body, prone.
Unbelievable that it is still today.
How much more of it is left?
How much more of tomorrow?
I am not greedy. I ask because
I hope for less than I have coming.
I am not more than I hoped
to be in my prayers
in my girlhood, in my bonfire.
Not in my ungodly unuttered
then-ness. If that old boulder
ever lived a day with any burden
but itself then I will lift its hard-
meat to a place of honor.
Super-polished on the very top
of the worldâs biggest root.
I am not ungrateful. I will face
the strangerâs face in any light
from any lamp or lucky gold
three-wish thing. I will not
wish for two things and then use
the third wish for three more.
I wonât take more than I have,
and I donât have to want
what I already have from before.
Itâs too quiet and sorry to want,
and the place of wanting is too sore
to stuff it with hard rock,
hard luck, or itâs too far back
to even see the stuff anymore.
Iâm open. Iâm old. I just want
the wishing to go back home
or to send me back, in its place,
to where the giving is given out.
Mermaidâs Purse
There is no such thing as sacrifice,
though the bleeding doesnât end.
The self is the self yet bigger than itself.
Indebted. And subordinate
to the unity of its fragments,
loopholes in the loop of wholeness.
Cat sharks lay their eggsacs,
which eat themselves in gestation,
for if fewer mature sharks,
bigger portions at the feast
of the loggerhead turtle, which
will never again be a single entity.
Out of one, many.
If blameless,
then meaningless, dissolved
by a cloud of sardines, flashing
silver as if paying for breakfast
in a silent movie starring no stars.
Vanity
To think that, in my sorrow,
I thought it was permissible to flick
myself away like a fly from the full-length
mirror on opening night. Curled the hot
hair around my crowded face,
warming up the audience for a flop.
I thought Iâd be bought something,
by one who admired me. Some lost meal,
hours of fat drink check, a copselike rope
of rubies for my waist. But no. Iâm selfsame:
a wordsmith wearing too much paint,
my inking irons heavy in the rain.
The night is an imperfect story
for us all. It leaves things out.
The witchâs song canât prove itself
beautiful enough to sing at dawn
for the enchanted child
in an ordinary story about the night.
No small favor, no laughing matter.
Pass the meat through a slot
in the chamber. This whole self
can be as silent as a chain saw rusted
on the broken fever of my songâs rain,
my nightâs story, my ink ironâs brains.
In spite of the spot-checking,
the self-seeking, the meticulous soul-smithing,
I am still me, lacking.
Like murders in books, but with reverse
precision, how anyone becomes herself
is a mystery. A miracle. A myth.
5. OUR ANDROMEDA
At the Book Shrink
one learns to say âMy body uses me
as a grape uses wineââ
to talk about inevitability,
the essence of plot.
But what happens when a person
understands she is being sent
back, glass by glass,
to the invisible pouring stations
of the larger narrative?
That she is merely like or likely
a person in a book?
Like a saltwater balloon
sinking in the ocean.
Like a person in a book, like
I said already. Someoneâs
not listening. Someoneâs
eating breakfast or falling
asleep or texting a married lover
as shrinks are wont to do.
If I am boring then at least
I am getting somewhere:
through the wood I knock on.
My story is telling.
But itâs not telling
me
.
I need help getting to the next part.
When I open my mouth,
liquid rushes in, endrunkening.
When I close it,
dark, secret-looking drops spill
crimson on the page.
Headlong
Be strange to yourself,
in your love, your grief.
Your wet eyelashes a black
fringe on brown pain
and your feet unbelievably
sure, somehow, surfing
your own