More than the Leaving

river in November light between bare woods and mountain
I was drinking my coffee when I felt
a familiar sensation— do you know it?
Like being naked but not exactly,
just because I forgot to put on
my favorite earrings. At the same time,
I remembered where I'd left them:
on the counter in my hotel room just
before I checked out at 3 in the morning,
anxious about Thanksgiving traffic and lines.
They were a pair of gold-colored, simple
circlets mounted on a stud. I am good
at remembering, but after the moment I was
supposed to remember. Maybe 6 years ago now,
I bought those earrings in the Portland
airport coming back from a writing conference.
33 years ago I remember waking my daughters
so they could see me off at my departure
from another airport. I did not have the heart
to wake the youngest, a toddler, from the depths
of heavy, blissful sleep. I hope they remember
things like this, more than the leaving.


Trousseau

river in November light between bare woods and mountain
 
I heard someone say torch, and recalled
my friend's story about how, when her sister

was married, her new husband gathered all
her underwear and threw it into the fire.

This was supposed to show how his passion
for her meant all other loves before him

were to be incinerated. Some words eclipse
others in the wake of their arrival.

She received new ones, cotton and silk,
handpicked by him. There are other ways

in which partnerships become proclamations—
a binding with rings, an annexation with names.

What did our mothers surrender besides what fell
away like leaves, like trees stripped of bark.

Time Travel

river in November light between bare woods and mountain
While I can still make out the figures in the grainy
print, I call them again to the surface. Life
is long, so love might outlast the distance.

You bend over me seated in a shiny red tricycle,
eager for the novelty of this kind of motion. Life
is long, and I'm eager to speed up the distance.

I still feel your hand on my back. A cool morning
in our northern hills, you in a slim sheath skirt. Life's
long fringes in the pines, love a hazy plume in the distance.

Daughter-mother-daughter: links in a chain that keeps
going. I can go faster, but must pedal harder. Life
is long; perhaps love will outlast the distance.

Every now and then my sealed heart's pried open—
a tomb I want to walk out of, toward the light. Life
is long, promising love will outlast the distance.

Hydraulics

river in November light between bare woods and mountain
Under the surface—
Teeming channels and stations
Subterranean, subcutaneous

Liquids moving in
confined spaces, under pressure
transmitting equally in all directions

Our hearts have four chambers—
Seastars have no heart at all
Octopi have three and copper blood

Zebrafish can mend
their broken hearts in two months
The wood frog shuts down its heart in winter

Palimpsests and Oblivion

river in November light between bare woods and mountain
(For Peter S., Nini and Pancho L,
Aileen and Paul C.)




Terminal hallway
Echoes at 4 am but
not from crows calling

Between one time zone
and the next and the next, does
Fate move forward and back

Seals in their rookery
at low tide Marine layer
pressed on the trees

Palimpsest of hills
And the body remembers
other hills elsewhere

We catch up with time
Meeting again under ceilings
clothed by dreamweavers

Leaves of the laurel
that we call bay Myth of a
body changed by the gods

Salt spray in the air—
Maladies named and unnamed
What we seek as cure

Walls of mission white
Scalloped roofs of terracotta
Scrolled ironwork grilles

Bowls of oxtail stew—
A restaurant in a casino
called Lucky Chances

Departures and arrivals
Estuaries still lead to the sea
Monuments of claiming

In the museum
a robot spews glitter in a
future afterparty

Do Not Walk Outside this Area,

river in November light between bare woods and mountain
say the signs stenciled across
the wing of the plane. Meaning this
is an edge, or danger— whether
the aircraft is at rest or in flight.
Such warnings anticipate the possible
before the actual, the impulse before
it materializes as the decision to move
in a certain direction. It means someone
thought of consequences others might not
have foreseen— and so there are neon-
colored guard rails, there are graded
ramps up the entrances to buildings.
Break glass in case of emergency, printed
across the fire extinguisher box affixed
to the wall. Alarm Bell, says the sign
above a hand-sized red button near
the stairwell. There are similar
devices that only certain individuals
can activate, if they perceive a threat
(whether the perception is correct or
the person was just kidding). Such devices
could start wars, could even nuke our entire
planet. In such cases, there isn’t a failsafe.
No moment after for saying Oops, my bad.

Pauper’s Purse

river in November light between bare woods and mountain
I am poor and I owe
an incalculable debt
to the world— I have taken
more than my share of what
it has given, and still
it does not begrudge another
chance to secure my so-called
fortune. I owe a debt to my
friends, who puzzle, together
with me, the ledger figures
in our shared accounting of
this life. On one side, I am
still short of a complete
reckoning, a clearing of
the slate. On the other,
the hourglass sheds its
crystals at a faster rate.
It has a narrow waist
that reminds me of a certain
ache that falls somewhere
between needing more and
wanting less, that at some
point it will start its motion
all over again, not out
of meanness or spite
but because that is its
nature. And I am rich with
a surplus, always, of feeling.
There is so much, I often
don’t know what to do with it;
and other times, it saves me
from thinking I am completely
bereft, empty as a pauper’s purse.

14 Years!

river in November light between bare woods and mountain
I don't remember what I was doing the year I turned 14.
Besides school, I mean. I was not yet in high school, but
I know my parents were talking about transferring me out
of the Catholic school I'd attended since kindergarten.
My father in particular wanted me to go to the University
of the Philippines high school in our city, because he
himself was a U.P. (Law School) graduate, and because
he claimed he was willing to risk my becoming an atheist
as long as it meant I could get a good education, one
that would teach me how to use my mind.

We were a family of avid readers, but changing schools
did make a difference— I felt more challenged, among my
new cohort who were not only smart but also (I thought)
seemed so much more worldly and cool in comparison to
my awkward self. Super introverted, I didn't talk much
unless called on. But even then, I knew I was good
with words. I knew that I wanted to write, though I
wasn't quite sure what that meant, back then.

Before I transferred high schools, a previous
teacher had given our class an oral test on metaphor;
I failed it, I think not because of a complete lack
of understanding, but because the premises were not
correct. That teacher had us take turns looking at
a simple watercolor (mountains, trees) on her desk,
and asked us to think of metaphors (remember, no "like"
or "as"). Everyone else seemed to have no lack of things
to say, which also meant they were totally spin-doctoring
the assignment. When it was my turn, I looked at the flat
watercolor which had no nuance or detail. I said, It's just
a mountain and some trees.


Despite that seemingly inauspicious experience, my path
has led to where I am today— and I feel so very grateful
and lucky that I'm able to do what I love best— write
and teach writing and literature, talk poetry and writing
with students and colleagues and a community of writing
friends both where I am and through virtual connection—
many of these thanks to Via Negativa and Dave Bonta,
for the space he's shared here where I've kept a daily
writing practice (writing and posting at least) a poem
a day for the last 14 years.

This daily practice has allowed me to put at least 4 books
and chapbooks together. More importantly, it's given me
so many kinds of insight about myself and my writing; it's
the high point of every day, and it's here where I get
excited about trying new things or mulling over
returning questions.

Here's to the next 14 - and more.

What Parts of the Body Burn in Cremation?

river in November light between bare woods and mountain
~ after "The Funeral of Shelley," Louis Edouard Fournier; 1889


Soft tissue, mostly.
Hair, skin, nails, muscles,
organs. All the water of the body
turns to vapor. Some parts of teeth
survive the heat, though gums liquefy
as pulp. Bone fragments can also survive;
and the jaw, the skull. In Fournier's
picture, Mary Shelley kneels in the sand,
hands crossed over her breast. Byron,
Trelawney and Hunt argue over the charred
bit of muscle that surprisingly survives
the fire— but Mary gets to keep what was
believed to be her poet-husband's calcified
heart, after he drowned and was cremated
on a beach in Viareggio. She wrapped it in
a bit of silk or linen and some pages of
his poetry. It lay in her drawer until
its discovery after her death.