i am alone
i am lonely
i am not what you see
i am already changing
i am already not the one who said
i am alone
i am alone
i am lonely
i am not what you see
i am already changing
i am already not the one who said
i am alone
it starts like this
moon on the waves
and you and the blade
i remember the way
i remembered to say
three times the demon king’s name
wound up and ground up with fortune and fame
it starts like this
but it doesn’t end
put your shoulder against the wave
and hold tight to your partizan
been singing black dog sermons
keeping melodies like a talisman
on and on the tides devour
i haven’t grown gills and i lost the key to the tower
it starts like this
broken hearts like this
but it doesn’t end
pocket full of sixpence, bindle full of rye
sand on the shore and the burdock ravens fly
hands made of thimbles, slice up the time
a spindle of riddle choking the silver rime
asking a question that has only one answer
counterfeit miracles like bones made of plaster
it starts like this
it breaks like this
the night like this
but it doesn’t end
there is no law but
the one we make
no cops and robbers
but the oaths we break
flipping open folders grown green like a phantom
mildew is the true revue of scenes we abandoned
startled awake hands deep in the overcoat
hat on my head smells like red creosote
steel in the right pocket, glass in the left
few swallows holler, piles of clocks have slept
and turned and wound to find me here
mutter in the gutter but the streetlight is devil-clear
detective elective corrective unsure and unkind
no badge left and cogs unclog a claptrap mind
but there on the wall, written in blue
killer’s left a riddle in the middle of a larger clue
painted on the wall, outline of a tower
shadows on the bricks, red line on the flower.
there is no way but
the one we choose
no monster in the mark
but the one we lose.
Is there a term for spiraling so slowly that it just looks like dancing? Only when the detective has the photos of the event up on the white board and they’re sipping their coffee and they look down then up then they realize. Their brow furrows, they should have seen it all along. That’s the abyss in the center of the room not a throw rug! (though it does really pull the room together as they say)
I’m the detective in my own life. I’m the mastermind setting fires on the South Side. I’m the thug in the box sweating it out. I’m going to get to the bottom of this. I’m waiting at the bottom of this.
I am emotionally dishonest, but not without flair.
All writers are detectives, all writers are defectives. Typing out our confessions that we got from ourselves, but tidying them up for the brass downtown. I file mine in the trash can and go back in for more, this perp knows the answer, this time I’ll crack it, even if I have to break a few eggs, break a few legs, break this kid against the side of the table.
The detective sits in bars late at night and drinks and talks to anyone who will listen about the case. The detective has a tab that is never brought current. The detective stares out at headlights as he drives, across the bar, across the room. Something burns in his gut that isn’t bourbon, something animal that knows he got it wrong, got it wrong again.
I flip through old work, I keep forgetting but there’s so much of it. Scribbles in pages and stages and rages of kings, my own words sound like someone else, sometimes they catch me by surprise, almost unravel the knot, like that was the purpose. I keep singing the same songs, changing the key – pushing the shapes and toys I have into battle with the throw rug in the center of the room. I understand but I don’t believe, the detective stares out at headlights and knows he got it wrong again.
Is pain a riddle to solve? I hide secrets and stories and swords made of silver in the air, in the wire, in the bath water. Hoping to find them when needed like December coat money, tossing them downstream in time.
The detective sleeps alone even when there is company.
I understand but I don’t believe. At least not enough.
There is some resentment. Do I really need to say it again? I say it over and over but no one puts the clues together. Never mind that I don’t really know what I’m saying and would resent more any attempt at vigilante justice. This is my town, let the police do their job. It’s too bad that they’re on the take. This is a city of law and the first law is: I choose what I see. The second law is: Let it burn.
The mastermind laughs in the streets and doesn’t even bother wearing his mask anymore.
I’m sweating in the box, my wrist handcuffed to the table. The detective comes in and folds his coat over the chair but doesn’t sit. The detective leans over and says, “Say it again.”
And I stutter. I moan. “Please don’t make me, you don’t understand. I’m in danger.”
The detective rolls up his sleeves and locks the door.
lines in the sand
drawing them in circles around me
riddles and shapes of song
lines in the sand
can’t live in this invisible country
water’s rising, won’t be long
how can
I live
in just
a moment?
no one
will know.
waiting
to forget.
lines in the sand
promises are breaking like the waves
i speak and then i’m gone
time in my hand
books of me cry out from pages
i don’t trust any one
how can
i be
only
a moment?
you are
not me,
but wearing
my jacket.
lines in the sand
circles fading, draw them again
water and night will prove
lines in the sand
memory is a fool again
—
Marcus lived on an edge of town. Not the actual edge, not the city limits where light gives way to quiet dark – but an edge piece, a place where the neighborhood butted up against the rail road track and the ruins of old factories beyond. One could walk past it on either side in a couple minutes, drive past in a heartbeat – but it remained an edge, a cliff of the known. A place where the railroad track felt like the shore of an ocean, the collapsed buildings a ship’s graveyard. Marcus had lived in his house for only a few days the first time he heard the music, only two weeks when he saw the first stranger come down to the tracks to leave an offering.
The music only came at night. Too quiet to hear inside his house, but if Marcus was walking home late or getting something from his car or walking his dogs he could hear it plain – echoing from the dark beyond the train tracks. Sometimes it was guitar, sometimes it was a low trumpet, sometimes a flute – hollow and insistent. The music did not come every night, but often enough. The melodies changed – always approaching familiar, but distorted by distance and wind. He asked his neighbors if they heard the music, but they only smiled and turned away from the question.
Then the first stranger came. They came at sundown, just drove to the end of the street in a black sedan. They got out, they wore a coat and slacks, work-day tie loosened. Marcus watched from his window as they walked across the tracks, something wrapped in red cloth in their hands. The stranger did not look left or right, they did not stay long – their shoulders seemed to carry a familiar errand. They came back to their car empty-handed. The stranger sat in the black sedan for a few minutes then drove away.
Marcus could not bear the curiosity and made his own way down to the tracks with a flashlight, but as long as he looked he could not find whatever had been wrapped in the red cloth. Whatever the stranger had left behind was gone – or beyond his ability to find.
Time passed and more strangers came. Young and old, rich and poor. They drove or they walked or they rode garish bicycles – always to the end of his street, always to the rail road tracks, always bringing something. Sometimes Marcus could see their offering – bowls of stones, a loaf of gray bread, red flowers in a green vase — all placed over the tracks among the ruined factories. All placed and left, but try as he might Marcus could never find them after the strangers departed.
And still at night, the music. Marcus found himself humming through his day, trying to remember the tune. He still could not place it, but was sure that it was sad.
He asked his neighbors again – about the music, about the strangers. They frowned and shook their heads and handed him back the question unopened.
At last, he could stand it no longer. He waited on his front porch at sundown for three days, until another stranger appeared. An older woman in a long blue dress walked down his street, her eyes already looking beyond the rail road tracks – Marcus had learned to recognize the gaze. She carried a small box under one arm. He rushed across his yard to move between her and the tracks and held up a hand in greeting.
“I am sorry to bother you, but – but I live here. And for weeks and weeks I’ve watched people like you come to the tracks, to the this place – and all of you leave something. Can you tell me what’s going on? Why you come here?”
She smiled politely, and said, “No.”
And to his surprise she walked past him.
She walked past him and continued on to the shore and beyond, with the box under her arm. Marcus followed.
The woman in the blue dress walked across the tracks and sat the box down on a collapsed brick wall. She sighed, then turned and walked back the way she had come. She nodded to Markus but did not speak. He watched her go, wanting to call out again, to ask more questions – but he knew it was fruitless.
Then the music came – louder than he had heard before. He blinked and the sun jumped below the horizon, he blinked again and the street lights came on — not the customary yellow-white, but a pickle-green. He turned and the box was gone and the music was so loud and he was singing and he was singing and he was crying and crying and the fog, the fog was green the fog was green, green as cucumber and how could he ever forget the tune?
A few months later, a new family moved in next door to Marcus – a lawyer and her husband and three children who quickly became enamored of his dogs. One evening, after hot dogs and wine he was chatting with the lawyer while her husband and her children threw a blue disc around the yard. She stopped mid-sentence and leaned in close, ” Marcus – this is a weird question, I know – but the past couple of nights I’ve been hearing music outside at night. Do you know where it’s coming from?”
Marcus took a slow sip of wine and felt her question on his tongue. He gave as good an answer as he had.
“Over the tracks.”
“But there’s noting over there but ruined old buildings and trash? I saw a cop walking down there last night, I wonder if kids are sneaking in to hang out there?”
“The cop probably had something to give.”
“Something to give?”
“We all have something to give — we all owe something, eventually.”
“Marcus, what are you talking about? Am I missing something? Are you making fun of me?”
Marcus smiled politely, and said, “No.”
1 the comet came
and i
2 the comet came
and i was back in my brain
but
3 the comet again
this time like a friend
standing demanding
the globe reprimanding
not sure what it meant
but the sparrows are landing
4 the comet
jaws like a sonnet
circle of singers in the crest of a wave
praying and laying the heart of knave
i made me a man of lightning and air
someone i thought could take me to where
the stink and stammer of the stardust corruption
was something that my wit could wrap with eruption
i made me a man who made only pain
because villains are willing to howl in the rain
lessons i carved but erased every morning
my ironside doggerel is whippoorwill warning
5 the comet
still think I’m on it
ship made of stories and stolen bluebonnet
6 the comet, nothing this year
creeping down alleys and clutching my spear
7 the comet, harder and harder
running out of rambles kept safe in my larder
rhythms are ramshackle and fable for fools
the weaver won’t last if even his loom unspools
8 the comet, the comet, the comet
it’s not hard it’s only hard when it’s only the comet
comet the blood comet the time
comet the singer puking up rhyme
9 times the comet
9 times the gauntlet
unsteady remainder i wait for the sun
i am a container for days on the run
no not that
here not then
now now, no no
too late
wrong color
wrong tone
wrong black and tan wire wrapped around the phone
i love that, i hate this
screwing up my courage to type the word kiss
hamper your temper and still sharpen the blade
no one can never know how the light lines are made
gardens of gerunds and sultans of nouns
everything lost when the red marble’s found
no wrong, too late
a heart sigh too much
i hate what you make what i make what these make
what clatter is the matter when the three day bread can only break
all there is is this
this i hate all i have that i have is this
i hate your this
i hate your that
jealous and sour and howling cravat
stop
stop this
stop that
too late
Start small.
Build a tree, and a chair beneath, and then wind, and then night. The wind is cold.
An actor enters, sits on the chair. They are waiting.
Start small.
The actor is a man with red hair. His clothes are old, cut for a larger person, perhaps stolen. The man sits in the chair and leans back. His head almost brushes the bark of the tree. He shivers. He is waiting.
Already the lines form in the dark, already the roots spread.
Tempting to leave him here. Tempting to leave the man to his moment. Is he waiting for a lover, waiting for a rival, waiting for the sun to rise? Ask but the answer is already clawing against your teeth.
He is not a young man, nor old. He has a knife tucked in his belt. He once loved to sing, but now does not remember the way of it. He is waiting in the chair under the tree on the edge of the town (a town! of course, this moment requires it). He is waiting for another traveler, one that can lead him home. He has promised gold to the traveler but he has none. He has no particular plan beyond waiting and the knife and the roll of the dice.
Does he have a name? He does, but not one you can claim. He has two, but they did not travel with him. Why him, why this shadow and not one of your own? The question is sharp and heavy but you feel the moment passing.
The man in the chair looks up, almost as if he can hear you pondering.
You are close, you are tempted to speak – but the moment is passing.
The wind is cold. The man waits and hopes to have more than a knife to offer. The tree and the chair and the town wait. The wind is cold.
stand at the edge, doorway house
green field around you
you are awake at last
but empty, maybe less
than before
you wear clothes you have swallowed the thin soup
you are ready to know
if you are who you were
jonas is off chopping wood
now is the time
where you can walk alone
on skeletal feet to the edge of the water
the edge of the yard, the sun beats down
is yellow, is daffodil face
you are ready to know
if you are less
you hum
you are white hair blowing in the wind
you are skin and bone
you are
merely human
regret but also relief
that sleep could prove a thief
now you can live and die and eat bread
drink wine and let sleep take
whatever it might wish
you can be
merely human
ah, but now
a spike of fire on your brow
you on the edge of the water
on the edge of merely
you do what you must
you reach down
your hand in the water
your hand in the water
your hand is the water
the water is now
you replace blood with wind
skin with storm
you drink deep
ah, you drink deep