A Southward Tide

Poems, essays and excerpts. A favorite quote or two. An observation. A compendium of imagery. A dream analysis.

Tag: poetry

Love is Ever a Fickle Friend

Love is ever a fickle friend –
he brings me pretty threads to lend
then points to me the broken seam.
My rosy cheeks aflame, I teem
with shame. Please forgive me Love,
I meant to wear the other glove
but somehow slipped into the stack
those panties from a while back –
I could not resist another wear
But why indeed, Love, do you care?
They graced your body time before,
old hems you once stitched and more.

Love is ever a fickle friend –
he traces circles with a pen
on inked skin he sketches dark trace
then quits the draw, deserts the space.
Body penned with strange design –
Love once here leaves me behind.
My figure cold in deserts deep,
upon my form your mark does keep
everlasting grief – Please go soft
the needle’s prick bears me aloft.
Though up on barren hillsides dwell
the unrequited love you quell.

Love is ever a fickle friend –
he offers tattered cards to send
of all the tangled cities known,
desolate streets we walked alone.
I hand them out for all to see
for Love reminds me nothing’s free.
To love but one or many more
costs forever the familiar shore.
To love many or just a few
we abandon option to renew
and by the crumbled ramparts stroll,
city obscured by love’s cruel toll.

Love is ever a fickle friend –
he gives me reason to pretend
that all along I played charade.
And now subtle memories fade
into the shade of moonlight cast.
Love – you always moved too fast
I caught you only with a glance
the timeless twirling of lost dance
or twilight on horizon’s cut
my dreams astir in instinct’s gut
but earthly bound as humans, we
can’t know you, Love, eternally.

Love is ever a fickle friend –
he clangs the church bells to no end
In rose-hued nave we say ‘I do’
then to the disco crash the few
bearing testament this dim hour,
flee the witnesses grown sour.
But on the floor stay Love and I,
feet shuffle to a tempo shy
one million years to eternity
as I shall not forever be.
Yet ever young, Love shall reside
alone without me by his side.

A Solitary Thing

At first,
it was foreign.

The better part of a year
it took to become part of us

and we became accustomed.

We plotted:
what medications
to bring to the bedside,
what broth,
what puree.

We measured:
steps down the hall,
sunlight,
temperature.

We found a fragile balance
in this no man’s land

and while it slipped into
the clicks and clangs,
we rested in the forgetting.

But eventually it became more than us;

more than our imagined credentials,
more than the pats and hurrahs
we gave ourselves,

more than the sympathy we were
bestowed for fighting a battle
not our own.

It became foreign again.

And we lamented the years
spent forgetting
and getting on with things.

Though the system kept running,
the broths and purees,
the tray with its colored days,
the blankets and slippers,

we took to whispered tones.

It was no longer ours,
but his alone –

a strange solitary thing.

Labyrinthine Way

I must have had a thousand feet to walk
your hollow lanes, like licks of fire that stalk
the harvest hay. Through your maze I beat wings
like moth to the flame. City of past things
too narrow to name, city of avenues
too wide to cross, city of endless queues:
I left your ant farm with its bird’s eye view.
I left the old block. I long walked my due.
Streets swept anew past the seconds I fled
cause time swallows fast, fresh feet tread my stead.
Farewell far city of brick memory,
my soles still imprinted with your fiery
mark. Upon cobbled stone, I’ll rest my feet
and watch as the masses flock to the heat.
Now in vaulted hall I stake the last stay –
lead others down your labyrinthine way.

The Polyphemus Moth and other important moments in literature

Every now and again, a book tattoos itself on my life. I  hark back to the first time I read Balthazar by Lawrence Durrell or Rider Haggard, Richard Brautigan, Notes from the UndergroundLady Chatterly’s Lover, Hernandez’ Piano Stories or The Master and Margarita. I filled journals with quotes. I thought, life will never be the same now that I know what literature has made possible, my perceptions shaded by the disclosures of fictional worlds. I recall the year, the mood, the mundane dramas of the period when I read such work, when Marquez murdered his protagonist, Santiago Nasar, in the first line of his novel or when Annie Dillard’s polyphemus moth began its infinite crawl down a winter drive.

I read Pilgrim at Tinker Creek in high school. A decade later, I remember two passages from her non-fiction account. In one instance, Dillard describes the histories of newly sighted patients, blind from birth, after the development of safe cataract operations – their wonder and confusion at the two-dimensional plane of color patches and textures where space, form and size are indistinguishable. Their perception seems akin to an acid trip. A twenty-two year old girl keeps her eyes shuts for two weeks. When she finally opens them, she “repeatedly exlaimed: ‘Oh God! How beautiful.'”

And then the next passage: the moth, the fateful cocoon brought prematurely to life by the hot hands of school children, born in a mason jar, its wings forever crumpled. Upon her memory is etched the image of the beautiful crippled moth hobbling towards its death down a cold long driveway. I still cry when I read those pages. It has been seared on my subconscious too. It pains me that she did not spare us her morbid image. I have my own horrors tucked away too – the corpse of the baby sparrow we snatched after its nest fell, despite my mother’s insistence that if we touched it its mama would never return, the beautiful subsaharan tortoise I named Henry dead on our hot Manhattan roof. All these things brought back to life by the polyphemus moth, our hearts burned by the same sad destiny.

Music and Writing

Things that help me write prose:

1. Music
2. Driving; music
3. Walking; music
4. Staring off into space; silence
5. Dancing; music
6. Music
7. Spinning, handstands, cartwheels; chirping birds

Things that help me write poetry:

1. Weird Mood; silence, tumbleweeds

And if the music is good enough, words pop right out of the sky, streaming in my head, colored sentence ribbons variegated like a bouquet of tropical things. I count on music to inspire me; the musicians do most of the work. For a recent short story, I listened exclusively to Chopin while writing and then the soundtrack of Waltz with Bashir to edit. Right now, Vampire Weekend’s new album. What inspires you?

Youth on the Odometer

If my past were a wide white highway
snaking down South Florida’s coast,
my memories would be the telephone poles
where I pinned adolescent fantasy,
mile markers gauging far-off wishes:
a strand of hair tangled in my bikini strap,
the aspiration of kilometers ahead.
And that translucent sky under banded rain clouds
was a dream I hoped to catch before sleep.

Was there a tiny seed of adulthood in that shallow breast,
navigating her beat-up beginner’s car?

My youth was wasted on an odometer.
Life came at the next stop:
Exit One to Miami,
down to the Keys,
90 miles to Cuba.

Fifteen years later, I drive down I-95
under a same slivered sky.

But now my day is no longer a distant destination,
a seventy-two hour drive, forty Marlboro Reds,
and twelve Diet Cokes later.

Today I don’t pin fantasy on metal finger rows,
speed limit amped to 110 mph,
psychedelic exhaust trailing behind.

My lane is wide and white.
I’m not ashamed to drive this slow vehicle, watching mile markers
lounge a road snaking between aerial ramps
as the purple clouds boil.

February Forest

Behind black silhouettes of trees lies a soft wool –
You wish to rest your eyes there a moment,
and pull gray knots of yarn over your lids,
relax your pupils on purls of dead moss and fairy down

This pale-hued palette is a slow fall to sleep,
a crepuscular swaddling cloth,
like the oval taste of lemon sherbet on your tongue
or a forgetful fleece lost in the counting.

Occasionally a bramble pricks your retina
your winter eyes water but you pay no heed
because now your mind is edging its way under covers
It needs a nap too.

I Want to Live a Simpler Time

I want to live a simpler time
and a simpler place
where stoplights are flags waved at random
across a plaza of crisscrossing horses

I want to journey a hundred miles by carriage
where ruts of mud splinter wheels
and dandelions in the fields
they grow for the picking

I want the priest who marries me
to have a garden
and a mistress
and a son

I want the boat that floats my ashes out to sea
to have a high wooden mast
and a lass upon a widow’s walk
measuring time by the ocean’s setting sun

I want no man to know the mysteries of my soul

Alas I live not in a simple time nor place

Instead the plaza has green and red soldiers
that flash their lights in combat
at compact cars and buses

at the sailor’s wife with her Italian lover
and the preacher pawning fortunes by telephone

and at me barefoot and lost in the midnight lane
street lamps alighting my soul for all to see

my time is an intricate intersection

a tangle of crisscrossing wires
like inside out carcasses
I cannot recognize my end from your beginning

and mystery is a windblown dandelion
wafting upwards for us to watch,
stopped static in the plaza
by a red soldier waving his flag of war.

Impasse

You whisper under breath
that life again begins to pass,
the image flickers like Muybridge’s horse.

And the weight that brought you born to air,
the weight that taught you how to breathe,
stops breath again.

You start to pass.

The ticks of time of waiting stretch
and the waiting waits for you to fall
The waiting waits.
It’s what it does.

You wait with it for none to pass.

The flicker of the running horse
starts and stops in false pretense.
Because life begun, it never ends.
It never ends.

You wait with it
until the weight that brought you to this pass
lifts

and in the space breath left behind
the waiting stops.

[One of my first poems, 2006]

If Only Words Could Fly Like That

Sounds cast from piano strings
build phrases like skyscrapers shells,
a window lattice of violin bows
slashed by the conductor’s hand.

If only words could fly like that,
ruthless slicing the atmosphere
like the grid skin of an arithmetic city.

The music rises in adjectives and verbs,
the cello spins prepositions to rarified heights.

Our words have not the tensile strength
to buttress the transoms of this geometric land.

But our ears, they float heavenward
along polished beams and glass planes,
gliding like rational snakes up a vertical map
to coordinates unresolved,
supple and punctilious.