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So, I’ve been being good and writerly lately.  I’ve started editing two different collections for contest purposes.  I have tentative titles:

Full Length Manuscript: Almost Being Somewhere

Chapbook: A Whole Armada of Loss

If anyone reads this at all, let me know what you think.

 

I’ve also been working on a few new poems.  They are a little rough, but here they are:

Water So Heavy

Sometimes I can still see them all,
when I get out of the shower in the morning—

their faces are frosted in the mirror, silverfish
floating through glass, water so heavy

it eventually turns to steam.
Sometimes one of them will pop

into the corner of my eye, like a floater,
the ones you try and try but never

catch, following with one eye while the other
stays glued to whatever is actually happening.

When they pop up that way, I’ll cut myself shaving
and watch the blood drip from my razor

into the pure white basin of the sink,
like some offering of Sunday wine, I wipe

my finger across it and press it to my tongue,
because I’m never sure if it’s my blood,

or Christ’s. Stay close,
our ghosts are coming home.

 

Catching Air

She says it is easy to catch air
and I imagine her a child—

tiny fingers wrapped around
the glowing underbelly of a firefly,

creating a tiny cavern of light—
a small sun to give life to a whole colony

of dust particles. She had that finesse
I lacked, the one necessary to ease

a herd of fireflies into a jar to make a lantern
or coax a caterpillar into an old Phillies cigar box

so we could witness change.  Not like the chemicals
that were adjusting in our bodies turning us to adults

but the kind of change I always hoped for—wrapping
myself in blankets so tight that it rewrote my molecules

and turned me from a small silk spinner into something
larger, something with wings.

Now we’ve both gone through that wrong kind
of metamorphosis—she got breasts and I got pubic hair—

and she is telling me that air is easy to catch,
like it is a bucket of sand that you can just thrust

your hands into and pull it up, watch it run
through your fingers into small ant mounds on the beach,

waiting to be washed away by the tide.
I know she is full of shit,

but something about the breasts and the pubic hair
leaves me there, nodding my head

like an asshole, trying to return to when we captured
bugs, played in the mud,

I’d even take the time I broke her favorite
wiffleball bat and tried to hide it

so I wouldn’t have to be the one to teach her that
sometimes the things we like a lot get broken,

and sometimes those things get broken by people
you really care about,

so you don’t know the proper amount of anger
to feel or how much sadness,

but now with the breasts and the pubic hair, I stand
there listening to her talk about air and about catching

it between her long thin fingers that look too big now
to capture fireflies, but still seem delicate enough to reach

into the cavity that holds my organs and explore, snapping
bones, pulling out veins, breaking whatever she wants.

 

The dogs are hungry,

outside they scratch the door, howl sad canzonettas
to a stoic moon, who’s turned his darker parts to us.

My father rattles against ribs with breath.
I take his hand, more tree bark than bone-flesh.

He grasps at mine, too small. So gently he squeezes the air
it stirs whirlwinds around my fingers.

His eyes are sick-green, a color my imagination must create—
forest sickly, squalid, dead—

his skin is all the lantern I have to see by. His breath catches,
then expels the fires forcefully.

At first it is all him—crackling forehead,
sputtering whiskers—just as quick he is gone:

now a powerful wind-gust rattling the windows in their frames.
The dogs let out starved yelps, stop their scratching,

smelling food somewhere far off,
they hide their glowing eyes and leave.

Transparency

I am going to use you.  All of you.  Or more specifically, the small handful of people who may come across this blog.  I am attempting to be more active in my writing life.  That is, not just writing a poem when the mood strikes, but actively trying to write.  And the internet will hopefully help me to reach this goal.  I am going to be more transparent in both my writing and my process.  I am going to start posting poems, hopefully a lot of them.  Multiple drafts of the same poem.  I am going to write more and share everything I write, the good with the bad.  This will hopefully force me into a more active life of writing.

So, a few small informational updates.

First, I am trying to start a writing group.  If any of my fair readers live somewhat close to Media and are interested, let me know.  We will get together on a regular basis (once a week, once a month, once every 17.5 days, whatever we decide) and discuss what we are working on, what we are reading, what we think about some topic in writing.  Just drink and eat and talk.  About writing.

Second, contest season is coming up.  I am going to try to create an entirely new chapbook to send out.  I recently started reading Jack Kerouac’s collected haikus.  To quote the book sleeve:

“Kerouac experimented with this centuries-old genre, taking it beyond strict syllable counts into what he believed was the form’s essence.”

Meaning that he doesn’t use the strict 5/7/5 syllable count of classic haikus.  Instead, he looks at the haiku as a poem with three short lines that capture a precise moment in time as completely as possible while adhering to the brevity of the form.  I was never one for writing haikus until I encountered this idea.  So, the chap book I am working on will be called something along the lines of “X Haikus for the Abyss” (where X is the total number of haikus in the book and the Abyss is the world).  The format will be a series of interconnected haikus with titles such as “Twelve Haikus for Jack” or “Seven Haikus for Allen” (the two I have been working on, which I will post below).  Some of them will be for people, some for things, some for ideas.

So, after a bit of rambling and a bit of information, here are rough drafts of the two new poems I have been working on.

Seven Haikus for Allen

If I could remove
my face in strips
I would wear yours

Not young, almost
handsome, but
old, strange, sincere.

And slowly my voice
would be yours
to sing sad songs with,

and my howl
of pain
would become yours,

my shattered heart
barely passing
blood, yours.

But I can’t,
so I write
this poem:

a small drop of rain
in this endless desert
of dishonesty.

Twelve Haikus for Jack

Mad Jack,
you are too sad
for words.

Your scrolls
all crumbled
to dust and flown,

your pens
all dried up
lakes of blood.

You look so
young in every
picture I have seen,

no older than me,
your eyes
are ancient trees.

You broke
more hearts
than you’ll ever know,

killed
more men
than any army,

but brought
just as many
back from the dead.

The birds sing
so sad tonight
over your grave,

the leaves all
catch in air
like ice and weep,

and you there
sitting in Heaven
petting Tyke.

Sad Jack,
you are too mad
for words.

So, I have branched back into writing some fiction lately.  Here is a flash fiction piece I have in the early stages of revision.

You May Tire of Me

Jon worked the glass of scotch in tight, neat, counter-clockwise circles as he adjusted his black tie in the window. He had worn the tie every day for five years and often wondered if that was some sort of record. As he traced the trajectory of the falling snow outside, he saw Amanda come out of the bedroom and look at him.

“Jonathan. We need to talk.”

She was angry, he could hear it in the octave of her voice, a step higher than usual. She always called him Jonathan, even when they were having sex, and he hated it. Jon didn’t turn to face her, he just sipped his scotch, letting the small flecks of ice rattle against his teeth, not allowing them entry into his mouth. In the window he could see Amanda pouring herself a drink.

“Really? I thought we didn’t have anything left to say.”

Amanda turned to face Jon and threw her glass at him. The unprepared projectile barely missed him and crashed through the window, letting in a gust of wind that blew Jon’s tie over his shoulder. He turned.

“I would recommend getting the fuck out of my apartment. Right now.”

Jon didn’t yell often and even now, his voice barely raised, but the crispness of his words showed his anger. Amanda just stared for a moment before walking to the door, taking her purse from the coat rack and leaving.

Amanda was smoking a cigarette when Jon walked down the steps from the apartment and sat next to her. He tried to take her hand as she exhaled but she pulled away and stood, looking up at the fire escape above them for a moment.

“We are like a mix tape, Jonathan.”

He stared at her, his eyes still, waiting for her to continue.

“All this romantic bullshit, but nothing original, nothing with substance. How many times can you use someone else’s words to say how you feel before you don’t feel anything anymore?”

Jon tried to say something, but Amanda was already walking away, rifling through her purse to find her car keys. He turned around and walked back upstairs, through the ugly paisley papered hallways, and to the door of the apartment he had lived in since he was twenty. The door was covered in off white paint, chipped away to reveal the wood below.

It is refreshing to know that I’m done with school (at least for now) and I’ve been taking advantage of that feeling.  Maybe a little bit too much.

I’ve started working on revising “A Letter to Charles Atlas” to submit to some contests in the coming months.  I’ve also submitted some individual poems here and there.  I’ll post as I hear more.

Anyway, my writing has been a bit slow, what with this new found freedom and all, but I’m working on it.

I’ve started a short story called “Where’s Calvin?” that I’m slowly finishing up.  Please don’t shoot me, fellow poets, I’ll never leave you entirely.

I have a ton of poems floating about, so I’m going to try to start updating here a bit more often.

This is an old poem.  I wrote it in my first workshop in Ireland, right after I started at Carlow.  Our mentor, Mark Roper, asked us to write a poem about a box and what we would keep inside of it.  I always seem to take a very strange direction to get to my workshop prompts, so this is what came out.

Tropicana Orange Juice Jar   Philadelphia   1922

My grandmother kept half-dollars
in an old orange juice jar above
the neon orange dish drainer

which always held a knife, fork,
breakfast plate, and the pan she used
to make her eggs—cooked with a

fork to make them extra scrambled.
It isn’t much, she’d say, but when I pass,
I want my grandkids to split it up,

buy something small with it
to remember me by.

When she died, the summer before

my junior year of high school, my parents
gave me the jar, filled to the rim
with silver half-dollars

and the yellow piece of legal paper—
with her barely legible scrawl of numbers
written in felt tip marker: 87.50.

I bought a small box with it, left some coins
in there. I kept the jar, too, used it to keep
bottle caps. During a party, once,

a friend stumbled into the fridge and I watched
as the jar fell, hit the ground, shattered. I still make
my eggs extra scrambled, the way she taught me.

Neglectful Again

I am aware that I have led you all to believe that I would begin to update more often and I am also aware that after a few small posts here and there, I returned to my neglectful attitude towards this blog.

You will notice the title and skin change. I hope this is a sign of things to come.

I am about to graduate and need to start thinking like a writer. Which is, to say, that I need to start writing.

So this seems like as good a place as any to start. We’ll begin with the poem that lends its title to both this blog and my final manuscript for Carlow University, I hope you enjoy. More updates will come in the future.

A Letter to Charles Atlas

Did you ever see a tiger with a barbell?
Charles Atlas

I.

The thin man swings a sledgehammer, the bell
above him rings out. A tiger roars as Charles Atlas
approaches: muscle pitted against muscle: the secret
of success. His body tenses as he wraps his hands
around the creature’s thick neck, pins it to the ground,
his muscles pulled so tight they quiver as he sweats.

The tiger was dead, the children: crying. Atlas
had let go a few seconds too late.
The body shook a few times before going limp.

II.

Dear Mr. Atlas:
I ordered your Dynamic Tension program
through issue 47 of Superman, it was August
and I weighed 103 pounds, by February
of the next year, I had put on 47 pounds
of muscle.

III.

When I sent my letter to Charles Atlas, I licked
the stamp and placed it carefully on the envelope
and carried it to a blue mailbox: the next
day, I read in the paper:

Charles Atlas, the Body Builder
And Weightlifter, is Dead at 79

IV.

Herc followed his footsteps, I’m sure,
when his father had not returned
from his run.

When Charles Atlas’ son found his body buried
face down in the sand, I imagine he picked up
the body, still large and toned (he would never
have let himself return to the 97-pound weakling
in old age) and carried him the whole way, sand
finding its way into his flip-flops and burning
the skin of his heels as he ran, not noticing the pain
until he was home.

V.

Your program is solely responsible for a transformation within
myself that is completely indescribable. While I never had sand
kicked in my face, I was completely invisible before Dynamic
Tension. Last year, while visiting the beach, I met the most amazing
woman. We are to be married this June and I would be honored
if you attended the wedding with your children.

Warmest regards,

D.

Gustav Sings the Blues

When the trees give way to cowering row homes, trying to survive
the storm, you feel it deep in your guts, coming low (barely
audible) over the hiss and static of the subway, like a Screamin’ Jay
Hawkins song beating away in your bloodstream.

After a few seconds your arms and legs become piano keys playing
the tune to I’m Lonely.  Even your cock becomes an instrument
(not a flute, too obvious, maybe a trombone) that the girl across
the aisle could play with her soft hands and thick lips
(full of rain and thunder, like the clouds).

It isn’t until you see the sky scrapers that you’re reminded of the shit
on radio (all glitter and shine).  You could listen a hundred times,
you won’t fill that hole in your intestines, left there by your first
girlfriend, or wife, or your third (it doesn’t seem to matter much)
she splattered the remains on the front porch (to fester) after she
stormed out (you still see the blood stains when you walk past).

Once you plunge underground, the lonely keys of Hawkins’ are there
for a few seconds before you are surrounded by the hush of blackness.

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