December 31, 2009

Clare Bowdy


Clare Bowdy sat at her kitchen table and made a list of the dozen or so experiments she conducted over the past few weeks. What’s meant by experiment is a little test involving just Clare, not scientific so much, but a test which either supports or disproves Clare’s theory that she is invisible.

Fountain: In this experiment, after removing her peep-toe pumps, Clare stood for ten minutes in the little decorative fountain at her workplace. What’s meant by workplace is that god-awful institution where Clare shows up every morning to perform various clerical duties for eight hours, excluding a lunch hour and two fifteen minute breaks.

Men’s Room: Clare used the Men’s room on the tenth floor of the Lennox Building, the first time she ran the experiment. The second time she used the Men’s room on the ground floor, a more active locale.

Borrowing: What’s meant by borrowing is stealing. Though against her nature, Clare viewed this exercise as essential to her inquiries. She borrowed from the Bailey Independent Bookstore, The Collected works of Christina Rosetti. She borrowed from the corner drugstore, a tin of mints and a lipstick.

Office Crazy: What’s meant by crazy is that Clare moved her chair to the center of the office where she sat for four hours reading a book of borrowed poetry. Grocery check-out, Movie Theater, lingerie window, the list continued.

Clare first hypothesized about her invisibility when a bank teller closed his window and light as she stood next in line. She didn’t think she’d always been this way only, over time she’d been disappearing. If the results of her investigations hold true—well then—she is invisible. What’s meant by invisible is unseen. As far as the rest of the world is concerned Clare Bowdy does not exist.

There were things; things that Clare had been unaware of previously. For instance, invisible people don’t pay for theater tickets or require bus fare. They don’t need to bother about their appearance and a good deal of money can be saved on toiletries and clothing. Best was Clare’s realization that other people weren’t ignoring her. They just didn’t see her. This thought made Clare radiate with a sense of self-confidence. There were other things; invisible people don’t have to show up for work. Clare did show up because work was an excellent time-pass. What’s meant by time-pass is something to do, not work so much as other things, like rerun the crazy experiment, or go through a co-worker’s desk or pocket-book, or take a nap on the fainting couch in the penthouse level ladies room. Clare was concerned about her recent plunge into such shocking behavior. And so she decided to research the effects of invisibility. What’s meant by research is she rented three movies: The Hollow Man, The Invisible Man and Memoirs of an Invisible Man.

In two movies the central character went mad. A correlation between invisibility and lunacy arose. And why not? Clare felt her own devilment. On Thursday, she’d peppered Timoney’s eggs. On Wednesday she gave a group of boys the finger.

"Memoirs," a funny love story in which Darryl Hannah falls for the unseen Chevy Chase, was her favorite of the movies. Clare admired the character’s make-the-best-of-it attitude. In the movies the invisible characters were missed. No one missed Clare. All of this brought her to no definitive conclusions, only that invisibility may cause psychosis. Clare pondered this idea as she sucked the skin of a popcorn kernel lodged between her teeth – previews of another Chevy Chase film played on the television.

The best thing about invisibility was seeing it. Previously people’s seeming disregard of Clare seemed a kind of condemnation. As if not looking at her was another way to stare at her in mockery. What’s meant by mockery is disdain. At least, this is what Clare means by mockery. Clare no longer waited timidly in lines; she cut them. She sat in the cafeteria near the most interesting people and eavesdropped on their conversations, even throwing in her two cents now and then. Life became rich with a new sense of passion and freedom. Clare Bowdy knew who she was—and she accepted herself.

Clare stood naked before her bedroom looking glass. She admired her beautiful reflection in the mirror. What’s meant by reflection is what one might expect – although to everyone else she was unseen – Clare could see herself. All of her life what Clare saw in mirrors and reflected in storefront windows was fleeting and blurred – she never had a strong sense of herself. The truth is she never liked what she saw. It was as if the woman who looked back at Clare were an imposter – gray and shady – someone not to be trusted as yourself. Today Clare saw a goddess in the glass – her gentle features –luminous skin –platinum hair and gray eyes – diminutive bosom and tiny waist.

“Clare,” she said to herself in the mirror, “Clare Marie Bowdy.”
It was a warm day and Clare considered the idea of going to work nude – but even as an invisible woman – she thought better of it. She donned a pair of jeans and T-shirt and headed out in time to catch the 8:15 train.

At lunch the cafeteria was noisy. A tray bumped into Clare’s but she didn’t look up from her reading. Things visible were losing her interest. She read the last line of her book, and then reread it aloud. Chewing a fry Clare pondered the line. A man coughed and she looked up. 
“Excuse me—” he said.
Clare looked over her shoulder and at the people on either side of her. She stared at the man and he stared back at her.
“You were saying?” he said.
“Reading,” Clare stammered, “You saw me?”
“And heard.”
Clare’s stomach rumbled. She put her fry down and arranged the mess on her tray. She’d been seen. What’s meant by seen is the past participle of see.
“I watch you all the time,” the man said.
He wore a blue cotton work shirt, his dark hair a dingy color. His face faded with pockmarks. When he smiled, his teeth showed bits of burger and bun.
“I’m Drew.”
“Clare—” She said, gathering her things.
“Can I see you again?”
“Seems like—” She exited the noisy room looking back once. Drew watched her still.

She’d left work immediately. A bus all but ran her over as she rushed to catch the outbound train. Crossing the boulevard Clare Bowdy felt her stomach deep in the soles of her shoes. She was just beginning to feel that her purpose exceeded what others could see. Even though isolating, Clare felt empowered in her new lifestyle. Now an unremarkable stranger changed everything, just by looking at her.

“How could I be so dumb,” she said out loud on the train. Clare put her hand over her mouth self-consciously. The man next to her slept, the lady across from her read the paper, a skinny kid stood holding the handrail above her, no one acknowledged this strange woman who talked to herself.
“Maybe not so dumb,” she whispered.

With the telephone at the kitchen table Clare called Becky Adam in Human Resources at the Lennox Building.
“Let’s see Clare, new hires…Merrill, Bob Raleigh, Simms…Oh here … Drew, Drew Voigt. He’s an Intra-corporate courier. Extension 901. Want me to transfer you?”
“No. No. Thank you Becky,” Clare hung up. She sat silent at her kitchen table in the afternoon sunlight. Her latest Am I Visible experiments were consistent with her original results. No one saw her in the men’s locker room at the Y. No one noticed when she climbed on the Modern Art Sculpture in the courtyard. No complaints when she cut the line at the elevator. What was it Drew said? I watch you all the time.

Clare was jittery before lunch. She decided that if she saw Drew she’d pretend she hadn’t. Drew could see her if he wanted that was his business. She was indiscernible as she slipped into her usual dining spot. Directly, Drew Voigt sat across from her. What’s meant by directly is that Clare hadn’t even had a bite of her Sauer-dog.
“Hi,” he said.
She nodded in grim acknowledgement.
“You look nice. Blue is your color.”
It wasn’t. Blue brought up the grays in Clare’s complexion. It made her look washed out.
“Can I call you some Friday night?”
Clare didn’t answer. They ate lunch in silence. He chewed noisily breaking the stride of his mastication regularly with his broad smile. Clare’s bites grew smaller and smaller and with them she felt as if she were shrinking. When she was through she scrawled ten digits on a scrap of napkin and passed it to Drew.

Friday, Drew called Clare and they talked into the wee morning hours. By dawn he knocked on her apartment door. Soon they’d spent hours, more like days together. Clare never mentioned her condition. They never kissed or held hands but she’d imagine sultry scenes, picture him naked in her bed. Every love scene on TV or in a book was Drew and Clare.

Certain ideas gained force for Clare. And so she decided to tell Drew the truth. That evening, Clare told the story of a nondescript-loner, a well-read and intelligent woman who discovers through odd occurrences that no one sees her. She amused Drew with anecdotes of the woman sneaking into theatres and using the men’s room. The story ended in a dangling way, what’s meant by dangling is with the same feeling as when someone tells part of a secret but stops themselves before telling the juiciest part. Drew moved to the window and opened it. He looked out into the quiet evening. Clare tried to think of another story but every clever thought she’d ever had disappeared.

“Are you the invisible woman?” He said, turning back to her.
She didn’t answer. The intensity of Drew’s gaze made Clare feel not just seen, but seen naked. Somehow they lay down together on Clare’s bed and soon they were naked and Drew’s narrow body was arching above hers. The lights were on. Their eyes were open. All of the stories and visions disappeared and the whole world became invisible. It’s another thing all together when everyone and everything else is invisible and the only thing in focus are the lips or the hands of your beloved. What’s meant by beloved is Drew Voigt.

“What are colors to a blind man? What’s music to a man-who-can’t-hear? What’s the-smell-of-a-flower to a person with no olfactory?” Drew said, smoking and leaning from the evening windowsill.
“Everything,” Clare answered, “and nothing.”



At her kitchen table Clare makes a list of the ten or so job openings that she might be qualified for: Typist, Library night reference, Night-watch person (she crossed this one out but hadn’t ruled it out), Mini-mart Clerk – Graveyard shift, Teacup girl – Midnight Espresso Café, Groundskeeper’s Assistant – Jasmine Memorial Park Cemetery.
It was three weeks since Becky Adam phoned Clare.
“Timoney wants to see you. There’s a problem with you not showing up for work recently Clare.” She spoke with incredulity, unable to accept this as the behavior of Clare Bowdy.
“Also, there’s been a sexual harassment complaint. I’m not supposed to tell you. Something to do with the men’s room…”
Clare accepted six weeks severance and several months’ medical coverage so that she might get the help that Evelyn Timoney, an even and well dressed woman, suggested Clare needed. Clare was glad to meet Ms. Timoney and Becky Adam, who was much heavier than Clare imagined.
“I can’t fathom you’ve worked here ten years Clare,” Ms Timoney said, “I’d have thought I’d have seen you by now. You’ll be fine my dear.” She said patting Clare’s hand.


She no longer needed experiments, didn’t need Evelyn Timoney’s therapy sessions or Drew Voigt’s love-making. It was true, no one saw her. Even when Clare Bowdy looked right at them, people looked right through her: the bank teller, the bus driver, the boy who plowed into her, the man on the train who sat on her lap, the teacher who never called on her despite her waving hand. Her own parents who discussed her dilemmas, oblivious that she sat on the couch listening.

Clare thought of kissing Drew. Each time she remembered a kiss deeper than any she’d imagined. She thought of how they tore at each other’s clothing, stared at each other’s bodies, made visible love – in the day light of the afternoon sun, with the shade drawn up – for the entire world to see, if the world were not so blind. And in the morning Drew gulped orange juice from a carton and wandered her apartment naked, a piece of dry toast in his hand. Such remembering took Clare’s breath away.

She sipped cappuccino and chewed a bagel at the Midnight Esspresso Café and afterwards floated across the greening bridge and up the paper street to her home. Dry leaves and crumpled foil skittered in the dust of dusk, a thin white receipt, a list written on the back of it, lulled among them. It had escaped the careless hand of Clare Bowdy, as she traveled unobserved through the dusty streets.

December 21, 2009

Haiku for Non-believers






Your notion of psychosis
Acquiesces to my construct of poetry
Astonishing spirit flies

September 17, 2009

Travel



I am building a bridge to close a gulf in the night
rickety boards held up by nothing more than my
steps on them. When there is no light I must use
my other senses. Feel me reach for you over the
inky water. Let the breeze of my fall
from the planet move your hair. Walk with
me fearlessly. Let our faces, give the moon a
place to reflect when she is disappearing. As
we know she is never gone. Oh occupation!
Lifetime endeavor! Join me as I travel brightly
the un-certaintude of the happy yes of loss.

June 15, 2009

Sloth


On day four the prompt was to write a poem about an animal.

I had the idea to write a double sestina about a sloth.


I always felt bad for the sloth; a sin named after it.

Or did they name the animal for the offense?


I thought I’d personalize the poem by tying in my reclusive

tendencies, the clinical depression, my dormant ways.


The sloth keeps an inconstant body temperature – almost reptilian.

My normal body temp is 97.3 degrees. The sloth’s known to maintain


a grasp for some fifteen to twenty hours after death. I grind my teeth,

even during afternoon naps, when shoved by a drowse into a cavernous sleep.


The sloth is sedentary enough that a symbiotic alga grows in its fur.

It's not a disinclination to work, I don’t think. But that’s how Webster


would couch sloth. In the treetops – that’s where it all takes place.

The sloth eats, sleeps, and gives birth while hanging from tree branches.


I’d even planned the end words for the sestina: sleep, bough, suspend,

hermit, nocturnal and sloth. All month it’s made me feel out on a limb;


this unwritten poem: sluggish, idle, like I wasn't getting things done.

There are days when stillness, like a death, is the place where I’m suspended.


There, sometimes for hours, I hang.

June 08, 2009

Memory

II
At about the height of the tree tops,
my flying coach chuckled at me when
I told her I’d always believed I’d need
actual wings to fly. “Solar plexus,
Solar plexus.” She whispered.

IX
She was too young
when a man took her innocence.
When she got it back,
it was broken.

LII
Wind blown curtain,
paint brush, budding forsythia,
whistling tea kettle.
What did I come in here for?

May 25, 2009

Farewell




Before we left Oswiecim and went to work elsewhere for the devil and we left you to play your sweet clarinet for those officer’s parties and decampment marches. Six of us said a Novena and made a promise in the bunker you built. Remember that sweet German marmalade, Albert? And those cups of tepid soup we brought to you those August nights? I remember your ready smile and broad hands. How capable you were with a carpenter’s tools. We were, each of us, around 19 years old in September of 1944. Karol said you reminded him of his kid brother the stubborn mass of your young muscles despite the wear of starvation and slave labor you endured. You heartened us, my friend, and we loved you as we did another tortured Jew. And in that place where you worked alone those hot afternoons, in that bunker that we built together intended to protect the SS in case of an airraid; the rest of us, we gathered and Bronislow wrote our names and prisoner numbers on a scrap of paper that Karol ripped from an empty cement bag. We used the pencil left by a visiting inspector and there where you hid the evidence of the food we'd stolen for you, the jelly jars and soups tins. There in the cement wall, inside an old vinegar bottle, after we said a prayer for survival, and if nothing else remembrance of our young lives. We secreted that scrolled paper after adding your name, Albert Veissid, and A12063, your prisoner number.

May 06, 2009

Virtual Book Tour: On the Hood of a Cutlass Supreme



Shaindel Beers is a teacher, a poet, a mid-westerner, and she’s a friend of mine. I am excited to host Ms. Beers on her whirlwind virtual book tour “On the Hood of a Cutlass Supreme” wherein she is presenting her first book of poems from Salt, “A Brief History of Time” released in February of 2009.

Shaindel Beers earned a Master of Arts from the University of Chicago in 2000 and her Master of Fine Arts in poetry from Vermont College in 2005, where I met her. Her startling new book is a dense collection of time travel which carries the reader not only through decades and centuries but it also spans the geography and psychology that is a young woman’s life. And though she is only 32 years old, Ms Beers’ life, one could say, seems as densely packed and successful, as her first book of poems. Shaindel Beers lives in Oregon with her husband Lee, teaches several English, poetry and creative writing classes, fits in some farm work, a little personal training, hosts an online radio show “Translated By” and is the poetry editor for “Contray,” poetry and fiction webzine. Ms Beers is also the poetry reviewer for “Bookslut” an online monthly devoted to literature.

In, “A Brief History of Time,” Beers deftly blends such incongruent elements as love and samurai. Her poetic voice is frank and multifaceted. She tells her life’s stories while enchanting the reader with her use of language, form, imagery, stunning emotional insight and social empathy. This first book, composed over a ten-year period includes award-winning poems, a wide range of styles: sestinas, plainsong, free verse, and the exotic ghazal. Beers' poems give voice to a range of characters, from the pedestrian to the sublime. Through this poetry, we see the world from a virtuous and honest narrator, as in the poem “Return,” "I lived there, and now I need to go back, feel my legs merge again into fins/ and swim through time. Have tea with the Lady of the Lake,/ laugh with the sirens at their stories. Shudder at tales of/ strange men cutting holes to the realm above."

Shaindel Beers' second book is a work in progress, forthcoming from Salt, and tentatively titled “The Children’s War.”

I had the opportunity to ask Shaindel a few questions about, “A Brief History of Time:”

Bluemoon Northeast: Your book’s title comes from the poem, “A Brief History of Time,” an appropriate title for this collection in which time recurs as a theme: “for the nine o’clock break (6),” “songs from my childhood sprang back..(31),” “because I have you this weekend..(61)…” There are many examples of time references in this collection. Can you say a bit about time and how it emerged as a theme in this collection?

Shaindel Beers: I think of time as something that we can’t escape. When we come into the world we are given a birth date and when we are buried (if we are buried) on our tombstone there is a birth and a death date with a dash to represent everything that happened in the interim. That dash is everything. Time is utterly fascinating. Our lives are shaped by it. We wish we could go back in time. We want time to slow down. We want time to speed up; we wish we could see into the future. We regret not valuing time. I remember, especially when I was a teenager, waiting for a boy to pick me up for a date and thinking that the time when I would hear his car in the driveway needed to GetHereNow! Then, one day I thought, someday I’m going to be eighty and regret all the minutes I spent just waiting. As I get older, I realize how relative time is. When I was ten, a year seemed like forever; now, it’s hard to believe it’s 2009.

I’m also a theoretical physics geek, as evidenced by the title of my book (an homage to Stephen Hawking). I daydream about things like the Grandfather Paradox and (yes, in Star Trek terms) the Temporal Directive. What if you could go back in time like in my poem “Rewind” and change these events? Would the world be any better? Would we (humankind) just find different ways to destroy ourselves? Or, would we have good intentions but do more harm than good?

Bluemoon Northeast: In the title poem, we are taken on an odyssey through a history of love that seems random and yet delivers the reader to a very deliberate location. Tell me about this poem.

Shaindel Beers: I wrote this poem while studying with Richard Jackson at Vermont College, now Vermont College of Fine Arts. Rick is a great associative poet. He asked me to look at other poets who write this way: Dean Young, Robert Bly (the father of Leaping Poetry), and many Eastern European poets who write this type of poem. If you’re not sure what I mean, think of stream of consciousness in prose. I began writing about love—specifically, the crumbling of my first marriage—and then I started thinking about other times’ and cultures’ concepts of love.

It was a fun poem to write. Anything that popped into my mind I went with, without self-editing. I did research the poem; thank G-d for Google! I went from marriage being a war of attrition to wondering about warriors. I’ve always been fascinated by the samurai. I studied various classes of samurai. I thought about how my (romantic) relationships with people never seem to work out. I tried to think of what I really love that will be here forever (theoretically, at least). I thought of mountains and researched when certain mountain ranges were formed. I feel this poem took me on a journey more than that I wrote the poem. I love that I ended the piece with Jenny, sitting on the hood of her 1983 Cutlass Supreme. Those were some of the best times of my life, speaking of time.

Bluemoon Northeast: I noticed that while much of the work here is free verse, there are a few instances in which you use form, in particular the sestina and the ghazal. How does poetic expression in strict forms such as these, differ from expression in free verse?

Shaindel Beers: I think that strict form is a maddening exercise that hones the poet’s skills. Whereas, it’s difficult to ride a motorcycle at least for me, since I haven’t had much practice. It’s really difficult to jump a motorcycle off a ramp and fly perfectly through a flaming hoop, to land safely on the other side. That’s the difference between free verse and prose to me. There’s a lot that can go wrong with all of these restrictions. I’m aware that some of the form poems in this book might not seem quite as strong to the reader as the free verse poems. I’m still sort of waving to the crowd going, “Okay, a little singed, but I made it over here alive!” I hope they’re rooting for me instead of pointing out the burn marks on my suit.

I think some forms work philosophically with their content. For instance, sestinas seem obsessive because of those six repeating end words throughout. I think it works to have a sestina about something obsessive, like love. In “Moonlight Sestina,” the end words are: you, moonlight, real, touch, infatuation, and once.In a love poem, the you, the beloved, is important. Moonlight is blamed for lunacy, which could be obsessive; there is also moonlight in snow, it reflects, hence the repetition. I think we often wonder if love is real, also an obsessive tendency. Touch is an end word for the same reason. I shouldn’t have to explain why infatuation keeps repeating. And I think there’s a fun irony in the word once repeating throughout a sestina. This wouldn’t be close to the same poem if the parameters of the sestina weren’t there.

Although poetry is beautiful and artistic, the sestina (at least, to me) is like algebra. The formula is laid out; you just plug in the words. But they have to be the right words, in a Ginsbergian “each word = right word” sort of way. There’s no room for mistakes, especially when trying to stick to the iambic pentameter!

Bluemoon Northeast: Also can you say a bit about the ghazal as a form and why you chose it?

Shaindel Beers: The ghazal (pronounced like “guzzle” in English) is a hard form to explain. It is an ancient Persian form of poetry and there are certain things that one can do in other languages you can’t do in English. Therefore, if you’re writing in English, you choose which rules you want to follow. For “Weekend Rain Ghazal,” I tried to write couplets with no enjambment and where each couplet is able to stand alone as a poem. I also used the same end word in both lines of the first couplet and followed through using “rain” as the end word for the second line of each couplet. I signed the poem with a “pseudonym” in the last line. Traditionally, the ghazal is about illicit, unattainable love. My poem was written in the early crazed infatuation stage of my relationship with my husband, Lee, so I guess it fits; he was supposed to be working across the state building a fence, right after we met. The rain kept him with me.

If your readers Google “ghazal” they will discover lists of rules and examples of poems to last a lifetime!

Bluemoon Northeast: Natasha Saje said that, “your poems stitch together an autobiography whose questions of gender, race, and class remain open.” Would you call these poems confessional? Can you talk about writing autobiographical poem?

Shaindel Beers: The problem I have with calling my poems confessional is that this label seems to be a way for men to not take women’s poetry seriously. Someone says, “Oh, she writes confessional poetry,” and it means we don’t have to hold the writing to as high a standard or it means that it will never reach the same standard of quality as other types of poetry. I think that a lot of my poems are rooted in autobiography. I’m a firm believer in the 1970s-personal-is-political-brand of feminism. Many women write relationship poems because their lives are viewed through that lens. In parts of the country, women are still so and so’s wife, or so and so’s mom. I don’t know if we’ve come as far as a lot of people think we have in terms of gender equality.

What I worried about most when this book was released were the people who are mentioned or alluded to in the poems reading them and freaking out. I never thought about this as I was writing the poems. I guess I was a pretty selfish writer. My loyalty is to the art; a life is raw material to be used for poetry, anything goes, sort of thing. I do believe that, to an extent. But when my parents told me they had ordered the book, I had this sinking feeling. I thought, “Ohmigod! They’re going to sue me!” I mean, in the first poem, I mention my mother trying to stab my father. (I’ve never asked either of them about; it was something I heard from my brother). I also mention my mother being in jail for two counts of attempted murder. These were actually reduced to manslaughter charges, but such is poetry. But my mom wrote me this email that said, “We received your poetry book, and we think it is very good,” which is not at all the reception I had expected.

I’m slightly relieved that my next book is ekphrastic poetry, where I am looking at children’s art. There will be less of me out there for a while. But I’m sure I will still be writing confessional poetry. I feel like one of those people who won’t go to Europe until they’ve been to all fifty states. Sure, I know there is a giant world out there to explore, but I don’t even feel like I know myself yet.

May 01, 2009

Bird Lives



In hand, in ear, and eye, today
not abstraction others craft
cells divide under the blue glisten
tiny robin grazing hard earth is
rolling leaf tossed to dust. Careless
spring, impossible beauty break.

Invisible loss until invited in; break,
spade, divide, worm, and germinate. Today
the world is managed by the careless
with little, if any, logic applied to craft.
This, you are told, is what reality is—
Minute silica stars in soil glisten.

Splitting seeds stretch to glisten
and glisten most before they break
this is what growth is—
the slow progression of today.
Inside a shell a robin craft,
nature seems at times careless.

Worms and caterpillars care less,
twinkle-y rainbow trout glisten.
Algoid synthesize life craft.
Fragile things are built to break.
Cellular hazards of today
this is what science is—

Remember what the dream is—
Love survives the careless.
Splendor endures beyond today;
gold, only gold glistens.
What you cannot see. You cannot break,
the magic art and dark craft.

Mind’s helix created craft,
as anything on earth is—
By night and by daybreak,
as flowers wander careless,
and swelling thistles glisten,
appealing breeze on earth today.

And if this madness crafts a moment’s time careless,
that’s how it is and bird can only listen.
Heart beat portends heartbreak, in hand, in ear, in eye today.

April 23, 2009

A Work of Art



A woman’s body is the rent payment. It is a map of the earth.
A woman’s body can be divided into parts which can then

be used in order to name a type of man, as in, a tit man,
a leg man, as opposed to just an ass, man. Commercially,

a woman’s body looks very much like that of a very tall, very thin,
adolescent boy, with tits and no penis. (It would appear).

A woman’s body is found murdered in the undergrowth.
A woman’s body is available on Craig’s List, tattooed scarred,

stolen, unacceptable. Not her, she’s a child, not a woman yet, pal.
A woman’s body is more than you can handle. Is that why you take her

in sections? She is the tunnel from which you emerged. The soft
mountain of your infancy. This is your mother we’re talking about here.

A woman’s body is a place of art, a form of forms, asymmetrical wonder.
Sexually perfect, she belongs to herself like the earth belongs to the earth.

And speaking of the planet on which you stand, that body was fashioned by
the same great Mother who made the work of art that a woman’s body is.

April 16, 2009

Heart's a Parasitic Twin



Heart's a parasitic twin,
calcified from the wounding.
A missing rhythm, hardened
other, the broken love story
between the warrior girl who
hunts the captor of her heart’s
imagination and the boy
who loves to run his
fingers the length
of her scars.