the tactile feel
when I drink
from a
red plastic cup
with vertical ridges-
waves that undulate at
my tracing fingertips.
and after a time-
combined with the condensate
colluded from
hot and cold-
I wipe clean the surface
and clasp my hands
tightly –
as if to shutter
the memory.
In a twildly dusk, I see
a flaxum and her mimbles, we
open talk and loydal sing
with sunbeam-laden mulbering.
The verse rafeals a higher cause,
and willently, we sing then pause,
our fragenotions echo there
as we chorus contricare.
As just as then, we breathed and stopped,
fixembled, stable, clembed and swapped
A song sincerely wooed, then freed
and flaxum/poet now agreed.
Then in mirist silence found,
tracing back with embered sound
songs at dusk- the most revered
The ferrel-maried moon appeared
and strummed the night to denser aires
with open chords and fortunes fair.
I’m having trouble
speaking the words of a poem –
with its slashing across lines-
led like the maestro, using a baton,
to encourage the violins
as they tear through the motif
of heroic melodies
it should resolve into
adagio songs-
except for the divertimento
in my head.
It is in the sounds
the leaves make when the breeze blows,
or in the solo song
of the catbird, after the wind dies.
There is a beginning, middle, and end-
to declare origin,
divine their pivot-
The end is always the absolute.
Recalling what came before-
She takes photographs-
framed with a delicate touch between
her thumb and forefinger
to record a point.
a reference to the during
where her moment breathes.
a yellow bird
recently flown from
a cage,
stopped at the end of the hall
to peck at the mirror,
looking for a friend
instead
finding a rival
at every move.
There
are
an assortment of sizes
colors and shapes of
colored glass that sit
on the table and catch
the morning sun.
my silhouette
blocks the glint
in the big red bottle
as an eclipse-
unfettered by orbital
motion.
The lights illuminated,
then passed her
on the serpentine highway,
as she kneeled in prayer;
people in their
own cars looking
at the road
and ignoring the eglantine
bush in bloom.
The poet, from his slant,
saw her lament
-the context in thorns-
and captured her tears,
knowing
she would never
read his words.
its ordered stacking
melts and dies,
recapitulates
then coalesces-
to epitomize
a reformation in this wise-
to begin again, displaced another’s
demise.
On Wednesday,
the piped-in music
is the dulcet tones of
a soprano saxophone, a theme
some clientele believe balances
smooth with the hot and sour soup
and the first plate of butter shrimp
with white rice, fried pepper squid, and
the hibachi chicken, stratifying the ambience
of a buffet; but the second plate,
picked and chosen
among the sesame chicken, and the
general tso’s,
and the chicken with broccoli
all taste
like a thin song
of tempura chicken (sans the
sweet and sour sauce) on the
front serving table.
On weekends, they serve dim sum
and there are family style meals
served in the banquet room. The music
from the erhu and the lute
is the the sum of the whole,
a way to return
the lever to its grounded point
while remaining on the fulcrum.
between the plane trees
by the lake
I would place a park bench
so that I could watch
the water gesture
and volley,
shaded from the sun
quiet interrupted
by a cardinal, or
the leaves that surmount
distant sounds of
traffic,
reminding me of
continuum
states
that overlap
between the plane trees
************
between the plane trees
that overlap
states
continuum
reminding me of
traffic
distant sounds of
the leaves that surmount
by a cardinal, or
quiet interrupted
shaded from the sun
and volley,
the water gesture
so that I could watch
I would place a park bench
by the lake
between the plane trees.
Taps and Ratamacues 