Thank God, it’s you, baby, this time instead of me: four poems by Richard Brautigan

It’s Raining in Love

I don’t know what it is,
but I distrust myself
when I start to like a girl
a lot.

It makes me nervous.
I don’t say the right things
or perhaps I start
to examine,
evaluate,
compute
what I am saying.

If I say, “Do you think it’s going to rain?”
and she says, “I don’t know,”
I start thinking: Does she really like me?

In other words
I get a little creepy.

A friend of mine once said,
“It’s twenty times better to be friends
with someone
than it is to be in love with them.”

I think he’s right and besides,
it’s raining somewhere, programming flowers
and keeping snails happy.
That’s all taken care of.

But,

if a girl likes me a lot
and starts getting real nervous
and suddenly begins asking me funny questions
and looks sad if I give the wrong answers
and she says things like,
“Do you think it’s going to rain?”
and I say, “It beats me,”
and she says, “Oh,”
and looks a little sad
at the clear blue California sky,
I think: Thank God, it’s you, baby, this time
instead of me.


Gee, You’re so Beautiful That it’s Starting to Rain 

Oh, Marcia,
I want your long blonde beauty
to be taught in high school,
so kids will learn that God
lives like music in the skin
and sounds like a sunshine harpsicord.
I want high school report cards
to look like this:


Love Poem

It’s so nice
to wake up in the morning
all alone
and not have to tell somebody
you love them
when you don’t love them
any more.


The Moon Versus Us Ever Sleeping Together Again 

I sit here, an arch-villain of romance,
thinking about you. Gee, I’m sorry
I made you unhappy, but there was nothing
I could do about it because I have to be free.
Perhaps everything would have been different
if you had stayed at the table or asked me
to go out with you to look at the moon,
instead of getting up and leaving me alone with
her.

Thank God, it’s you, baby, this time instead of me: four poems by Richard Brautigan

My wife has scars like spread raindrops on knees and ankles: four poems by Michael Ondaatje

Speaking to You (From Rock Bottom)

Speaking to you
this hour
these days when
I have lost the feather of poetry
and the rains
of separation
surround us tock
tock like Go tablets

Everyone has learned
to move carefully

‘Dancing’ ‘laughing’ ‘bad taste’
is a memory
a tableau behind trees of law

In the midst of love for you
my wife’s suffering
anger in every direction
and the children wise
as tough shrubs
but they are not tough
–so I fear
how anything can grow from this

all the wise blood
poured from little cuts
down into the sink

this hour it is not
your body I want
but your quiet company.


Last Ink

In certain countries aromas pierce the heart and one dies
half waking in the night as an owl and a murderer’s cart go by

the way someone in your life will talk out love and grief
then leave your company laughing.

In certain languages the calligraphy celebrates
where you met the plum blossom and moon by chance

—the dusk light, the cloud pattern,
recorded always in your heart

and the rest of the world—chaos,
circling your winter boat.

Night of the Plum and Moon.

Years later you shared it
on a scroll or nudged
the ink onto stone
to hold the vista of a life.

A condensary of time in the mountains
—your rain-swollen gate, a summer
scarce with human meeting.
Just bells from another village.

The memory of a woman walking down stairs.

Life on an ancient leaf
or a crowded 5th-century seal

this mirror-world of art
—lying on it as if a bed.

When you first saw her,
the night of moon and plum,
you could speak of this to no one.
You cut your desire
against a river stone.
You caught yourself
in a cicada-wing rubbing,
lightly inked.
The indelible darker self.

A seal, the Masters said,
must contain bowing and leaping,
‘and that which hides in waters.’

Yellow, drunk with ink,
the scroll unrolls to the west
a river journey, each story
an owl in the dark, its child-howl

unreachable now
—that father and daughter,
that lover walking naked down blue stairs
each step jarring the humming from her mouth.

I want to die on your chest but not yet,
she wrote, sometime in the 13 th century
of our love

before the yellow age of paper

before her story became a song,
lost in imprecise reproductions

until caught in jade,

whose spectrum could hold the black greens
the chalk-blue of her eyes in daylight.

Our altering love, our moonless faith.

Last ink in the pen.

My body on this hard bed.

The moment in the heart
where I roam restless, searching
for the thin border of the fence
to break through or leap.

Leaping and bowing.


The Time Around Scars

A girl whom I’ve not spoken to
or shared coffee with for several years
writes of an old scar.
On her wrist it sleeps, smooth and white,
the size of a leech.
I gave it to her
brandishing a new Italian penknife.
Look, I said turning,
and blood spat onto her shirt.

My wife has scars like spread raindrops
on knees and ankles,
she talks of broken greenhouse panes
and yet, apart from imagining red feet,
(a nymph out of Chagall)
I bring little to that scene.
We remember the time around scars,
they freeze irrelevant emotions
and divide us from present friends.
I remember this girl’s face,
the widening rise of surprise.

And would she
moving with lover or husband
conceal or flaunt it,
or keep it at her wrist
a mysterious watch.
And this scar I then remember
is a medallion of no emotion.

I would meet you now
and I would wish this scar
to have been given with
all the love
that never occurred between us.


Nine Sentiments (IX)

An old book on the poisons
of madness, a map
of forest monasteries,
a chronicle brought across
the sea in Sanskrit slokas.
I hold all these
but you have become
a ghost for me.

I hold only your shadow
since those days I drove
your nature away.

A falcon who became a coward.

I hold you the way astronomers
draw constellations for each other
in the markets of wisdom

placing shells
on a dark blanket
saying ‘these
are the heavens’

calculating the movement
of the great stars.

My wife has scars like spread raindrops on knees and ankles: four poems by Michael Ondaatje

All the oaths we take and make and utter: three poems by Amy Fleury

At Twenty-Eight

It seems I get by on more luck than sense,
not the kind brought on by knuckle to wood,
breath on dice, or pennies found in the mud.
I shimmy and slip by on pure fool chance.
At turns charmed and cursed, a girl knows romance
as coffee, red wine, and books; solitude
she counts as daylight virtue and muted
evenings, the inventory of absence.
But this is no sorry spinster story,
just the way days string together a life.
Sometimes I eat soup right out of the pan.
Sometimes I don’t care if I will marry.
I dance in my kitchen on Friday nights,
singing like only a lucky girl can.


The Progress of Night

In the late elegiac light, insects
chide the frail contraption of the sky,
its faulty system of pulleys and wires.

Piteous stars circuit the stripped gears
of galaxy as crickets keep grinding
out twilight’s tinny, dwindling music.

Again that pale immigrant blunders in
to watch over the progress of night,
to observe the grim magics we practice,

all the oaths we take and make and utter.
What comfort can we offer another
traveler under this same unsteady scaffold?

We’ll find no charm against calamity.
Though the dark architecture of the heart
is buttressed by sternum, girded by ribs,

we build our lives from its very trembling.


First Morel

Up from wood rot,
wrinkling up from duff
and homely damps,
spore-born and cauled
like a meager seer,
it pushes aside earth
to make a small place
from decay. Bashful,
it brings honeycombed
news from below
of the coming plenty
and everything rising.
All the oaths we take and make and utter: three poems by Amy Fleury

I am all that is left. Forgive me: Three poems by Rachel McKibbens

Untitled (Last Love)

To my daughters I need to say:

Go with the one who loves you biblically.
The one whose love lifts its head to you
despite its broken neck. Whose body bursts
sixteen arms electric to carry you, gentle
the way old grief is gentle.

Love the love that is messy in all its too much,
The body that rides best your body, whose mouth
saddles the naked salt of your far gone hips,
whose tongue translates the rock language of
all your elegant scars.

Go with the one who cries out for her tragic sisters
as she chops the winter’s wood, the one whose skin
triggers your heart into a heaven of blood waltzes.

Go with the one who resembles most your father.
Not the father you can point out on a map,
but the father who is here, is your home,
is the key to your front door.

Know that your first love will only be the first.
And the second and third and even fourth
will unprepare you for the most important:

The Blessed. The Beast. The Last Love,

which is, of course, the most terrifying kind.
Because which of us wants to go with what can murder us?
Can reveal to us our true heart’s end and its thirty years
spent in poverty? Can mimic the sound of our bird-throated mothers,
replicate the warmth of our brothers’ tempers?
Can pull us out of ourselves until we are no longer sisters
or daughters or sword swallowers but, instead,
women who give and lead and take and want
and want and want and want,
because there is no shame in wanting.

And you will hear yourself say:

Last Love, I wish to die so I may come back to you
new and never tasted by any other mouth but yours.
And I want to be the hands that pull your children
out of you and tuck them deep inside myself until they are
ready to be the children of such a royal and staggering love.
Or you will say:

Last Love, I am old, and have spent myself on the courageless,
have wasted too many clocks on less-deserving men,
so I hurl myself at the throne of you and lie humbly at your feet.

Last Love, let me never roll out of this heavy dream of you,
let the day I was born mean my life will end
where you end. Let the man behind the church
do what he did if it brings me to you. Let the girls
in the locker room corner me again if it brings me to you.
Let this wild depression throw me beneath its hooves
if it brings me to you. Let me pronounce my hoarded joy
if it brings me to you. Let my father break me again
and again if it brings me to you.

Last love, I have let other men borrow your children. Forgive me.
Last love, I once vowed my heart to another. Forgive me.
Last Love, I have let my blind and anxious hands wander into a room
and come out empty. Forgive me.

Last Love, I have cursed the women you loved before me. Forgive me.
Last Love, I envy your mother’s body where you resided first. Forgive me.
Last Love, I am all that is left. Forgive me.
Last Love, I did not see you coming. Forgive me.

Last Love, every day without you was a life I crawled out of. Amen.
Last Love, you are my Last Love. Amen.
Last Love, I am all that is left. Amen.

I am all that is left.
Amen.


Letter From My Heart To My Brain

Its okay to hang upside-down like a bat,
to swim into the deep end of silence,
to swallow every key so you can’t get out.
It’s okay to hear the ocean calling your fevered name

to say your sorrow is an opera of snakes,
to flirt with sharp and heartless things.
It’s okay to write, I deserve everything,
to bow down to this rotten thing
that understands you, to adore the red
and ugly queen of it, to admire
her calm and steady rowing.

It’s okay to lock yourself in the medicine cabinet,
to drink all the wine, to do what it takes to stay
without staying. Its okay to hate God today
to change his name to yours, to want to ruin all that ruined you.
It’s okay to feel like only a photograph of yourself,
to need a stranger to pull your hair and pin you down,
it’s okay to want your mother as you lie alone in bed.
It’s okay to brick to fuck to flame to church to crush to knife
to rock to rock to rock to rock to rock and rock.

It’s okay to wave good-bye to yourself in the mirror.
To write, I don’t want anything.
It’s okay to despise what you have inherited,
to feel dead in a city of pulses. It’s okay
to be the whale that never comes up for air,
to love best the taste of your own blood.


Letter From My Brain To My Heart

This house is dirty, but comfortable.
Behind each crooked door
waits the angry weather of a forgiveless child.
I cannot help but admire this horrible
power of mine, how each small thing
can become a death: the lost house key. A spoiled egg.
A howling dog. There is no prayer or pill for this.
It is a ruthless botany; I might as well
be buried in the yard. I have no one to blame.
Not the mother who sang to an empty cradle.
Not the Dog of Spite who bit my hand,
just this long-legged sorrow
who trails my every joy like a dark perfume.

You have my permission not to love me;
I am a cathedral of deadbolts
and I’d rather burn myself down
than change the locks.

I am all that is left. Forgive me: Three poems by Rachel McKibbens

Breath, like memory, is not loyal: two poems by Vuyelwa Maluleke

Tonight

I know I may not have you for long
so while you sleep, I roll myself next to you
feel the honey sticky of your cheek against mine
and get myself stuck.
Man!
if you weren’t sleeping
you’d like it as much as i do then tell me
it’s an ‘unsolicited violation of your personal space’
you won’t mean this
by now I can predict your clouds
when you tell me you’re dangerous
I have no reason to doubt this about you
you are a tired quilt of women,
a patchwork of petrol fires that burn when you’re awake in the absence of your father,
your hands remind me of home- the warm bed, my father’s distance.
you?
you remind me of no other lover
you don’t do it on purpose, I like this.
so I give you a shelf , in a wardrobe of a flat im renting out
the vacant assurance
that you’ll be here
tomorrow
i’m not stupid, i know we’re not for keeps
still, I wish I was the only place you hung your shirts
I wish you’d stencil my hand over the aches,
I will always be here to
to plant healing with chicken soup
and handsome adjectives
and it will cost me nothing.
But you’d tell me that
breath, like memory, is not loyal
that tomorrow I could build myself a temple
on someones elses collar bone
write better poetry to sail there and worship there
Five times a day, with love as it is
hot then cold- it’s in that 3am shiver
that our spines tell tales on us
of the lovers before
the teeth in their hands
the treasures they were given
and not given,
all the while carving stone shelters in the soft caves of backs
they would abandon when your laughter no longer brought out the stars for them
while you sleep
I catch the saxhorn growl in your chest
match its crescendo with mine
we make good music
This is where you belong.
you never say yes
never stay long enough to share the grocery bill with me
I bury myself with you anyway
you don’t notice how deep.
Your lips, are red sirens littered with commas
I want so badly to hear them speak yes.
Instead knowing you are someone else’s
I follow the fists your eyes make against your nightmares.
I think damn he must be a hero behind those brown doors.


If You Should Kill Me

The clouds have been threatening to break the rain loose
you try the same shaky trick on me.
no one hears you tie pillows around the screams
and hold my breath under yours,
you are quick anger
a bayamo wind that sneaks up on both of us
the clouds will break the rain loose tonight, I will pour
who will clean up the puddles next to my tea cup?
and if I run too slow,
who will mop me off the floor when you’re done
chasing your vengeful rumble through me
how good a job will they do putting me together this time?
and this time how many needles will they use
I can’t recall when your thunder got this vile
how it cooked itself so big, in the back of your mouth
and sat between the word we shared
waiting for its seconds
in a desserted room.
when no one could hear us both
fighting to be heard and forgiven
I don’t remember the day I started running
or how fast  needed to go,
where did I think I could go?
your eyes questioned in a smirk i knew could open fresh wounds
‘what did you do when you caught up to me?’
you say you’re sorry
that i don’t know how to be careful with you
to prove it, you grieve the purple deaths along my arms and ribs with me
but we know it will happen again.

and if you should kill me this time
what will you tell them happened
when they ask?
tell them/don’t tell them
don’t tell them it was you
tell them I was awkward
that I could never walk straight without
tripping on a carpet I knew was there
and hitting a wall we’d decorated with ourselves
pull your hair out in saddness.
even if you don’t mean it
do it anyway and make it believable.
wail, but there must be no tears
that would be too big a lie to tell
I don’t want anyone to remember us like this
we’re too ugly, I didn’t tell them that part

Breath, like memory, is not loyal: two poems by Vuyelwa Maluleke

You’ve traveled this far on the back of every mistake: four poems by Dorianne Laux

Music in the Morning

When I think of the years he drank, the scars
on his chin, his thinning hair, his eye that still weeps
decades after the blow, my knees weaken with gratitude
for whatever kept him safe, whatever stopped
the glass from cracking and shearing something vital,
the fist from lowering, exploding an artery, pressing
the clot of blood toward the back of his brain.
Now, he sits calmly on the couch, reading,
refusing to wear the glasses I bought him,
holding the open book at arm’s length from his chest.
Behind him the windows are smoky with mist
and the tile floor is pushing its night chill
up through the bare soles of his feet. I like to think
he survived in order to find me, in order
to arrive here, sober, tired from a long night
of tongues and hands and thighs, music
on the radio, coffee– so he could look up and see me,
standing in the kitchen in his torn t-shirt,
the hem of it brushing my knees, but I know
it’s only luck that brought him here, luck
and a love that had nothing to do with me,
except that this is what we sometimes get if we live
long enough, if we are patient with our lives.


2 A.M.

When I came with you that first time
on the floor of your office, the dirty carpet
under my back, the heel of one foot
propped on your shoulder, I went ahead
and screamed, full-throated, as loud
and as long as my body demanded,
because somewhere, in the back of my mind,
packed in the smallest neurons still capable
of thought, I remembered
we were in a warehouse district
and that no sentient being resided for miles.
Afterwards, when I would unclench
my hands and open my eyes, I looked up.
You were on your knees, your arms
stranded at your sides, so still —
the light from the crooknecked lamp
sculpting each lift and delicate twist,
the lax muscles, the smallest veins
on the backs of your hands. I saw
the ridge of each rib, the blue hollow
pulsing at your throat, all the colors
in your long blunt cut hair which hung
over your face like a raffia curtain
in some south sea island hut.
And as each bright synapse unfurled
and followed its path, I recalled
a story I’d read that explained why women
cry out when they come — that it’s
the call of the conqueror, a siren howl
of possession. So I looked again
and it felt true, your whole body
seemed defeated, owned, having taken on
the aspect of a slave in shackles, the wrists
loosely bound with invisible rope.
And when you finally spoke you didn’t
lift your head but simply moaned the word god
on an exhalation of breath — I knew then
I must be merciful, benevolent,
impossibly kind.


What’s Broken

The slate black sky. The middle step
of the back porch. And long ago

my mother’s necklace, the beads
rolling north and south. Broken

the rose stem, water into drops, glass
knobs on the bedroom door. Last summer’s

pot of parsley and mint, white roots
shooting like streamers through the cracks.

Years ago the cat’s tail, the bird bath,
the car hood’s rusted latch. Broken

little finger on my right hand at birth—
I was pulled out too fast. What hasn’t

been rent, divided, split? Broken
the days into nights, the night sky

into stars, the stars into patterns
I make up as I trace them

with a broken-off blade
of grass. Possible, unthinkable,

the cricket’s tiny back as I lie
on the lawn in the dark, my heart

a blue cup fallen from someone’s hands.


Antilamentation

Regret nothing. Not the cruel novels you read
to the end just to find out who killed the cook.
Not the insipid movies that made you cry in the dark,
in spite of your intelligence, your sophistication.
Not the lover you left quivering in a hotel parking lot,
the one you beat to the punchline, the door, or the one
who left you in your red dress and shoes, the ones
that crimped your toes, don’t regret those.
Not the nights you called god names and cursed
your mother, sunk like a dog in the livingroom couch,
chewing your nails and crushed by loneliness.
You were meant to inhale those smoky nights
over a bottle of flat beer, to sweep stuck onion rings
across the dirty restaurant floor, to wear the frayed
coat with its loose buttons, its pockets full of struck matches.
You’ve walked those streets a thousand times and still
you end up here. Regret none of it, not one
of the wasted days you wanted to know nothing,
when the lights from the carnival rides
were the only stars you believed in, loving them
for their uselessness, not wanting to be saved.
You’ve traveled this far on the back of every mistake,
ridden in dark-eyed and morose but calm as a house
after the TV set has been pitched out the upstairs
window. Harmless as a broken ax. Emptied
of expectation. Relax. Don’t bother remembering
any of it. Let’s stop here, under the lit sign
on the corner, and watch all the people walk by.

You’ve traveled this far on the back of every mistake: four poems by Dorianne Laux

I will soften like the light of morning: three poems by Tania De Rozario

A Hundred Ways To Say Your Name

I avoid speaking your name in conversation,
throwing it to the air as if it were nothing
more than an assumption of you; it is my last
mode of defence. The last item of clothing
to discard before I realise I’m naked in public.

Because they can hear it in my voice. I know.
Even in that one short syllable that means
everything and nothing; your name is as common
as you are rare. As easy as you are not.
As simple as love should be, but never is.

But when I’m alone, I tie my tongue softly
round the familiar sound, as if pronouncing
with conviction the phonetics of desire
will cause time to pause just long enough
for the earth to hear me naming my loss.


Without You

Before we parted, she told me this: she believed
we were soulmates, that in our next life, we would meet

again. I wanted to tell her that I knew nothing of this
next life she spoke of, and little of this current life

we seemed to be fucking up, that all I understand is
now-­‐the weight of the nod compelled by something

outside oneself: Yes, we say. I give in, we say. I will soften
like the light of morning, remember how it felt waking up

to love. I wanted to tell her that I don’t know if I believe
in easy tomorrows, am doubtful even more of second

chances for those who throw first chances away. What I do
know: we will watch years form lines across our faces;

that in your absence, I understand death, understand that
we are nothing more than fossils pressed together

by emergency; that I want more than anything
to write you poetry while I am able; not risk re-­‐birth

into a body whose heart is a knot tangled in the guts
of language; that even as you break us open like an

unkept promise, I will not watch my life go on without you.


The First Face You Saw

I wanted mine to be the first face you saw
coming out of surgery: lingering at the mouth
of the operating theatre. I imagined blood
as I waited; bodies at the mercy of discerning
hands, cut open by strangers. I remember
you recounting biology lessons, dissecting
an animal and the humbling truth of its insides
for the first time. “Everything fit perfectly”. We

do not collapse into each like that, the way
lovers should. You are open like the best
endings, I am a conclusion wound tight around
secrets: Words left over from the last time
I loved. You are right: I find no beauty
in the everyday, in leaves coaxed by gravity
to ground, in the symmetry between soil
and sky. You should know by now: I write

because I cannot connect, cannot marry
miracle to matter, metaphor to meaning,
head to heart: This anesthesia I am under
will not wear off like love, drugs, this thing
that is us: Yet still, I wait. Will breathe
again as your body is rolled back towards
mine: You are mine, if only for now. Slipping
out of sleep: Let my face be the first you see.

I will soften like the light of morning: three poems by Tania De Rozario

Whatever falls is a figure of rain: four poems by Andrew Zawacki

Credo

You say wind is only wind
and carries nothing nervous

in its teeth. I do not believe it.
I have seen leaves desist from moving

although the branches move,
and I believe a cyclone has secrets

the weather is ignorant of. I believe
in the violence of not knowing.

I’ve seen a river lose its course
and join itself again, watched it court

a stream and coax the stream
into its current, and I have seen rivers,

not unlike you, that failed to find
their way back. I believe the rapport

between water and sand, the advent
from mirror to face. I believe in rain

to cover what mourns, in hail that revives
and sleet that erodes, believe

whatever falls is a figure of rain,
and now I believe in torrents that take

everything down with them.
The sky calls it quits, or so I believe,

when air, or earth, or air has had
enough. I believe in disquiet,

the pressure it plies, believe a cloud
to govern the limits of night. I say I,

but little is left to say it, much less
mean it—and yet I do. Let there be

no mistake. I do not believe
things are reborn in fire.

I believe they’re consumed by fire,
and the fire has a life of its own.


Begins in Interruption

Begins in interruption:
an ambulance bell at the center

of sleep, the room tilts
sideways, furniture slides,

an octet of amber blue
verres à liqueur, one with a cut

at the lip, clatters as a quaalude
light in tatters mattes the

curtains ormolu:

                               I miss you

is what I want to say
like a rocket

stocked from the Reagan
years, its radar gone haywire,

wiring fried but
live inside a bunker of some

private Soviet
Union you & I —


Agrapha

Giving up isn’t giving in, but a different kind of poverty
And if we didn’t mention them all in order, it wasn’t our fault:
Our strength gave out before the daylight tapered,
Schedules were strict, the weddings obliged to go forward

Even with strangers involved, and sisters and mothers of strangers,
Playing Russian roulette with five bullets coughed into the chamber
And swallow the razor and other old parlor games,
Keeping appointments with overcoats and nautical charts of the crime

While someone kept telling lies about factory bylaws, saying
Don’t be afraid, I have called you by name, you are mine
And almost believing it, a survivor peddling insomnia’s cure,
Calculating which bridges to burn, which heretics, which beds:

A package that never arrived from a mispronounced province
Or a lightswitch left on overnight at the back of the hall,
Rehearsing the wreckage of telegrams, padlocks, and skeleton keys
And storms on the coast with other betrayers to please.


Vespers

Architecture it’s not, not even in winter.
Nor is it a draft of a river
to be put away for a lover to polish up later
after the nails have been paid. Nor
is it the finished thing
even if it has the look of a finished thing. In winter
but it is not winter, it’s almost a year ago. Water
that’s moving cannot be called a trigger
but almost a need. Our bodies are not architecture,
they’re moving, they have been put away by October.
A draft of an almost finished river
is not a crowblue cloud at the end of winter, but after
accounts have been paid, years later, a whisper
is polished up to have the look of architecture.
October has the look of a crow in a river. It’s a year
ago, our bodies are four-fifths water. Your
body is polished up to have the look of moving water.
Clouds are four-fifths of winter, but whatever
is almost crowblue or moving cannot be called architecture
or put away for our bodies to polish up later.
I did not say nails had been put away, or paid for
with our bodies’ whispered accounts. I did not say fever
or finished, or after; I did not call winter a need. I never
said I had been nailed to a river
even if you had the look of what’s already left.

Whatever falls is a figure of rain: four poems by Andrew Zawacki

In my defense, spring: five poems by Cristin O’Keefe Aptowicz

December

When my body had forgotten its purpose,
when it just hung off my brainstem like whipped mule.
When my hands only wrote. When my mouth only ate.
When my ass sat, my eyes read, when my reflexes
were answers to questions we all already knew.
Remember how it was then that you slid your hand
into me, a fork in the electric toaster of my body. Jesus,
where did all these sparks come from? Where was all
this heat? Remember what this mouth did last night?
And still, this morning I answer the phone like normal,
still I drink an hour’s worth of strong coffee. And now
I file. And now I send an email. And remember how
my lungs filled with all that everything? Remember
how my heart was an animal you released from its cage?
Remember how we unhinged? Remember all the names
our bodies called each other? Remember how afterwards,
the steam rose from us, like a pair of smiling ghosts?


After Reading Old Unrequited Love Poems

If I didn’t think it’d make me appear crazy still,
I’d apologize to you for having been so crazy then.

Reading the poems I had written about “us”
resurrected all that nervous heat, reminded me

of the insistent stutter of my longing,
how I could never just lay it out there for you.

The answer, clearly, would have been
no, thank you. But perhaps that tough line

would have been enough to salvage all
that was good and woolly about us: your laugh,

that golden ring I’d always stretch a story for;
the pair of mittens we’d split in the cold

so we’d each have a hand to gesture with;
how even now, the paths we took are filled

with starry wonder and all that bright limitless air.
I’m sorry I could never see myself

out of the twitching fever of my heartache,
that I traded everything we had for something

that never ended up being. But if I could take
any of it back, it wouldn’t be the glittering hope

I stuck in the amber of your eyes, nor would
it be the sweet eager of our conversations.

No, it would be that last stony path to nothing,
when we both gave up without telling the other.

How silence arrived like a returned valentine
that morning we finally taught our phones not to ring.


Things That Happen During Pet-Sitting I Remind Myself Are Not Metaphors For My Heart

The dog refuses to eat. I keep filling her bowl
anyway: new kibble on top of old, hoping
that it will suddenly becoming tempting.

When I write, the cat watches me from a chair.
When I look at him, he purrs loudly, leans forward
so that I might touch him. I don’t.

Now the dog refuses to come out of her cage,
no matter what I say, no matter how wide I open
the door. She knows that I am not her master.

On the couch, the cat crawls on top of me
and loves me so hard, his claws draw blood.
I was so lonely, I did nothing to stop it.

There are lights in this house I want to turn on,
but I can’t find their switches. Outside, an engine
turns and turns in the night, but never catches.


Not Doing Something Wrong Isn’t the Same as Doing Something Right

In my defense, my forgotten breasts. In my defense, the hair
no one brushed from my face. In my defense, my hips.

Months earlier, I remembered thinking that sex was a ship retreating
on the horizon. I could do nothing but shove my feet in sand.

I missed all the things loneliness taught me: eyes that follow you
crossing a room, hands that find their home on you. To be noticed. Even.

In my defense, his hands. In my defense, his arms. In my defense,
how when we just sat listening to each other breathe, he said, This is enough.

My body was a house I had closed for the winter. It shouldn’t have been
that difficult, empty as it was. Still, I stared hard as I snapped off the lights.

My body was specter which haunted me, appearing when I stripped
in the bathroom, when I crawled into empty beds, when it rained.

My body was abandoned construction, restoration scaffolding
which became permanent. My body’s unfinished became its finished.

So in my defense, when he touched me the lights of my body came on.
In my defense, the windows were thrown open. In my defense, spring.


Op-Ed for the Sad Sack Review, Regarding News of Another Rash of Writer Suicides

In a fit of gloom, I googled the word failure,
just to see if my name would come up. Instead,
Google told me I misspelled the word failure.

Recounting this makes me feel like I’m starting
a very weepy poem, or a very dull suicide note.
Never begin a wedding toast with the dictionary

definition of marriage, and never begin a suicide
note by saying you googled the word failure.
These days, the number one thing preventing me

from killing myself is likely the idea of people
learning of my suicide via Facebook status updates.
There’s no dignity in that eulogy, its collections

of sad face emoticons, studded with apostrophe tears.
This is a dumb reason to keep living, but it is a reason.
I’m sure all you other sad sacks have your reasons too.

So let’s all cling to them. Let’s all agree that living
for a dumb reason is better than killing yourself
for a dumb reason. Let’s feed tears to the dragons

of misery, but let’s never crawl into their mouths.
Let’s write terrible poetry, dress like late-era Rothkos,
wear out the relentless hate machines of our brains,

but let’s never break. Let’s just keeping living. We can
do this. Trust me. Yours Sincerely, Me, A Poet Who
Doesn’t Even Know How to Spell the Word Failure.

In my defense, spring: five poems by Cristin O’Keefe Aptowicz