Put corn on the stove, don't burn the chops, sign all letters “love,” keep spotless above, clean up what drops. Put all knives away, you never know. Car in the driveway, wait in the doorway, your prayer here below unanswered again: he has not died. This man of men throws good food in the sink,…
These poems and translations are part of a collaboration with the painter/monotypist Galen Garwood, with whom I collaborated on the book Passport (Broken Moon Press, 1989). Neither the poems nor the abstract images will function as “illustration,” but will interlock, exploring the fundamental wisdom-teaching rooted in the ideas of the great Northwest painter Morris Graves,…
She used to talk about divine laughter. I took this one of two ways. That the soul would be laughed at even in heaven, not kept out of the silver net exactly but as when the women at a school meeting laugh— at, not with—when they don't know how to enter your condition. But the…
Yes What awful thing will I take on because you've asked? I can't say no. Too hard to ask? It's only one more awful thing that I'll take on and do it all until it's gone, except the thing will never go. What awful thing will I take on because you've asked? I can't say…
Everything I steal, I give away. Once, in pines almost as tall as these, same crescent moon sliding gently by, I sat curled on my knees, smoking with a friend, sipping tea, swapping Coyote tales and lies. He said something to me about words, that each is a name, and that every name is God's….
When she had been dead all spring I called again, remembering the beings in the texts who get to spin around in both worlds; I wanted to see if what had been hers was still hers, if what was mine, was mine; she appeared in one of the gold rings they use to keep the…
My basic continuous ‘work-in-progress' consists of a dozen or so simultaneous channels, which I draw upon in succession, daily. The channels are: dreams; sexual fantasies; sexual occasions; found images; improvisations and observations; first imagery notes (all these are in single spacing); prose drafts (1 ½ spacing); first verse drafts (single spacing); intermediary verse drafts (alternating…
I. Looking everywhere, there's no one around to ease my gloom. I'll make friends with the moon. II. This autumn moon despises one who clouds this sky with teary eyes. III. What can one do? Sigh heavily over the moon, bathed in its beautiful light? Tears, tears and sighs. IV. You stole my heart. Now,…
—The mind asks the question; the heart is hurt by the unknown; you didn't have to take care of the dead one for she could still love what came forth though it seemed to you like suffering— too hard for you? Listen. You don't have to do anything. The raccoon is in the garbage can,…
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