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only further withdrawn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

Can someone please explain why my Quicktime isn't working? Anyone with prophetic awareness of my little Atlas, none so old but recently behaving so?
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...
Kathryn, do NOT be jealous of me going to the opera. It was weird. They were wearing these bulky animal costumes and clonking boots which might have been okay except that their footsteps drowned out the sound of the orchestra (Oh look! A band!). The plot was supposed to be about the circle of life or something deep, but it really seemed to be more about animals getting it on. It was an opera, though, so plot really shouldn't matter as long as the music is good. It wasn't. I mean, it wasn't BAD - but most of the singing was monotonous, the orchestration was unremarkable, and I hope to heaven no one from the production reads this. It would be so disheartening! They were all skillful - I just wasn't interested in the piece itself. But then, I have only ever seen very classical sorts of pieces. The Marriage of Figaro. Samson and Delilah. And I was listening to Puccini before leaving the house! What do you do? But then again, I was distracted by my seating companion. Five so...