Aural Borealis

This is my 14th trisect, by far the most challenging of them all for me. First the poem, then some thoughts.

Aural Borealis

Vibration

Her voice began in a furnace where blinding flashes of light
arced through scraps of metal until they swirled in a pool
of fiery molten fluid, drawn through a running cast
to red hot beams that slowly dimmed to a charcoal gray.

Her voice remained congealed within those cold gray billets
until at last they were moved once more into the fire,
reheated to a yellow that rivaled an alpine sunrise
then rolled into burning coils of thick unfinished wire.

Her voice emerged like a mist—heavy, cold and gray—
clanging anemic pangs with every shift and shock,
until it was drawn through the eyes of a series of shrinking dies
and thinned into tensile threads of spidery, silvery hue.

Her voice awakened at last, a vivid reverberation
borne aloft on the wind to dance over rolling hills,
chasséing amid the bunchgrass, jetéing through the sagebrush,
and pirouetting through the air with flying seeds.
 

Resonance

Her frame was born in the grip of weathered, ancestral hands,
leveled against the kill, for when the shaft was flown,
the hunter’s ears were piqued by a sound that yet remained,
inspiring him to hunt for a means to play the same.

Her frame took shape in the calloused hands of inspiration,
coaxed into living form from scraps of wood and skin
by ancient artisans who notched imagination
in ornamental bows that flew but melodies.

Her frame evolved in marble halls that harbored kings,
scales and chords expanding until resistance formed
a pillar to hold against the pull of hallowed strains
and serpentine harmonic curves to relieve the same.

Her frame outgrew the very hands that gave it being,
bursting forth a will that of its own accord
would volley out barrages of elegance and meaning
on airs reechoed over undulating lands.
 

Serenade

Her breath is a wind that brushes gently through the desert,
stirring the stained glass petals of Venus’ looking glass,
exciting wild bergamot atop green towers,
and swaying deep-throated harebells lightly on their stems.

Her hum is a feathery rain that tickles arid sands,
drifting down from downy skies until all ears
relax for a moment from the wary, watchful strain
that haunts and harries every living thing through life.

Her chant is the purl of a spring high up a narrow canyon,
wild mint and licorice gathered round the edge
of small, translucent pools wherein the heavens ripple
impressionist renditions of hawk and thunderhead.

Her call is a shower of light that streams over emptiness,
distant mountaintops and nearby shrubby hills
dissolved into a silhouette that circles round
beneath the shimmering flow of relativity.

The inspiration behind this piece is two wind harps, both conceptualized and created by New Mexico resident Bill Neely. Most people know the wind harp as a wide, narrow box with a few strings upon which one may close a window in order to force air past the strings. These two harps, however, are shaped like the concert harp and larger than life. The first, referred to by its sculptor simply as “the NFO windharp,” stands 20 feet tall and weighs 1600lbs. The second, called “Tempest Song,” was commissioned by the owners of the now defunct Traditions shopping center about smack in the middle of New Mexico and weighs in at 3000lbs at 24 feet in height.

“Tempest Song” was the first of the two wind harps I chanced to visit, in 2002, actually driving out to New Mexico to see and listen to this living, musical instrument after stumbling across some information about it online. The experience was somewhat ruined by noise from the close proximity of Interstate 25. Upon returning home, I sent its creator an email along with a copy of “Aeolian Strains,” a poem inspired by my visit, and I was invited to visit the first of the two wind harps on his private property the next time I made it out that way. I made it a point to take him up on this offer two years later, spending a night under the soundboard of this 20 foot harp—a wonderful and somehow enlightening experience. It has ever since been my intention to try to write a poem worthy of that first harp, remembering that night under the stars listening to her sing.

Three Thumps

This is in some ways inspired by my reading the fairy tales of the Brothers Grimm. Not the content aspect of it so much as the storytelling aspect. During the few months it took me to work my way through the tales—yes, I’m a very slow reader—I gained several valuable insights into the overall nature of storytelling and how it can be approached in poetic form.

This is the longest highly structured poem I’ve written. I hope you’ll enjoy.

Three Thumps

Each day she walks through old white oaks and laurel trees
where often on a park bench just beneath their leaves
she sees an older fellow sitting casually,
a book held in his hands not far above his knees.

She finds him always lost amid another world
that turns from page to page as slowly it unfurls
against the backdrop of his mind, the letters curled
in hands as weathered as a pair of walnut burls.

Just recently she chanced to see him as he closed
the covers of a tome to which he held his nose
for several weeks there on that bench within the grove
where leafy shadows played across his rustic clothes.

This caught her eye because just then he lifted up
the words within those pages like a sacred cup
before his deep gray eyes, as reverent as a monk,
then tapped it thrice above his brows with ringing thumps.

At this, she couldn’t help her curiosity
and found herself approaching him to ask why he
would thump the words he pondered on through recent weeks
against the seat of all he shuns, accepts and seeks.

She asked, and he was more than just a touch surprised,
for in his reverie he had not realized
that anyone observed with penetrating eyes
his tendencies and speculated strange surmise.

But, still, he thought, she is a young and vibrant thing
to be so free and open with her questioning;
there is no harm in what she asks or answering,
so I will tell her what this little custom means.

“It came about,” he started, “very long ago,
before I climbed through youth onto this high plateau
that rises steadily above the years below
to stop at cliffs that overlook a great unknown.

“I found myself absorbed into a text then, moved
by all I read, my youthful understanding soothed
as seeds of insight sprouted, grew and came to bloom
within the subtext of my soul and all I knew.

“When every word had danced its way throughout my thoughts—
their twirling motions still reechoed in the halls
of mind—I wondered how much knowledge would be lost
to time and slip beyond the powers of recall.

“Then all at once I thumped the book against my head
and asked the ones who govern life that I forget
not one small passage, phrase or word from what I read
so wisdom may inform the days that lie ahead.

“At this new thought I thumped the book a second time;
for wisdom shapes the waterways through which a life
will flow, and more than ever now I wanted mine
to move through channels carved by what I found inside.

“Then one last hope occurred while still I held the tome,
that any insight gained this way would on its own
bestow good fortune on all days to yet unfold;
and so I thumped it one last time to drive this home.

“Since then, whatever I might read, when all is read,
I pause to three times thump the text against my head,
the first for memory, so though I’ve reached the end,
I’ll always bear in mind the best of what was said;

“The next for wisdom, peerless pearl of peace of mind,
that when affixed within the crown bestows a sight
that guides the wearer of the jewel, however blind,
to paths and possibilities of greater kind.

“The last for fortune, that the understanding gained
from studying the thoughts therein would somehow change
the course of life ahead, the days that still remain,
in ways that mitigate calamity and pain.”

He stopped, his salt and pepper beard now motionless,
and saw her dark brown eyes were lost in all he said;
at least a minute passed in silence; sunlight etched
mosaic patterns through the leaves all round the bench.

A ruby dragonfly came drifting near, then soared
abruptly off to fade above a nearby sward;
at last he added, “Now you know the reason for
this little custom you observed and how it formed.”

While he was talking, she had dusted off a place
to sit beside him on the bench and contemplate
the words he used in answering and to explain
why he would shock the front edge of his thinning pate.

She listened to his every word and did not stop
his monolog to interject a single thought;
but now that he had finished with his long response,
a silence thickened like a slowly rising fog.

At length the silence overcame her taciturn
consideration of his luminescent words;
and so she crossed a knee beneath her business skirt
to turn and thank him for the story he unearthed.

She told him that she doesn’t normally approach
and question individuals whom she doesn’t know,
but that his habit was so foreign to behold,
she couldn’t help but stop and ask him to disclose.

She stood and thanked him once again and wished him well,
then carried on across the park to where a swell
of skyscrapers emerged above the green—a realm
where dreams are sectioned off to rot in flat gray cells.

He watched her walk away and vanish like a mist
that dissipates when rising sunbeams shine amid
the vapors, causing them to glow and fade in wisps,
then rose himself, returning to his daily niche.

Throughout the day she answered phones, composed reports,
attended meetings, cultivated strong rapport
with all who shared her daily hamster wheel perforce,
and navigated storms of deadlines port to port.

Throughout the day the old man’s words reechoed back
to her attention, while she worked, and overlapped
with mental focus leveled at the daunting task
of satisfying expectations and demands.

Until at last the day was over, and she found
her feet retracing steps through verdant, well-kept grounds
toward where she lives across the other side of town,
that bench now still beneath midsummer evening boughs.

She pulled a book from out her shoulder bag to read
as she commuted through the darkness on a stream
of light that arced and paused below unresting streets
until she heard her station’s name and left her seat.

As she ascended concrete stairs back to the light,
the sun began to set and cast its colors high
on wavy cirrus clouds that fanned across the sky;
again the old man and his words returned to mind.

She reached the steps that rose to meet her townhouse door
and climbed them to the comfort of her covered porch;
she fumbled for her keys, and then her spirit soared
to be at last surrounded by her own décor.

She kicked her heels off in the entry way and left
her keys atop an ash wood corner stand, intent
on eating something small before she got undressed
to soak away the strain of unrelenting stress.

When all was done, she found her shoulder bag downstairs,
still hanging from her grandma’s dark-stained oaken chair,
half pulled out from the matching dining table where
she hung it when she first got home and freed her hair.

From this she pulled the book she read while on commute,
its pages nearly finished, nearly all suffused
throughout her intellect, her intuition fused
with understanding raised by every page she viewed.

This book was given to her by a long-time friend
who felt its words would calm her thoughts and help to mend
her spirit from a recent tragedy that leapt
from nowhere to assault her days with grief and dread.

She took it to her room and propped herself in bed,
and just inside an hour finished all it said;
she closed the leaves and pondered everything she read
then suddenly she thumped it once against her head.

“For memory,” she thought, “that every word may shine
like stars, however far away, throughout all time
to light the plains and valleys of an open mind;”
and then she raised and thumped the text a second time.

“For wisdom, too,” she thought, “without which all I’ve learned
would be of no more use to me than bridges burned
where chasms gape or surly waters leap and churn;”
then one last thump she gave the book to make a third.

“And, yes,” she thought at last, “for fortune—certainly—
a cosmic shift within the roiling karmic sea
that alters all potential futures yet to be
toward something better than what waited formerly.”

She sighed, a perfect comfort sifting through her chest,
and placed the book atop the nightstand by her bed;
she reached to turn the light off, feeling oddly blessed,
and turned to drift into a nearly dreamless rest.

This is all developed from a habit I formed some years ago. Whenever I read a book I really enjoyed and felt I gained something from, I do have a tendency to give it a few taps against my skull, just in case osmosis is a real thing.

Structurally, this poem is written in iambic hexameters from the first line to the last. Whether or not you scan the lines strictly as iambs somewhat depends on your accent, but I took accentual variation into account as I wrote this. For instance, most people I know pronounce “every” as “ev’ry”, but there are plenty who clearly enunciate that middle syllable. Though it throws an anapaest into the line for those who do so, it doesn’t throw off the overall flow of the poem. When I write a poem to meter, I intend for the lines to be read naturally. It should not be necessary to force the meter. Nowhere in this poem will it be necessary to invert the natural accent of a word or phrase. Where weak accents occur—a quantitatively short syllable despite the accent—it’s fine to scan them as weak for a “short” hexameter. I weigh such lines and read them aloud several times before deciding whether or not to keep them. This creates variation in the otherwise overpoweringly iambic lines. I’ve also used enjambment to throw off the expectation of meter in a few places in order to disrupt the “iambic trots” a little. As you read, you can allow the meter to disconnect briefly through this process as a sort of syncopation. This is intentional, and also used for rhetorical impact.

The end-line scheme all the way through is aaaa, but not rhyme. Instead the focus is on end-line assonance, with variations within the scheme involving rhyme, alliteration, and/or consonance.

Default

This began as a pregnant note, jotted down in one of my composition books as I sat in a fast food joint reflecting on the pangs of a friend’s recent betrayal of my loyalty and trust. This note eventually became the second couplet. My friend of many years turned on me quite unexpectedly and I was left stunned, numb, and pensive. I didn’t know at the time that the two lines I jotted down would later expand out into a ghazal that explored a broader spectrum of circumstances involving trust and betrayal.

Default

A field of dreams was sown by the hand of a spoken promise,
but they withered, for your words were merely a token promise.

The light outside is the veil of my great uncertainty;
inside, alone in the dark, I dream of your broken promise.

Your words were fuel for a blaze that warded off the darkness,
but soon the night fell back on embers of smoking promise.

Conviction was a spring that vanished as I neared it;
I was a fool, allured by hints of unspoken promise.

A single hope became the wellspring of all deception,
seeping a saccharine poison, its scent evoking promise.

For years the dreamer wandered through realms of loss and fortune;
adrift on phasing currents, he never woke in promise.

Delusion is a bright-eyed mistress assuring passion,
but time reveals her treacherous ways, revoking promise.

Potential rises like a fog, illumed by a half-moon,
and leaves the unsteady path before us cloaked in promise.

This is my 133rd ghazal.

Offerings

This is a rewrite of a ghazal written several years ago, making this my 130th. The refrain and preceding rhyme are the same, though possibly more appropriately approached this time around.

Offerings

I’ll walk through tattered corridors of time for you;
I’ll pick through rooms dilapidate with grime for you.

I almost didn’t make it through yon craggy pass,
but I’ll go back and map that deadly climb for you.

Because the great flood covered riches deep in mud,
I dredge destruction from the fetid slime for you.

A legend tells of treasure sunk where memory dims;
I’ll find those depths and search that watery clime for you.

Since priceless pearls were buried with the fractured years,
I dig amongst these bones beneath the lime for you.

A thief once entered in the night and took all hope;
I’ve striven ever since to solve this crime for you.

We lean against a storm of sharp discordant words;
I’ll try to harmonize them into rhyme for you.

The soft wind carries voices from translucent skies
which whisper meaning on the garden chime for you.

The original, written in June of 2002, can be read under this title: “Offering” (not pluralized).

Legacy

After listening to an Amerindian read his stuff at a poetry reading here in Portland, I pretty much knew what the subject matter of my next poem would be. His “poetry” turned out to be an angry prosaic tirade against white people, and it went on and on and on.

I, being mostly a mix of white, didn’t feel it applied to me, because I wasn’t the one who caused so much injury to his ancestors. As I listened, I found myself reflecting on the fact that pretty much anyone raised on American soil is a Native American. Looking at it animistically, I realized that we grow up immersed in the ghosts of Amerindian ancestry, as well as a growing mix of other ancestries.

This strain of thought led me to reflect further: The food we eat, the water we drink, everything. Barring imports, it all ultimately comes from the ground we live on. So we are quite literally made of—manifest from—the bodies and psyches of our Native American ancestors, regardless of race. How could we escape it? They are as much our ancestors at this point as they are the ancestors of the Amerindians, because we—white, black, red, or yellow—are re-manifest from the very same atoms and psychic engrams.

This would have to cause some degree of spiritual ambivalence, at best. And so my 5th hybridanelle poem.

Legacy

an essence rises from the land into our spirits
    a touch like the raven’s down dispersed on a maiden flight
        that permeates our souls with an otherworldly memory

            in one ear seethes resentment deep and bitter
        reflections of a suffering long endured
    and in the other burns remorse as sour

this land is an amalgam of disembodied psyches
    its rivers and rocks infused with their enigmatic drift
        an essence rises from the land into our spirits

            as one hand grips a wound too deep to bear
        the other twists a blade that lightly glimmers
    reflections of a suffering long endured

we drink of water filled with transcendental engrams
    a sense emerges in all who share in its natural course
        that permeates our souls with an otherworldly memory

            as one arm holds a steady hand for moments
        and all the warriors freeze in sober pause
    the other twists a blade that lightly glimmers

like sea-mist on the wind our minds are touched by phantoms
    immersed in their love and hate—a plight we cannot escape
        an essence rises from the land into our spirits

            one eye sees arrows pierce men to their rest
        another watches bullets drop their targets
    and all the warriors freeze in sober pause

the waking world is brim with long forgotten relics
    their shapes reduced to the dust we breathe from the fragrant air
        that permeates our souls with an otherworldly memory

            one hero’s war-lance slaughters human objects
        the rage that sent it warm upon the blood
    another watches bullets drop their targets

all ancestries are fused in our subconscious insights
    we dream their atrocities—their advances and retreats
        an essence rises from the land into our spirits
            that permeates our souls with an otherworldly memory

                each side is long remembered in our veins
            in one ear seethes resentment deep and bitter
        the rage that sent it warm upon the blood
    and in the other burns remorse as sour

Publication History:

Blackmail Press (web-based) — Spring 2006

The Release

We drove to Yerington, Nevada to visit the site where her father had died many years ago in a tragic accident. It took hours in the local library looking through the microfiche of old newspaper articles, but we eventually discovered the name of the abandoned mine he was exploring when he fell down a shaft to his death. We also learned a few other speculations about the accident that surprised us. It took nearly two weeks for him to be found.

Once we knew the name of the mine, it was just a matter of finding out where it was located. We drove into the mountains and got as close as we could to the old abandoned mine. Then we hiked. To our surprise, the mine had been collapsed. It turns out that after her father’s death, the City of Yerington decided the mine was too great a hazard to leave intact, so charges were set throughout the mine and it was blown up. This left a wide crater more than three hundred feet deep at the location of her father’s death.

We had her dog with us, who was not able to navigate the boulders down into the crater, so I stayed at the rim while she hiked down to its bottom. Once there, she knelt down, pressing her left hand to her heart and her right hand against perhaps the lowest-set boulder in the crater. At that moment the interior of the crater flashed several times, as if reflecting a powerful source of light, and my body went numb with tingles and chills. It was incredible. She found him, and somehow she set him free from that dark cavern where he died.

Later I reflected on this experience and wrote this poem, my 17th terzanelle.

The Release

For Bonnie

His shade is drawn from the earth by the light of his daughter’s love,
From deep in the crushing blackness, where he left his broken body,
Free at last from the silence to wander the stars alive!

He lost his footing and fell, in a moment of fatal folly,
Lost below in a mineshaft where no-one could hear his cries
From deep in the crushing blackness, where he left his broken body.

In time they found his remains; they had ferreted many days;
His carcass was raised from darkness, but his ghost remained enshrouded,
Lost below in a mineshaft where no-one could hear his cries.

He stirred in motionless airs while his loved ones were left confounded,
Gripped by senseless bereavement; his presence could not be felt;
His carcass was raised from darkness, but his ghost remained enshrouded.

His daughter held to the hope that she one day could reconnect;
She called to him in her longing to in some way touch his spirit,
Gripped by senseless bereavement; his presence could not be felt.

Her sorrow numbed and distressed, as a part of her heart grew frigid,
Held too long in a stasis where time had no way to soothe;
She called to him in her longing to in some way touch his spirit.

We come to find where he died, and the moment she nears his tomb,
The canyon reflects his spirit, a release from dim confusion,
Held too long in a stasis where time had no way to soothe.

And now with a touched amazement, I gaze on their bright reunion;
His shade is drawn from the earth by the light of his daughter’s love;
The canyon reflects his spirit, a release from dim confusion,
Free at last from the silence to wander the stars alive!

a simple prayer

A friend was telling me about some of her personal challenges. This imagery came to mind as I pondered them and her faith. This is an acrostic of one of her pen-names.

a simple prayer

for Jenna Joslyn

boldly she walks into the mist—the cold gray mist
entrapped and overwhelmed she prays, “please save my soul…”
zephyrs with reverent care brush past her kneeling thoughts
only the grasses sense the weight, her heavy heart
above she sees a few faint stars burn through the haze
riven from heaven’s depthless shores, one parts and falls

dichotomy

As a friend told me about some of her personal challenges, this imagery came to mind. This is an acrostic of one of her pen-names.

dichotomy

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.

Culture

I thought I would try building a metaphor for modern American culture. The decaying hull of a scrapped ship seemed appropriate. And so my 10th villanelle.

Culture

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.

Publication History:

The Alchemy Post (web-based) — November 2005

Conflicts

As I watched the invasion and occupation of Iraq unfold, I found it impossible not to read between the lines. American citizens had no say on the matter. The corporate-funded Bush administration saw an opportunity to profiteer, and did so without hesitation, remorse, or apology. For me it was impossible not to feel disgusted by it all.

Conflicts

Enlightened nations strive to finalize the fighting;
Corrupted countries seek to formalize the fighting.

Our eyes are shocked by sparks that fabricate a tyrant;
Plantations build machines that specialize the fighting.

In armchair comfort, watch desultory announcements,
As new and modern methods socialize the fighting.

These stucco walls are filled with countless indentations
Where urban drive-by shootings normalize the fighting.

In air-conditioned rooms with ornamental index,
Fat pashas point to maps and analyze the fighting.

We must protect our rights to unfettered consumption;
Such senseless words are used to moralize the fighting.

There waving on the wind in arrogant defiance,
The stars and bloody stripes now symbolize the fighting.

Those ancient words of peace are converted for battle;
Religious reasons rise and catalyze the fighting.

A single life, Zahhar, exemplifying stillness,
A thousand years from now may neutralize the fighting.

This is my 119th ghazal.

Blast

As destruction was rained down upon Iraq during America’s invasion and occupation the region, I couldn’t help but wonder how many utterly innocent lives were completely destroyed by the carnage.

Blast

Misguided angels struck them on their beauteous heights,
Then rotting frames collapsed in flames from carious heights.

Demons vie for rights to control and destroy the masses,
Commanding herds to slaughter from their devious heights.

Sheets of fire consume in the name of good intention;
A rain of steel tears homes apart from dubious heights.

Huddled against fierce wind and cold on the mountain slopes
Refugees watch their cities burn from various heights.

A wide-eyed child points toward flares and thunderous sounds;
His blood-caked mother cries beneath the furious heights.

Seekers of emptiness fall into abysmal depths;
Seekers of fullness fall flailing from hideous heights.

The simple answer stares the world in the face each day;
Seek neither deep and fetid pits nor glorious heights.

With half the world besieged, Zahhar, by war and famine,
How did you come to live amid such bounteous heights?

This is my 116th ghazal.

Publication History:

Muse Apprentice Guild (web-based) — Fall 2003