We inhaled fog on the Golden Gate
along with traffic exhaust.
Foghorns cried names
we did not recognize.
Car horns, names we gave ourselves.
From this high, you said, there is no good
way to fall. We scrunched our fingers
to encapsulate the small
fragility fog brings– how, in a moment,
everything can change / fog
of ghosts rippling waves from long-
passed boats / fog of sitting in silence,
windows down / fog of steel cable’s
fading red / fog of missing
what we lost while sun cuts a way
(originally published in Eunoia Review, Fall 2016)
was on a stump under a wooden bridge
that led nowhere. You said I am a fence
wanting pink clouds. We walked the tumorous hill.
You brought up your depression. The green
was infinite and quiet and a silence of oaks.
It was cold and snowing when I was naked
in the dirt digging with my hands with the other naked people.
We did not know what we were looking for. It was the first day
of winter and our legs burned from the chill. I said,
tell me everything you’ve ever known to be true.
You said nothing. But I make videos and we can record
our legs for twenty minutes– just the motion is enough
to nourish us. Hairy legs, hairless legs, left leg, right leg
walking upward to the nearest star– we carved a path
but it was our galaxy led us believe we could wind
and weave through sporadic trees called parks / art
exhibitions and we have these trees
on leashes trying to be trees
and if only we could look at them
and notice our leaves the same
we are so ill with them so malignant
and stuck and if we layer with them
into them if we could grow with them
we would bloom forever in ourselves
and then what would we have to talk about?
(originally published in mannequin haus, Summer 2016)
The trees are dead, she said.
Peering outside, it was true:
A still-barren sixty degrees, sun
meekly reveling in its new warm.
A week ago, our mother cut down the tree
we picked apples from as children.
They were small, red, never delicious–
brown and burrowed with worms
because anything sweet from the skin
isn’t as sweet as you might think.
All those colorful lights we tied around
the necks of plastic and decoration,
the way we choked the holiday,
wrung out the last ounces of life
from the animal ornaments on every pine.
The walrus with the broken tusk.
The hyena whose laugh can nearly
be heard. As if anthropomorphizing could
ever atone for the past but I would love
to believe in a world where a fragment of
a tusk means something is truly missing–
perhaps rickety laughter ringing through
thin walls, dominant as the wooden organ
moans his mantra: everything in this world
is connected. Not every connected thing
is aware of its living, its connection.
But the way fingers dance deep
resonance out of the organ’s shifty teeth
to provide holiness for the changed house
is the gift we must open for ourselves
with our hands full of music– a sourness
in harmony, an ode to shriveled apples.
(originally published in Flatbush Review, Winter 2016)
do blue digger bees buzz like honey bees do
or like jazz from tinny speakers
the city night starves for jazz
just a little touch finger on palm
yes I am over your plaid cheeks
like physically my eyes are exhausted
the out-of-order escalator will move no further
yes we waded in pastel watercolors
soft peal of wetting paint
temperance of modern rain
kestrels singing in forever air
tints of cerulean debasing the feather coat
deftness of a painter’s hands
what loneliness in the canvas will glimmer in a gallery of twenty-first century still life
that is real
the mixture of white and black paint stain so entwined in the fingers gripped by brush
the challenge of how do you make this Vietnamese-man-sitting-alone-at-a-table as compelling
as a bucket of salt dipping from the sky
I think of a plodding pizzicato on a yellow glass harp
children in red shoes lining up for a king-sized carousel
our teeth are the strings on the replacement years from now
somehow the present is pregnant with the future
somehow my mouth is fanged to nearly ask
fingers hold music that has not been heard
arpeggio flower petals drifting in the wind
umbrage in the gutters
fingernails recycle them into leaves
the digger emerges from sand
and creeps back into its widowed sepulcher
(originally published in Prong & Posy, Issue 2)
mouth sculpture in a gunpoint ell
little gunshot clicks and pops that
(originally published in
S/WORD – Issue #5)