stirring of sand among dry dunes . . .
Die not sadly, you whom life has beaten!
Lift your face up, laughing, die like a queen!
Take cold flowers of foam in your warm white fingers!
Death's but a change of sky from blue to green . . .

As evening falls,
The walls grow luminous and warm, the walls
Tremble and glow . . . the music breathes upon us,
The rayed white shaft plays over our heads like magic,
And to and fro we move and lean and change . . .
You, in a world grown strange,
Laugh at a darkness, clench your hands despairing,
Smash your glass on a floor, no longer caring,
Sink suddenly down and cry . . .
You hear the applause that greets your latest rival,
You are forgotten: your rival--who knows?--is I . . .
I laugh in the warm bright light of answering laughter,
I am inspired and young . . . and though I see
You sitting alone there, dark, with shut eyes crying,
I bask in the light, and in your hate of me . . .
Failure . . . well, the time comes soon or later . . .
The night must come . . . and I'll be one who clings,
Desperately, to hold the applause, one instant,--
To keep some youngster waiting in the wings.

The music changes tone . . . a room is darkened,
Someone is moving . . . the crack of white light widens,
And all is dark again; till suddenly falls
A wandering disk of light on floor and walls,
Winks out, returns again, climbs and descends,
Gleams on a clock, a glass, shrinks back to darkness;
And then at last, in the chaos of that place,
Dazzles like frozen fire on your clear face.
Well, I have found you.  We have met at last.
Now you shall not escape me: in your eyes
I see the horrible huddlings of your past,--
All you remember blackens, utters cries,
Reaches far hands and faint.  I hold the light
Close to your cheek, watch the pained pupils shrink,--
Watch the vile ghosts of all you vilely think . . .
Now all the hatreds of my life have met
To hold high carnival . . . we do not speak,
My fingers find the well-loved throat they seek,
And press, and fling you down . . . and then forget.

Who plays for me?  What sudden drums keep time
To the ecstatic rhythm of my crime?
What flute shrills out as moonlight strikes the floor? . .
What violin so faintly cries
Seeing how strangely in the moon he lies? . . .
The room grows dark once more,
The crack of white light narrows around the door,
And all is silent, except a slow complaining
Of flutes and violins, like music waning.

Take my hand, then, walk with me
By the slow soundless crashings of a sea . . .
Look, how white these shells are, on this sand!
Take my hand,
And watch the waves run inward from the sky
Line upon foaming line to plunge and die.
The music that bound our lives is lost behind us,
Paltry it seems . . . here in this wind-swung place
Motionless under the sky's vast vault of azure
We stand in a terror of beauty, face to face.
The dry grass creaks in the wind, the blown sand whispers,

The soft sand seethes on the dunes, the clear grains glisten,
Once they were rock . . . a chaos of golden boulders . . .
Now they are blown by the wind . . . we stand and listen
To the sliding of grain upon timeless grain
And feel our lives go past like a whisper of pain.
Have I not seen you, have we not met before
Here on this sun-and-sea-wrecked shore?
You shade your sea-gray eyes with a sunlit hand
And peer at me . . . far sea-gulls, in your eyes,
Flash in the sun, go down . . . I hear slow sand,
And shrink to nothing beneath blue brilliant skies . . .

     *     *     *     *     *

The music ends.  The screen grows dark.  We hurry
To go our devious secret ways, forgetting
Those many lives . . .  We loved, we laughed, we killed,
We danced in fire, we drowned in a whirl of sea-waves.
The flutes are stilled, and a thousand dreams are stilled.

Whose body have I found beside dark waters,
The cold white body, garlanded with sea-****?
Staring with wide eyes at the sky?
I bent my head above it, and cried in silence.
Only the things I dreamed of heard my cry.

Once I loved, and she I loved was darkened.
Again I loved, and love itself was darkened.
Vainly we follow the circle of shadowy days.
The screen at last grows dark, the flutes are silent.
The doors of night are closed.  We go our ways.

She cannot be any more for me.
Cannot touch, cannot see or know
What it would mean to lie beside her.
Below or above or inside her.
I cannot kiss her skin enough
To satisfy my tongue,
At root, amid tonsil and gum.
There is nothing between my legs
To satisfy the ache I’ve beshouldered.
Nor to give her what she wants.
And yet to be the bearer of such lofty arms,
I have not the strength
To hold her to me, tight enough
Nor strength to let her go.
Therefore pianist or organist,
No digits can so far reach
To abrade this itch within me.
To what worldly force there is to bray,
No hips move expeditiously
Enough to shake this wanting free
Not rhetoric, charm nor Rationale
Bestow words to dissuade my need.
I have no arms to pull her closely,
Nor shape to fit her skin.

Yet I cannot be any less for her.

I don’t sing anymore.
Ever since I quit the music ministry
and later the church all together.
I stopped singing because
the band and microphones
weren’t mine so they had to stay at the church.
That store-front wreck
slightly glazed over with peach spackle
to shoo away any indication
of its poverty or its emotional members.
And emotion was all everyone
ever heard or saw.
Even our baffled neighbors
in the two story  apartments behind us—
were subjected to a blunt
steady annoying hollow drum beat
accompanied by an old wooden rusty *****
being played by—get this---
the biggest **** I ever saw
with a parade of effeminate brothers
to the right all singing (or screaming)
to the Glory of God!
All singing…everyone
A congregation full of people
ready, anticipating the presence
of God so they could get buck-wild
jump, shout, and run down the aisles---
or at least until the organist hits E flat
(which of course is the universal
Church queue for “Y’all got 30 seconds
to give God a crazy praaaaissseeeee!”)
And crazy was exactly what took precedence.
Guys shouting themselves
right out of their britches
sisters shouting off their sweaty weaves
hollering, high pitched screeching “**’s!”.
Mytika in the back of the church
standing on a white plastic folding chair
blowing the hell out of her holy whistle
while waving a white cotton handkerchief
round and round above her head.
And all of this chaos was somehow
glued together by a subtle soothing
baseline humming ----
doom-doom-doom-doom--doom---
doom-doom-doom-doom--doom---
do­om-doom-doom-doom--doom----
doom-doom-doom…
Amongst all the noise and commotion
I was the only oddity to be found.
The only white looking person
who had the audacity to be singing into a Mic.
People falling out, shaking, rolling on the floor
was never out of the ordinary there.
But having an un-black person
a part of their unfortunate country club…was.
Out of all the paranormal spiritual metaphysical
manifestations –I turned out to be the
scariest **** they ever saw.
Because to me God wasn’t a game
or a religion or a face or a person
or a symbol I hung around my neck.
He just was—and still is—
so I could be.
I didn’t buy into the lopsided myth.
The let’s have church,
throw all our worries out the window
and act like we lost our **** minds-
Myth.
And after singing
or at least trying to sing
I had to quit.
Because after all the weird-*** ****
I had to endure and put up with----

I apparently was the only *******
there out of tune.

There is something about churches—
the sanctuary filling slowly,
brass ***** pipes arrayed like halberds
in a medieval arsenal,
stooped ushers handing out programs
as the congregation
accumulates softly
like snow.

And the pulpit—like a queen
in a hive of wooden pews
all of polished walnut,
stands hushed and expectant.

(I know within that pulpit
there is a place to put cough drops,
a legal pad, second pair of glasses.)

Sanctuaries have a peculiar smell,
redolent of potted lilies,
Youth Dew perfume,
aging hymnals,
the suspired breath
of five hundred faithful
lifting their voices to that soaring
Byzantine dome.

I was glad for your presence that day,
the sound of your marvelous
voice, the warm sense
of your shoulder next to mine.
You cradled a hymnal
benevolently in your hand
as though you were baptizing a child.

"Jesus Christ is risen today, Alleluia!"

I sang more loudly, I suppose,
for gratitude that you were with me.
I held my hymnal with more care,
sang and looked up more hopefully
to that pulpit than I might otherwise
have done on any given Easter.
I prayed more ardently for good things to happen,
thought more kindly of the man
beside me who wouldn’t make room
when we three entered the pew
but stared blandly ahead as if
waiting for an opera to begin.

When the minister spread his arms
in benediction and bade us all go in peace,
we stayed to hear the postlude
and watch the Easter crowd
wind its way to the narthex
and spill out into the boisterous
parade on Fifth Avenue.

I sat there and listened with you
as the organist played his sonorous farewell.
When I was a boy sitting next to you in church,
you might gently pat my thigh
when the organist’s final note
passed through the sanctuary
like a great bird in flight.
You would smile as if to say,
“You made it through the whole service!”

On this Easter, when the hymn began,
and the mighty ***** notes swelled around us
like God’s own voice in song,
it was the thought of your shoulder near mine,
your hands upon the pew,
that halted my singing for a moment,
to let a silent bolt of longing
pass through me
like a solitary dog crossing a road.
Then it was gone, the thought,
but so, too, was your palpable nearness,
the idea of your voice
ringing through the church
like a celebration.

Thirty-nine and single
and its been this way four years.
A few flings on the side,
a little skin to skin win,
jumbled kind words in passing,
bubbled emoji smiles,
a morsel from your crumbling heart,
a giant bite of your sin.

I've never been the cheater.
Had my fun when things were undefined,
kept my exes as friendships,
but never crossed the invisible fence line.
Never broke that kind of promise,
never ate the fruit from that Tree of Knowledge

Never been the cheated as far as I know,
I wasn't born to play that cuckold role.
I am just the grateful accomplice,
a secret man-shaped hole in your life,
you speak of only with that man.
We bump and rub our egos,
while you make more sensible plans.

I am a gift that knows nothing or generosity,
humility that swings with fists for fences,
salvation with a price tag,
water for the hungry,
sunshine on a frigid Universe,
the morality of a well meaning fool.

"I can get by on little or nothing."
And I quit my job without reason.
I've got no paper in my pocket,
and not much working for me,
on the street.

I'm not a vegetarian,
I like the smell,
the flesh and soul,
of sizzling meat.

I am "woke" in a way that is not yours,
Woke to the true and endless fight against injustice.
Woke to pragmatic workable solution,
But I expect people to laugh off
or confront a microaggression.
Your complaints mean little to me.
I was born with an incurable disease.
And "if I was half the man I used to be,
I'd take a flamethrower" to your safe spaces,
to your shout downs,
when they threaten free speech.

My hands and arms are strong,
but my legs are weak.
My life is weak.
My car is scraped, dented,
and full of paint and ash.
I quit my last job without a reason.
The next one will be worse.
I owe more than I earn,
preach more than I learn.

My jacket is torn.
My sweater is fifty years old.
My feet are rough beach rocks.
My jeans sag below an alcoholic's gut.
My teeth are yellow nicotine.
My knees crack.
My *** bleeds.
My hands shake.
My **** quakes.

My back aches,
threatening violent mutiny.
My beard is just beginning
its unstoppable transition to gray.
My sweatshirt reeks of ****.
Nights sweats flood my sheets every night,
whether we are together or alone.

My eyes are above it all,
window to my soul,
so much more apt and able,
to produce tears.
In that one way,
I have grown.

This Soul is the unforgiving ice
of a small pond
in a giant winter meadow.
The yellow grass is dead,
but keeps its head above the snow.
The evergreens sway solemn in brutal wind.
The pond is safe to skate on,
If you don't fall too hard.

As we move towards the work of Love
the internet makes a shrewd habit,
of taunting our loneliness.
It supports an army of strippers,
sending stock requests to be "friends,"
with the hope a man might feel loved,
just enough to surrender Visa digits.
Lost girls courting lost boys,
twelve dozen at a time.

My heart wails for affection,
As all hearts must do.
But the wail is just another song now,
passed by painted fingernails
on the local radio dial,
sung only to myself,
like an organist practicing hymns,
in an empty church at midnight.

It was a very strange day
A day, you could say of unrest.
The day Mr Pig was wed
And wore his Sunday best.

Underneath the Duck’s frustrated wings
He had hidden a gun.
He was planning to use this weapon
Once the ceremony had begun.

The Organist commenced and
The door flung open and in she marched.
In what could only be described as a mess
That had been heavily starched.

Mr Duck felt repulsed
Somebody had failed to do their job
Mr Pig had tears in his eyes as he stared
At his white overweight blob.

Mr Pig’s pride and joy called the shots
But not the one fired from the gun
The wing took aim, the trigger released
The blob fell like the setting of the sun.

She hit the deck with an almighty thud
Mr Duck pelted into his hiding place
Where he had planned to stay the rest of the week
And the guilt wiped from his troubled little face. - to be continued ...

It's life and not the Western Front
you don't get the sheriffs star
or go with Beau Geste on
a terrorist hunt

Daktari?
who mentioned that throwback
from the outback
way back
long ago?

If you wanted fireworks
you've got them

I've got a hyperactive thyroid
******* annoyed about it
but
****
it's small potatoes when compared to
this atom bomb we're siting on

Is it all quiet?

inyer
dreams.

Oh, we’d talked of other lives in other places,
But where would we have gone, anyway?
(It was rural Pennsylvania in the thirties,
And being well-off meant you ate three times most days
And could afford meat every other Sunday)
So we carried on in anguish and guilt as old-maids-in-waiting
As there were dinners to cook and cows to strip out,
Fireplaces to stoke, any number of chores to do
While our mothers and fathers waited patiently for that day
When we would, each in our turn, don a grandmother’s wedding gown
And march steadfastly down some acceptably Protestant aisle
While Gert Bauer, default church organist
Though she was past eighty and nearly blind,
Tortured the wedding march, flubbing notes and stomping pedals
The tune lurching forward at an inconsistent
And unusually adagio fashion.

As it turns out, Tojo and Adolph Schicklgruber
Interceded on our behalf,
For, as the young and able-bodied men of Elk County went off to serve
(Farm boys from Wilcox and Kersey, pool sharps from Ridgway,
Fully half the production line from the paper mill in Johnsonburg)
Someone needed to man punch presses and die casters,
So we were able to find work making propellers
In a windowless and airless factory
Which didn’t have women’s rooms
Until we’d been there for three months
Allowing us to set up house together
(We told our parents
It would allow us to save up toward our weddings,
And still let us give them grocery money each couple of weeks.)
Eventually, Johnny came marching home again
And back into his old job,
Which left us somewhat at sixes and sevens,
But, like Blanche DuBois,
We came to depend on the kindness of strangers
Who believed in the value
Of strong backs or the primacy of civil service scores
And so with our steady if unspectacular incomes,
We were able to carry on keeping house, as it was said,
(Our parents sadly unpacking hope chests.
Sullenly gifting us the linens
They’d purchased for our marital bed at Larson’s,
The hand-made quilt stitched and fussed over
For nine months by Aunt Jenny)
And maintain an uneasy truce with the good people of the town;
Indeed, we were all about “don’t ask, don’t tell”
Long before it was somewhat fashionable.

When it became apparent that she would not carry on much longer,
Or, as she put it, Now I’ve got an expiration date,
Just like a can of soup,
It was as if the populace had decided, after some sixty years,
To take their revenge upon our ******* of the natural order,
As if they were a pack of wolves,
Having identified the lame and the sick among a herd of whitetail,
Tightening the circle before moving in for the ****.  
In truth, I shouldn’t have been surprised,
But the pettiness and the tight, self-satisfied smirks
Were no less painful in spite of that.
And what was your relationship to the deceased?
They would say with their half-knowing, half-offended smiles.
I’d wanted to shout at the top of my lungs that for fully six decades
She had been the love of my life,
Without question and without deviation,
Not like the banker who dallied with his fat secretary,
Or the claims rep who, taking a personal day when her pipes froze up,
******* the plumber right on the kitchen floor,
But years of secrecy and compromise exact a toll,
So I simply, quietly, matter-of-factly would reply
I am the executrix, thank you.

We had talked of perhaps heading west
To make honest women out of each other,
And, later still, of burying her in Paris or San Francisco,
But tight times and walkers and wheelchairs
Made such plans unworkable;
It’s only parchment and granite, she said,
What do they mean at the end of the day, anyhow,
And so when the time came
She asked me to take her ashes up to the top of Bootjack Hill
And scatter her to the wind.
Make sure to go all the way to the top, she insisted,
*I want to get good and clear of this place.

Marriage is, the priest intones, sitting hunched over his desk
Like a card sharp trying to figure if he can fill an inside straight,
Not unlike love itself, the deepest and most beguiling of all mysteries,
And I repress the urge to snap To you, certainly
(The man has, after all, said no to the pleasures of the flesh,
Though he must be at least slightly aware of their existence,
As his gaze often returns to the telltale swelling of my midriff.)
He is, you have to suppose, right in terms of the big picture,
Because love is certainly ******* complicated:
For the good father, it’s the ecstasy of the saints,
The little bit of that he taps into with the sip of the wine,
The dutiful nibble of the wafer.
For some of us, it’s a ***-for-tat bargain,
Me scratching your back and you scratching mine.
Then again, it’s your mother weeping over coffee
(Judiciously augmented with an additional kick)
At three in the morning when you finally work up the nerve
To tell her what’s what and what will be down the line.
More often than not, the whole thing
Is like walking through a blackberry patch,
All thicketed and maze-like after years of neglect,
And you end up tired, *****, and scratched all to hell
To get to some berries that likely aren’t at all sweet, anyhow.

Still, the show must go on:
The congregation must have their white dress
(Folks came from out of town, after all,
And the uncles on my mother’s side
Have kicked in for an expensive and utterly pointless silver service)
So I walk down this aisle as devoted cousins beam from their pews
And various great aunts wear their fixed smiles
In various shades of red and disapproval
As the organist (near ninety now,
Flubbing notes and missing pedals,
Her tempo unnaturally adagio)
Fights the wedding march to a draw
I have fixed my mind on playing my part as best as I can,
Giving my brightest high-school-yearbook smile
As I run through rice and whispers,
Double-timing it to the back seat of Uncle John’s tank-like Continental
(Long and black as the ride at the end of our days)
To ride to the Legion Hall at the edge of the village,
Where I will dance and shine, and blithely toss the bouquet
For brides are beautiful
And brides are holy, holy, holy
Yet in the midst of my revelry I chance to look upwards
Toward the stained-glass windows,
And the light waxes and swells until it is nothing but a glow
Which threatens to engulf everything in its path.

i was disconnected from your umbrella,
as we strolled
like organist thumbs akimbo
over octaves of impenetrable silences
that lay as shells at our feet, unperturbed.
your free hand, bound to mine.
enslaved to the pendulum
of our quietous
tandem.

we note the long shadows swaying in the corona of emerging contrasts... we go arm in arm now...inhaling the fumes
of our unspoken truce. reveling in the sanctity of our bond
without losing a thread in our poncho
to a snag in the deluge.... or raindrop teeth.

we continue in our way.
conjoined in our congenial orbits.
disrobed from the
inside-out.
two columns of mute serenity...
stalled where the bridge
and the railing; conspire to frame the stream below
with the moment of our pregnant
pause.
as seen from ground zero in a cataract
of awe and epiphany.

the mist from stones dashing about like trout
draping our skin in flecks of Indra and glass spider eyes
laughing at all our jokes, before the punchline
finds your Abbot
to Costello.

we are drenched in a thousand specks of mirror.
with tide pools in our crows'feet... and all
the continuum of glory...

the unvarnished fathoms of our symbiosis
and the dignity of our invulnerable
Haj to the Mecca of our Peace.

II

i was disconnected from your umbrella
as you never believed in -
having one.

so i embrace precipitation
with all the ****** delight
of a pagan in the company
of His oracle.

your antlers
shedding skin
and divine.

my spirit
dwelling
in a
jar

full of fireflies.
for true.

CONTINUING WITH THE SPIRIT OF CHRISTMAS
HERE IS THE STORY BEHIND THE ENGLISH HYMN:
          “ONWARD  CHRISTIAN  SOLDIERS”

"Onward, Christian Soldiers" is a 19th-century English hymn. The words were written by Sabine Baring-Gould in 1865, and the music was composed by Arthur Sullivan in 1871. Sullivan named the tune "St Gertrude," after the wife of his friend Ernest Clay Ker Seymer, at whose country home he composed the tune. The Salvation Army adopted the hymn as its favoured processional. This piece became Sullivan's most popular hymn. The hymn's theme is taken from references in the New Testament to the Christian being a soldier for Christ, for example II Timothy 2:3 (KJV ) :  "Thou therefore endure hardness, as a good soldier of Jesus Christ."

Now Arthur Sullivan was the son of a military bandmaster, who composed his first anthem at the age of eight, and was later a soloist in the boys' choir of the Chapel Royal. ... To supplement the income from his concert works he wrote hymns, parlour ballads, and other light pieces, and worked as a church organist and music teacher.

    LYRICS OF THE FAMOUS HYMN
“Onward, Christian soldiers, marching as to war,
With the cross of Jesus going on before.
Christ, the royal Master, leads against the foe;
Forward into battle see His banners go!
o Refrain:
Onward, Christian soldiers, marching as to war,
With the cross of Jesus going on before.
At the sign of triumph Satan’s host doth flee;
On then, Christian soldiers, on to victory!
Hell’s foundations quiver at the shout of praise;
Brothers, lift your voices, loud your anthems raise.
Like a mighty army moves the church of God;
Brothers, we are treading where the saints have trod.
We are not divided, all one body we,
One in hope and doctrine, one in charity.
Crowns and thrones may perish, kingdoms rise and wane,
But the church of Jesus constant will remain.
Gates of hell can never ’gainst that church prevail;
We have Christ’s own promise, and that cannot fail.
Onward then, ye people, join our happy throng,
Blend with ours your voices in the triumph song.
Glory, laud, and honor unto Christ the King,
This through countless ages men and angels sing.”
……Posted by Raj Nandy of New Delhi.……

We remembered then
we remember still
Nancy the charwoman
from Summer-Hill*

how the kids loved her
she was always sweet
chocolates and toys she bought them
she gave everyone a smile in the street

her home was humble
she took in the homeless
during winter nights
she served soups with gladness

known for her musical skills
she was the church organist and soprano
(self-taught but could hit the high E)
the best singer Summer-Hill did know

six children's books she had written
200 songs she did compose
the Mayor's Award she won
with the Prime Minister she once did pose

alone she lived by the slow-lane
a lovely garden she did cultivate
stray dogs and cats she eagerly fed
every moment of life she did celebrate

at 99,  Nancy contracted pneumonia, sadly
she did leave behind a will-
(gently she passed away in her sleep)
she gave all her belongings to the Charity of Summer-Hill.

She cannot be any more for me.
Cannot touch, cannot see or know
What it would mean to lie beside her.
Below or above or inside her.
I cannot kiss her skin enough
To satisfy my tongue,
At root amidst tonsil and gum.
There is nothing between my legs
To satisfy the ache I’ve beshouldered
Nor to give her what she wants.
And yet to be the bearer of lofty arms,
I have not the strength
To hold her to me, tight enough
Nor strength to let her go.
Therefore pianist or organist,
No digits can so far reach
To abrade this itch within.
What worldly force there is to bray
No hips move expeditiously
Enough to shake this wanting free
Not rhetoric, charm nor Rationale
Bestow words to dissuade my need.
I have no arms to pull her closely,
Nor shape to fit her skin.

Yet I cannot be any less for her.

fumigated like stockade lice
you Wall St. cologne jockeys
are now 3rd World land fill
recall that consciousness is tuneable
adjust your volume to a comfortable level
because Turette's plus Alzheimer's
is a nation destroying combo
I forgot what I was going to scream
wait oh yeah modernity is inherently outlaw
the chorus began to howl like cats
in Profesor Schrodinger's shoe box
because impressions create personality
there was barking and pulling of hair
their eyeballs spun like casino cameras
I am in your head forever he screamed
and collapsed like a cheeseburger chef
after football day at the griddle
well that was deep as an open manhole
but it hit me like a brakeless gravel truck
that once you admit the voices are yours
you are ripe for mascara ***** extortion
she'll kidnap your mind
and then bitmap your mind
for a little esoteric agenda indoctrination
into the holy tabloid of miracles
that radiate light all around and make
the organist pound like a jackhammer
categories exist before we name them
so let's try to name ones that actually exist
well how Phoenix rising can you get
how on your own can on your own really get
you gotta be educable to survive
that's Darwin plus Microsoft
or else the Army Psyops College
will unleash samurai population control
and you will die hissing blasphemy
like a spike strip *** doll predicting
the end of the cro magnum world
the trick to attaining godhood
is to not try so ******* hard
because adrenaline is a
reduced instruction set
with which high resolution reality
will rip your face off
worse than catching mommy
******* off daddy
for life is short and duty long
drink its venom defiantly
drink it you are going to need it
no need for instincts
in a world of plenty

From "Pageant of Naked Mischief" available on Amazon