Skip to main content

nocturne

out in the darkness a lighthouse flashes on the point.
my heart goes out to it, battering toward it against my ribs
like a startled bat.
the lighthouse, my lover, all things indistinguishable.

i hover three inches over the earth,
all things refracted through my distraction
seem surreal, unreal, being temporal.
not that i grow any nearer heaven,
only further withdrawn
into my own imagination,
now tired from lack of fruition.

all things favored or feared,
otherwise unacknowledged:
the yellow mug, the severed limb,
and the myriad of faces i religiously forget -
these categories rule me.

while under it all (or over,
or choose your position, your preposition)
this strange flotation
making a mockery of my material -
calling out from the earth like a mythic beast,
teasing me with alternating delight and perturbation -
should i enter a monastery or an institution?
is this mysticism or delusion?

(incidentally, i still sin like a Gomer,
laugh with my mother, grow tired and hungry,
forget the hour, cosset my pet,
leave my clothes on the floor, open the window,
double-check the back door, email, forget to call,
let my tea grow cold, feed the fish,
forget the fish, leave the milk in the bowl -
oh yes, and i try to impress the straight guy at work,
that one, while avoiding eye contact in the most awkward
and obvious way.)

then, on the edge of sleep,
dreaming or not dreaming
out in the darkness
a lighthouse flashes
my heart crashes
beating my ribs with its wings.
i choke on its violence
i float three inches over the earth
all things forgotten.

Comments

  1. im sorry i dont comment more on your poems. i usually dont have anything to say that doesnt pale in comparison.

    ReplyDelete
  2. that's alright. i'm not waiting for comments to post again. i just don't have anything to say. :)

    ReplyDelete

Post a Comment

Popular posts from this blog

because you were all wondering what I'm writing my dissertation on, here's a brief synopsis of my 'research context': When James Macpherson published his Fragments of Ancient Poetry in 1760, he went to great lengths to make the Fragments appear to be authentic remains of an ancient, heroic oral tradition. His reasons for this were largely political, and as such, influenced the content of the epics themselves. As an attempt to establish a particularly Scottish identity, the poems were quite effective. However, to do so required both a simplification and a manipulation of traditional mythology. Stripped of anagogical significance, the Ossian epics more or less represented an Enlightenment version of history, tradition, and mythic heritage. The stories themselves were changed by their very purpose and in turn changed the manner of representing myth in future narratives. Moreover, the emphasis on the Ossian epics as authentic tales from the past, as ‘fragments,’ served...

window in the sub

Dear Nathaniel, I am microwaving pie that Mom bought up in Oak Glen this week on her way home from the orthodontist. As I put it in the microwave, I was full of sadness that I was not in Oak Glen with her. Why did I not go? I was working. I want to see the trees turn. I want to wander slowly through autumnal gift shops. Under the water, you cannot sense the approach of the seasons. Even here it is difficult because, after all, it's California. But I can still sense it. After three seasons in Illinois and one in Scotland, it must be with me for good. Or at least for a while. Because I am all abuzz with eagerness for fall and winter, for turkeys and dried leaves and Santa. I should start cooking again this fall. Fall foods are my favorite. Baked squash dripping with melted butter and brown sugar, pumpkin soup... this year, if I have enough money, I will put together a holiday dinner for my friends. And we will drink Scandinavian mulled wine, which is the most wonderful thing I have e...

Book of the Week: The Hunger Games

If Cynthia Voigt had written science fiction, it probably would have looked something like The Hunger Games . In Suzanne Collins's newest novel, we meet a protagonist who seems remarkably familiar. Like Voigt's heroines, we understand her story because she seems so much like ourselves - no matter how strenuous or bizarre the circumstances, we feel certain our story would be the same. We, too, would have those resources, that practicality, that certain sensitivity that separates us from the masses. I don't say this critically - it is the book's strongest feature that it identifies with every one of its readers and says 'this could be your story.' It is not just its portrayal of Katniss Everdeen, the novel's heroine, that is familiar. The story takes place in a post-apocalyptic North American nation, Panem. It is a country held together by fear - a fear instilled by the capitol into each of its twelve districts and maintained by a yearly event called the Hunge...