Wordplay

I would say that my serious interest in poetry as a writer began in July of 2001. For this is when I embarked upon putting together a seven part poem consisting of terzanelles, which I titled “Fragments”. After this, I decided that I would dedicate the rest of my life to poetry, and after some casting about for ideas on how to get going, I decided I would begin by studying the ghazal for at least two years. This was just shy of twelve years ago now.

And what have I learned about poetry since then, in all this time? Well, for one thing I’ve learned that it is hard—very hard—to write what could objectively be considered “good” poetry. In fact, the more I learned about this art, the higher I raised my own standards, and the harder it got. Once in awhile I find myself reflecting on where I was 12 years ago and where I am today. I find myself wondering just what poetry is and how it could be defined, and what it is to me specifically. The specifics change on this regard, hopefully evolving, but there is a sort of vague and abstract definition of poetry that floats through my mind like an ever shifting cloud. One that dissipates into nothing whenever I try to use words to express it. That’s alright; this unsettled definition is for my own uses anyway.

But, I have at least developed a sense of what a poem is not, and for the first time in a while I found myself revisiting this notion.

Wordplay

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.

This is my 6th Petrarchan sonnet.

Stumble

This is written for someone who stumbled some years ago. The fall was severe enough that there was the very real possibility of never being able to recover and live a normal life. This is not the sort of fall that involves scraped hands and knees, but the kind that involves a severe lapse in judgment—A psycho-spiritual fall. But, over time, this person has shown everyone a willingness to grow that is beyond anyone’s wildest expectations. A new chapter now begins for this being, and we are all filled with hope and wish the absolute best.

Stumble

For someone with potential

A shadow stirred within the hollows of your heart
  and writhed amid the shallows of your mind;
  it fell across your visage—left you blind
to choices that would raise you up from out the dark
and set you on a course to apprehend rewards
  reserved for those whose spirits are aligned
  with empathy and wisdom intertwined—
And blinded thus you faltered, fell, and landed hard.

    But it takes light to cast the blackest shadow,
  and this is light that you have learned to see.
You’ve gotten up again despite the grief and shame
    and found you have a bright new path to follow.
  You’re wiser now and touched with empathy,
so you should never fail and fall so hard again.

This is my 5th Petrarchan sonnet.

Refraction

Hermenegilda Cabrera, lovingly called Tiya Emmy by nearly everyone who knew her, passed away during the first week of March this year. She is my wife’s aunt, her mother’s sister. As she fell ill, I would find my wife crying uncontrollably as she read updates on her condition. And after she got the news that her suffering was over, she cried on and off for weeks. Even now I’ll sometimes find her crying.

Refraction

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.

I know that Tiya Emmy’s passing has affected my wife at the deepest levels. But I also know there is more to it than this. Her mother and father are around the same age, and she feels that growing sense of dread all children must endure as their parents age. They are in good health, however, and we are thankful for this.

This is my 3rd Petrarchan sonnet. Still a bit challenging for me.

The Boulder Climber

My “shift partner”, as they’re called where I now work, is an avid boulder climber. Now, these aren’t the boulders that might jump to mind when you mouth the word in your thoughts. Oh no, we’re not talking those waist-high gray things that might roll out onto the highway in the rain or those head-high bits of granite you might find near a stream bed. No—By “boulder” these particular climbers mean these great big lumps of stone that loom up over your head by as much as 50 feet.

Since my shift partner talks so much about boulder climbing during the wee hours of the night, I thought I’d try my hand at molding the little-known sport to a metaphor and see how that goes.

The Boulder Climber

She is the first to climb this route through life,
  to feel her way through all its nuances
  to where the summit slopes and vanishes
away from view above the concave cliff.
The way ahead is sheer—without relief;
  she reaches, probes, and feels for blemishes
  within the rock to serve as purchases
from which to make her way through bruise and chafe.

Patience is the key above all else
    to moving gracefully from hold to hold;
  she contemplates an overhang, then leaps
  to grab a ledge beyond her body’s reach;
    her feet swing free, but then she hooks a heel
and muscles past the crux to higher realms.

This is my 2nd Petrarchan sonnet. My first was part III of “Coming Together”, which was also a synthetic ode.

Stirrings

The first four lines came to me in a flash the same day I learned of the terrible destruction and loss of life wrought in Japan on March 11, 2011 by one of the strongest earthquakes ever recorded and its subsequent tsunami. Then nothing. Perhaps I was just stunned by the magnitude of it all, even from the relative comfort of 5000 plus miles away. But I’m trying to wrap up old ideas right now, so I figured it was time to do something with those four lines, for better or worse.

And so here we are, my 9th Shakespearean sonnet.

Stirrings

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.

Nai No Kami is the name of the Japanese god (kami) of the earthquake, or at least one of them. Watatsumi, respectfully referred to as Ōwatatsumi, is one of the great kami of the sea.

There are actually four more seed lines inspired by this same tragic event. I was later able to flush them out into another sonnet form poem, which I titled “Aftermath”.

Spark

This, my 5th synthetic ode, has proven itself a difficult thing to write. I’m not really sure why. I think maybe it has to do with the insights behind the content being somewhat beyond the reach of words—Of language.

Spark

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 metaphor I’ve attempted to explore here is the coalescence of being and the spark of beingness.

The Early Cherry Blossom

The idea for this poem came to me about two weeks ago, which I thought could really blossom with a little patience and care. So I put the other poem down that I’ve been picking at for a few years and got to work. This poem represents what I think of as an “open metaphor”, in that what is depicted here should bear different meanings for different people.

The Early Cherry Blossom

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.

Gitche Manitou

Gitche Manitou is an Algonquian (Amerindian language group encompassing many tribes) phrase meaning all of “great spirit”, “great mystery”, and “great entity”. Manitou on its own subtracts “great” from these transliterations. This poem explores these three aspects of Gitche Manitou, and then some—Hence the title.

Gitche Manitou

  Before the first breath stretched my lungs,
  I felt throughout my entity a
  resonance that filled the mind with
  song as soft as morning drizzle.

Light touched my gaze with stained glass colors,
a struggle to understand amorphous
shapes that drifted like clouds and vanished
amid this song that grazed awareness.

Slowly, shapes became still and acquired
purpose and meaning—a name for each;
even the curious shape that stared back from
every silver reflection was named.

Seasons passed; the sidewalk laurels
cast their sundial shadows across long
years, expanding and shrinking with time as
understanding grew with the bones.

One day I began to seek the source of
this subtle song that brushed my skin like
static electric potentials—a nameless
song that moved like a wind from nowhere.

Though I could hear like waters rumpling
in darkness this abstract song, the stream
itself could not be found, nor the place
from whence its waters issued forth.

And thus it went as my long walk began,
I followed this ubiquitous sound without so
much as a clue from whence it came
and found only earth, the sky, and the stars.

For everywhere the song was heard;
where neon, steel and concrete rise up
from desperate shadows it was heard, and
where tempest waves besiege dark cliffs.

Where gray stone monuments stand silent
guard in fields of grass it echoed
like a dirge, and where rotting sideboard
peeled away from homes abandoned.

Where old growth sugar pines sway tall in
coastal alpine vales it shimmered, and
where winds etch patterns in swaying stands of
maize as far as the eye can see.

Where granite peaks protrude through clouds
it whispered ever so softly, and where
the sagebrush dream in the quiet light of
a half moon drifting in opal darkness.

For years I listened, searching on,
this strange and subtle song reechoed
always through my thoughts, yet never
nearing once its secret spring.

And so this dreamlike quest for insight
slowly waned for lack of headway
until more practical concerns
took hold, demanding all attention.

For in a world where everyone’s an
expert and none admit to knowing
nothing on any subject broached,
I learned no clues about this song.

No clues, but yet I hear it still,
all around—in everything from
stones within the riverbed to
red bricks mortared in the wall.

The song lifts up from dragonflies,
June bugs strong upon the air,
houseflies on the windowsill, and
silver moths that circle streetlamps.

It burgeons forth from hardy black oaks,
aspens shimmering through the air,
blue spruce towering near the ridgetop,
and alders lurking by the stream.

It emanates from grand paulownias,
little cloud-like stands of yarrow,
trillium gleaming in the forest,
and roses rioting by the fence.

It even wells from manmade things,
the favorite coffee cup, the car,
the painting in the living room,
the lamp, the nightstand, and the bed.

All things sing their beingness
amid the beingness of all,
yet no thing gives away the place from
whence the songs of all things rise.

The song remains a mystery,
an all pervasive mystery
that resonates a sentience,
a presence, and an intellect.

And as the years advance I learn
to just accept it as it is; for
this song that manifests us all
is that great mystery within.

Tropic Rose

Joy, my wife, had asked me a long time ago if I would write a poem for Rose, one of her closest friends from the Philippines, but at the time I didn’t feel ready or capable of fulfilling her request. This is partly to do with the fact that Rose is an extremely special person and so I would not want to just write some poem for her, but a poem that actually did some degree of justice to her spirit, heart, and life.

After completing “Desert Rose” at Joy’s request for a friend of hers here in Reno, I realized that I might at last be ready to fulfill her original request. In fact, that poem is partially inspired by Rose as well, hence the title. Now this one is for Rose herself.

Tropic Rose

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.

I used the rosa grandiflora cultivar called “cherry parfait” as the model for this expanded metaphor. This is my 6th sonnet.

Desert Rose

About a month ago, my wife asked me if I would write a poem for her friend, Jerome, titled “Rose of Reno”. She has a very close friend in the Philippines whose name is Rose, and she has come to think of Jerome as being her American counterpart. The reasons for this are of course many and personal, so I’ll leave them unsaid.

I agreed to write it, but changed the title to “Desert Rose” because I’m thinking I might write a sonnet for the “Tropic Rose” as well at some point—For balance. Actually I think Rose and Jerome would really like one another. They are both remarkable individuals who have endured much and found meaning and purpose under difficult circumstances.

Desert Rose

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.

I used the rosa floribunda cultivar called “ebb tide” as the model for this expanded metaphor. This is my 5th Shakespearean sonnet.

Compression

Every year I try to write something on my birthday, even if I haven’t gotten around to writing anything new for awhile. I’ve just recently read some articles pertaining to the phenomenon of black holes. A lot has been learned about them since I last checked in on the subject, and they are a fantastic source of metaphor.

Compression

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.