Oak Dream

This poem, my 15th hybridanelle, is the first of four poems that connect to a dream I had in 2001. The other three poems, in the order they were written, are “Three Ravens”, “markers”, and “oak touch”.

The poem “markers” does a decent job of describing the dream itself. Being a surreal dream, “markers” is a surreal poem. Some of the circumstances surrounding the dream are talked about in the intro to “oak touch”. This poem focuses on the oak tree that I encountered in “real life” about two weeks after I dreamed about it.

      Oak Dream

      random weaves of rugged bark
           writhe against the phasing skies
        that drift beyond capricious leaves

  roots extend throughout a dozen worlds
     winding deep into the plane of dreams
to brush the wayward mind like strokes of wind

     weathered plates of charcoal gray
           shift and slide into the air as
        random weaves of rugged bark

     tendrils cleave the mists from drought to draught
        driven to explore domains of light
winding deep into the plane of dreams

     vapors breathe against the moon
           raising plumes within the void
        that drift beyond capricious leaves

     solar cells fan out as emerald lobes
        along dynamic conduits of growth
driven to explore domains of light

     mosses clothe erratic limbs
         climbing toward inconstant heights up
        random weaves of rugged bark

     colors dance across elusive grains
        in gradual pilgrimage through subtle realms
along dynamic conduits of growth

     russet rustles greet the stars
           when cloud-breaks split the stormy nights
        that drift beyond capricious leaves

     like ripples cast by gentle drops of rain
        rings expand through time as branches reach
in gradual pilgrimage through subtle realms

     stardust rises from the earth
           to sing across the depths of space on
        random weaves of rugged bark
  that drift beyond capricious leaves

     beneath the spread of tangible mirage
        roots extend throughout a dozen worlds
rings expand through time as branches reach
  to brush the wayward mind like strokes of wind

Condensation

A full lifetime of pondering the implications of life and death, coming and going, has lead to a fair amount of reflection on the matter. Here I ponder the beginnings of corporeal life as relates to consciousness and its drive to manifest a corporeal existence.

Condensation

vapors ooze from a black unknown
   shifting places changing form
 currents swirl beyond sensation
   and dreams are set adrift
wafting like scents through the void

poured from starless reaches
   impulses consolidate in pools
 growing creeping crawling flying
   their primal manifestations
sprung in tandem from the abyss

color falls from the earth
   moisture grows from the sky
 soils sweep across the seas
   waters erupt into mountains
fires spurred to consciousness

flashes clear a shapeless dust
   and pink hued lumps of clay
 soak the stormy reign of thought
   stand and stumble struck with awe
blinded by visions of time and space

Guardian

This poem, my 2nd trisect, reflects on my experiences on the Yukon River in Canada during two river trips, the first when I was 18 and the second when I was 27. Segment one depicts the modern canoe. Segment two depicts the river itself. And segment three depicts the animistic interaction between the paddler (myself) and the wilderness around.

Guardian

Cradle

Fiberglass for birch tree bark,
a coat of paint for resin pitch,
and plastic trim for cedar wood
compose the modern wander-boat.

Nonetheless there’s craftsmanship
in building plugs and curing molds,
sculpting sand to form a shell
that tumbles life down waterways.

A ghost of the old ways filled with gear
caressed by ancient subtle hands,
appraised and held in fair esteem,
the new unnatural ways aside.

Like driftwood on the open surf,
the fiber-foam cocoon is cast
and swept along on buoyant waves,
tossed by every twist of wind.
 

Meridian

Fueled by swollen alpine lakes,
mirrors to the craggy peaks,
countless glaciers, ponds and streams,
sprung from clouds and hidden springs,

an everlasting thunder rolls
that carves an everlasting path,
a stormy rush of living things
that slakes the stormy rush of life.

Firs collapse and boulders plunge
into the undulating surge,
swept across the winding earth
to strike with titan force the sea,

and clutched against the serpents back
a fleck of lost humanity,
immersed in sprawling majesty,
grips the currents deep and black.
 

Spirit

Black bears peer from root-filled banks;
ravens watch from stands of spruce;
eagles gaze from sudden bluffs;
a bull moose stares from out the wash.

All the dreamtime creatures wake,
bodied forth like smoky signs—
deep claw prints in frosted mud,
fang marks on the aspen’s trunk.

Each regards the floating soul
that wanders broken in their midst,
a well of rage and twisted grief
that echoes through the howling wind.

And each respects his long release
until the blood cakes on his lips
with massive silence like a mist
that rises up to steady him.

Publication History:

Art Arena (web-based) — June 2006

E merge nce

My 1st trisect poem. The trisect is my own semantically complex poetic form which I will use to help me with developing my use of depictive language.

E merge nce

Fortress

walls of paper kept the world at bay
cubes of indistinction none would see
where settled there within a watcher peered

the dusty brown a perfect camouflage
propped against a wall or by a hedge
passed a thousand times by reckless feet

corrugated fibers held the wind
so that the space inside was made to form
a child’s island haven from the storm

sometimes it was a spaceship among the stars
sometimes a moon-base on a barren scape
sometimes a roving tank all battle-scarred
but always it provided safe escape
 

Goliath

shaped from molten vats of ore
molded by a burning greed
riveted with violent force
pieces merge to fill a need

manifest from heavy silence
oils surge and slowly drip
uncertainty across the roads

power charges through its frame
explosions channeled in its chest
to serve a senseless master’s will

tires grind an alley’s dirt
shadows steer a ghostly wheel
the phantom grill athirst for blood
 

Impact

black lightning strikes the living clay
evaporating life from every limb
suspending consciousness alone
void of breath yet interfused with fear

tires spin throughout the dark
an engine roars above a twisted neck
inches from a lifeless face
psychic tethers anchored in vibration

a heedless monster lumbers back
the shelter shattered open like a nest
blood resumes its former course
and wild bones reanimate the flesh

a figure stands and staggers numb with pain
screams and scampers filled with terror
headlights rear and fade away
a child’s bones left fractured like his mind

The first segment focuses on cardboard. I used to create cardboard forts when I was a child—sometimes very elaborate—and hang out in them all day long. Some of them would be portable, and some would be built in vacant lots or alleyways blocks or miles from home. They were always very well camouflaged, so my little hideout would remain my little hideout. The portable ones I’d often setup at the edge of a busy parking lot, made to look like a pile of scrap cardboard, where I’d hang out and just watch people without them knowing. These simple forts were a safe haven for me, a private place to go and be away from troubles and worries. And I had my share.

The second segment focuses on the automobile, the car. I remember reading up on their manufacturing process and design, and the primary materials used in their construction, before starting this segment.

The third segment focuses on a little mishap I had in one of those cardboard forts as a 14 year old, which involved a car. It was in an alleyway a few blocks from home. City blocks. Los Angeles City blocks. About a mile away at least. I had some big fight with my mother that day and decided I’d just have my own space that night in a cardboard fort I and a friend had built a day or two before. It was a beautiful fort, with four separate compartments, each of which were big enough to lay out flat in. The whole thing was masterfully camouflaged with various sorts of debris from the area, including dead palm branches and branches of other sorts. In the end it looked like a slash pile, just a bunch of branches and other random materials tossed into a pile—but it was hollow, and there were access points.

That night as I slept a car slammed into the fort and ran over my right arm, shoulder, and neck, breaking the upper arm longways from near the elbow across to the top near the ball socket, and blew a piece out of the ball socket itself. My neck was severely sprained—which is of course a miracle. It was possible to make out the tire treads on my throat. How I happened to be aligned such that the tire didn’t snap my head one way and pop my skull off the spine like a bottle opener I have no idea.

This was my first NDE. I have no way to prove it, but I just know. I know what I experienced, and I was dead for at least a moment—and a moment is long enough to be dead. Sometime I’ll dedicate some poetry and discussion to that experience. But as I “returned”, after the car had somehow managed to back up off me without running over my neck a second time, I sprang up in a panic, and it came toward me again, then stopped, then backed all the way down the alley and around the far corner, as if in a mad rush to escape affiliation with the mishap. I’ll never forget the sight of those headlights.

I was near a series of hotels. And each time I knocked, with my left arm since right wouldn’t respond, the owners would come to the door and I’d ask for help and they’d slam the door on me. It sucked. In this manner I ended up up making my way half a mile to an apartment complex my mom had lived in a year or so before, where some people knew me, and an ambulance was called.

timelines

Things change over the years. We grow up and away from childhood and any abuse endured therein. If we’re lucky, we one day come to realize that we now live in a different timeline, one where those traumas are but dreamlike memories only half recalled.

timelines

This poem has been published in my book an inkling hope: select poems, available in Kindle and paperback formats. Out of consideration for those who have purchased a copy, I have removed it from this post and online viewing in general.

On a Life Left Unfinished

I met Del Warren Livingston early in the Fall of 2003 online at a poetry forum called Poem Kingdom. He was one of the first people I met and talked with online who took me seriously as a poet, and he treated me like a scholar.

Del passed away suddenly in September of 2005. After more than two years building a friendship, which is something I rarely do, this was a loss deeply felt. He really liked the hybridanelle form I invented, and he wrote several poems using this form himself. Most of them were very well done, and a couple may be found on his memorial page linked to below. So it only makes sense that I write and dedicate a hybridanelle poem—my 14th—to his memory.

      On a Life Left Unfinished

      in memory of Del Warren Livingston (1944—2005)

      A full life’s never ended; it merely passes on
   new inspirations wrought from memories
like stardust filaments that weave the birth of suns.

   Your time had come to shed the mortal dream;
      although you wake beyond our veil as if from heavy slumber,
   your remnants ripple through our half-lit realm.

And if you find yourself reflecting where you’ve gone
   on all you’ve left undone, well just remember:
      a full life’s never ended—it merely passes on.

      We who float within your wake can hardly help but wonder;
   we guess and grope for answers to our loss
although you wake beyond our veil as if from heavy slumber.

   Despair would not become you despite your waning moons;
      you strove instead to leave creative memoirs
   like stardust filaments that weave the birth of suns.

The mystery conceals you like a shroud;
   now left with only memories of all you planned to do,
      we guess and grope for answers to our loss.

      You chanced that every evening would reproduce the dawn;
   unfinished projects bear the keen reminder:
a full life’s never ended; it merely passes on

   a sense of oak leaves newly formed and foals of chestnut hue
      to those who valued more than just your presence,
   now left with only memories of all you planned to do.

The minds you’ve touched remain to bear the human trance,
   yet still your essence drifts in memory
      like stardust filaments that weave the birth of suns.

      Your intuitions leave prospective imprints
   and phase from tangibility as cloudscapes phase from view
to those who valued more than just your presence.

   So long as breath sustains, your friends shall hold within
      the insights you have offered as mementos;
   a full life’s never ended; it merely passes on
like stardust filaments that weave the birth of suns.

   The blood that fueled your living form returns to join our roots;
      your time had come to shed the mortal dream
   and phase from tangibility; as cloudscapes phase from view,
your remnants ripple through our half-lit realm.

I met Del about when I was starting to get a handle on expressing myself and my observations in fairly neutral, non-judgmental tones in poetry forums, and discussions in general. Not fully—not then, not now—but more so than before. When it came to discussing poems, poetry, and poetics in an online poetry forum, it has always been my goal to seek knowledge and understanding while at the same time freely sharing whatever I’ve learned up to that point. However, I’ve had to gain insight into my own ego and insecurities as part of this process, which hasn’t always gone smoothly. So I’ve ended up alienating a lot of people as I’ve struggled to learn how to communicate intelligently, openly, and unassumingly with others.

As luck would have it, Del wasn’t much bothered by my rough-edged, self-distancing gruffness, and he enjoyed batting ideas and information back and forth. I was also at this time finally becoming proficient in my understanding of verbal meter, so our early discussions included much talk of meter in poetry. As a result, he learned so much about this aspect of poetry, which had thus far eluded him, through our dialog that he eventually naturalized it himself.

Much of our dialog took place over his own poetry. He sought out my critiques of his poetry—And he didn’t want the light stuff. For the first time I was able to completely cut loose on analyzing and interpreting a living person’s poetry to shreds without worrying about hurt feelings. It was an educational treat for me, and he appreciated the time I spent critiquing his poetry so much that he actually sent me a check at one point for around $200, which he called “compensation”. Up until his death he also took the time to provide me with detailed thoughts and interpretations on every new poem I wrote.

I am by nature asocial and emotionally distant to people, so it took him some effort to cultivate and sustain a friendship with me. But he did so, and as a result I took an increasing interest in him over time, getting to learn a lot about him as a person.

Part of the reason he was studying poetry himself is that he knew his time above ground was limited at best. Years ago he suffered from a metabolic accident that caused him to very quickly gain and retain a lot of weight. In fact, the accident screwed up his biology in general, and his heart weakened over time from the strain on his body.

He wanted to learn how to use the medium of poetry to tell stories about his life and his inspirations so he could leave something behind that would feel significant to him. In fact, Del self-published a book about a year ago titled Writing into the Sunset, which I have a copy of. He passed away literally one day before sending a second book to print. Hopefully his family will be able to get that book published for him, too, at some point.

I came to consider Del a good friend, enough so that I took the drive down to Tuscon, Arizona last spring to meet him. I spent a week at his house with him, mostly entertaining myself with my reading as I’m wont to do, but the rest of the time having very long conversations with him. I’m glad I went; because if I waited, I wouldn’t have gotten to meet him in person at all. He was a wonderful host who made me feel completely welcome in his home.

One of his friends, Eric Lee, has arranged to have this memorial page setup for him online, which includes a short bio of his life and some of his poems. I hope you will feel moved to go have a look.

Dis-integration

The ephemerality of life and self has been a subject of personal reflection for as long as I can remember. This has given rise to the occasional abstract poem, such as this one.

Dis-integration

This poem has been published in my book an inkling hope: select poems, available in Kindle and paperback formats. Out of consideration for those who have purchased a copy, I have removed it from this post and online viewing in general.

The Mother

Wrote this while sitting in a Starbucks in the Portland area. A woman sat across from me with her infant child, and I found myself moved by the way she interacted with him—and reflective of the disparity between that infant’s experience and my own.

The Mother

This poem has been published in my book an inkling hope: select poems, available in Kindle and paperback formats. Out of consideration for those who have purchased a copy, I have removed it from this post and online viewing in general.

Anima Cantus

This poem, my 13th hybridanelle, attempts to depict and convey one of the ways I look at ’being’, what a being is, and how it is connected with its self and other beings. The title is Latin for “mind song” or “psychic melody”.

Anima Cantus

This poem has been published in my book an inkling hope: select poems, available in Kindle and paperback formats. Out of consideration for those who have purchased a copy, I have removed it from this post and online viewing in general. However, the above player can still be used to listen to it.

Publication History:

Art Arena (web-based) — November 2005

Unfenced

A friend of mine died suddenly on the 12th. I talk a little about him and how we came to meet in “On a Life Left Unfinished”, another poem I wrote in his memory.

     Unfenced

     in memory of Del Warren Livingston (1944—2005)

          close your eyes my friend and listen
     hear the sound of beating hooves
your spirit-brothers come to take you home

          they have heard the call of your stallion heart
     wild neighs that pawed against your chest
and now they come to see you home

          yes they have heard you realms away
     known you as their own throughout the years
lifting their heads at the sound of your distant soul

          your stallion blood has pounded long
     confined within a human cage
at last you have broken free

          do you feel the wind flash across your mane
     can you sense the creased mountains in your nostrils
the power that ripples beneath your hide

          close your eyes and dream my friend
     no longer can the old pains trouble you
go now and join the waiting herd

          graze where waters wind through wooded vales
     gallop where the grasses stretch and gleam
nicker in morning mists among your kind

          fill your lungs with fenceless air and leap
     when you open your eyes and blink away the sleep
you will be home again at last… and free

Matrimony

For the unity of marriage I used Katrina as the metaphor for life’s struggles. And for the survivors of Hurricane Katrina I used matrimony as a metaphor for unity. This is my 12th hybridanelle poem.

Matrimony

This poem has been published in my book an inkling hope: select poems, available in Kindle and paperback formats. Out of consideration for those who have purchased a copy, I have removed it from this post and online viewing in general.