It's been a while. I wish I've been posting here more, but I've been very busy. I promise I will have a more proper update sometime in the near future, but for now, a few poems from my most recent class.
I want to believe this is a silent scene,
but it’s not. Rarely is anything silent.
And over there, it’s all noise and laughter and talk
—and I’m drowning sometimes.
I’m lost, I think, but then I find myself here
and I feel a little better. A fire paints one section
of trees a light flickering green while the surrounding
forest continues to soak up dark like purple ink.
These are tall, skinny pines like we’d find
out west if we went up into the Rockies.
(Away from the mountains, it’s flat
and I’m almost crushed
by vacant sky.)
It is my camp, but I’ve snuck off and notice
the glow of light and sound coming together.
When I need to be no one and try
to remember what it is not to speak,
I come out here and feel the pleasing scrape
of pen on paper—not even writing for the words,
but for the sound words make when they’re scratched
out. If that were the only sound, there would be no need.
This is hyperbole. There need to be other sounds—
one in particular:
any moment of quiet is made all the more
still by your steady breathing.
But you are not at the camp
or in the woods.
Upon waking up
as if you have, for the last indefinite
amount of time, been dangled head-
first over the edge of a cliff,
which for all you knew could crash
into Hell itself,
but with no memory of the ordeal.
Only anxious sweat
and a thumb print above
Thirty Pieces of Silver
(Inspired by Thirty Pieces of Silver (1988-89), an installation piece in the Tate Modern by Cornelia Parker)
“I resurrect things that have been killed off... My work is all about the potential of materials - even when it looks like they've lost all possibilities.” -Cornelia Parker
She scoured yard sales and thrift stores for silver
things, rented a steam roller, and produced
thirty clusters: large, more or less round groups
suspended inches, moments above the floor.
A shadow anticipates each object’s
descent, but also gawks at the surreal
levitation, a fragile détente between
floating and falling.
Fancy forks and platters
Spoons, teapots,
and candelabra,
A trombone, the bell
like a pressed flower pulled
from a yellowed book,
A trophy—to whom,
and for what, precisely
unimportant.
Keeping Time
(on a metal statue named Maurizio that rings the clock bells at Piazza del Duomo)
They cast Maurizio, dignified, skinny and small
To stand atop the tower, mallet in hand,
And wait in stoic stillness for the hour’s command
To hammer every measure of the daily song.
Envying the power his hands held to compel
A man, one moment resting, to retreat,
They thought, if life is an ever-undulating rhythm
That taps out time through crescendos and troughs,
What better job than to count the cadence
And watch men scatter, leaving trash for the pigeons?
But the deep wound of time seeped
through and slowed the gears that swung
his arms, until the bronze man knew nothing
more about the present turning hour.
A lonely ritardando in a choir of steady
Ticking clocks, Maurizio now stands, a street-side
Prophet with apocalypse on his tongue but crazy in his eyes,
Tolling two-sixteen with eight convicted
Notes. But if life is an ever-undulating rhythm
That taps out time through crescendos and troughs,
What better job than mocking every
Measured moment—showing each as slow
And fast, trilling first and fading last?
On the Separation of My Parents
(inspired by a piece of student art)
This is a chair
that once sat up
right in a (slow
burn of a) home.
Now it hangs
crooked in ash mostly
shadow among the wreck
age of a place may
be never alive, now sure
ly long
gone.
A Hillside I Vividly Remember, But Never by Name
Two hills, connected by a patch
of unkempt, wild trees
and bushes. I used to go sledding
here years ago, but now
a new thrill—some sort of kite
so big it pulls us clear off
the ground for a second or two, more
if we’re not careful.
It’s a cloudy holiday, and some friends
invited us out here to try. But Nick
stands a little off from the group,
pushing and pulling at nothing,
his eyes glinting with intensity, teeth
bared, brow bent inward. Out of breath
and elated, I beg him to try. I have
no need for a medium, he smiles,
to harness the wind. I control it.
As we slide around on the long,
wet grass, struggling to hold
onto air and earth all
at once, he laughs triumphantly
and tells us we should thank him
for dragging the wind over
this hillside so we could enjoy
flight for just one moment.
Here when I was much younger,
I felt the same: a second of lightness
punctuated by fear and impact—
But then, I had not yet learned
how to name schizophrenia,
nor known my brother
to wrestle with the wind.










