Where do we get the tendency to look for symbols
when perhaps sometimes the thing is only itself
and not some larger or more universal meaning?
The blackbird that lights on the topmost branch
of the fig tree may simply be resting and not
bearing messages from the dead. The flimsy
petals of crepe myrtle that stick to my hair every
time I navigate the short walk from the sidewalk
to the car may only mean it's time to call the city
for pruning services, and not confetti from the gods.
We find a penny on the edge of the doormat,
and naturally we want to pick it up for luck. Ants
form a wavering but determined line from the window-
sill to the counter. In a bowl, a pear is starting to bruise
softly in its bronze-colored jacket, and I recall
the dark spot on my father's left hand. Who called
to what, and who answered? Everywhere I walk,
it seems there's a thread I can pull on, attached
to a picture hiding in plain sight. I know I want
to be addressed, to feel some kind of touch
which I might find reassuring. But the dark,
glossy sheen of bird feathers, the speckled
rind on fruit and the sugar beginning to foam
out of its pores can be presence enough. Not
certainty, just the briefest mark of grounding.
Coincidence
At a lunch gathering, two friends tell
of how their parents knew each other
from having played tennis doubles.
They knew each other's parents back
then, when they were children in
ruffled socks and patent leather shoes.
But as with most everything, that part
of their lives veered off in other directions.
Then one day, decades later, these two
(now past middle age, walking the same
college hallways), saw the faded sports
logo on a tote or a sweatshirt and froze
in the instant of recall: the thwack of balls
bouncing on synthetic turf, sycamore trees
at the edge of the courts, screams of children
at a nearby park. We call it chance, but what if
coincidence is merely the long garment of time
revealing a secret pocket? What if a ball lobbed
one long morning ago into the air has been traveling
toward this moment, before falling into the open
hand of recognition? In the Poetics, Aristotle said
a likely impossibility is preferable to an unlikely
possibility. We shake our heads but smile.
There's no need to explain the complicated
patterns made by the shadow of leaves
as sunlight passes through them: how they
will slant toward the south-facing wall
at dusk, before dissolving into themselves.
Giving it All Up
A famous singer's longtime guitarist
just released his first solo album. He's in
his seventies, spent decades inside
someone else's songs, providing
the opening riffs, the endings. Perhaps
it's unsurprising that words like end
or beginning grow soft with time.
In a radio interview, he talks about
waking up one morning, wanting to open
another door, follow where it leads Once
I may have thought that starting over
meant burning things down, throwing
other things away, leaving only the bleached
sheen of floorboards. At the end of this street
that people call a dead end with no outlet,
the river is just humming to itself. In some
front yards the grass is freshly trimmed,
and in others the green is long-haired,
even defiant. And time itself is a room
inside of which we continue trying on outfits,
arrangements, stacking and restacking cups
and dishes, wiping dust off headboards, shining
the silver; sorting the trash from recyclables,
vowing not to speak to each other ever again.
Perhaps things that stop or vanish haven't really
gone into the dark, but into a freedom I'm being asked
to consider, though I don't understand completely—
Even the hero is told to lash himself to a raft,
surrender to the water and to the fickle gods
who request sacrifice, and then like stars
release a little light from a great distance.
Hometown
- after Larry Levis
Of his boyhood bathed in dust
and vines, a poet wrote: A life like that?
It seemed to go on forever— Labor in fields
and orchards, hours in the bland hallways
of school followed by nights as seasons
changed from one currency to another.
If I lean hard into the pocket of air
right by my cheek, I can hear
the gurgle of frogs beneath the vegetable
plots, the sharp scouring of wet driveways
by aunts armed with stiff-bristled brooms.
I also want to say I was happy then, pulling
chayote off a trellis covered with tendrils
like old telephone coils, lighting a spiral
of Elephant katol in its clay dish before
inhaling its eucalyptus fume. When
did frost scald rows of cabbages,
wilting them leaf to bone? In church,
on Sundays a priest in robes of silk
dipped bayabas branches
into an urn of water and shook
droplets over our bowed heads.
Sometimes doves flew in from
the parking lot and hovered
in the vaulted ceiling. Cool
marble of tile underfoot. Votives
that we knew would flicker out
when flame hit the empty pans.
Allegories of Exile
~ after "Paradise Lost," Raqib Shaw
There are things that bring me back
to myself as soon as I'm in their presence,
though I might not have known that to be true
the minute before— A window layered all in blue
on the lower floor of a gallery, the opening
lines of a cello that pry something open in me.
One morning I stood enraptured before a hundred-
foot mural, and a stone seemed to roll away from
a sealed tomb. The artist had applied brilliant
automobile enamel paint with fine needle tips
of syringes and porcupine quills. The many
avatars of himself crossed landscapes lit
on fire, studded with rhinestones, crowded
with creatures howling at the moon. Blue
baboons tore the hearts out of their shredded
prey like priests presiding over a sacrament.
Centaurs flung baskets of gold coins into the air.
Hordes of elk and hummingbirds stampeded
off the cliffs in a shower of springtime blossoms.
Yes, I see what our world has become, and what we
have become in it. Yes, I know what it means to sob
when I can't find words for the untranslatable. When
did we stop carrying lanterns for each other?
There goes a picnic basket holding fig jam, rare
cheeses, olives glistening in pools of oil:
abundance drowning in violent ocean swells.
And yet there's time to write this story on paper,
with ink, under a saffron tree. Time to listen to what
leaves and what arrives. To love, even now, what breaks
and is beautiful, what's beautiful because it breaks.
Kararua*
(first soul)
You spoke these words
into my ear: I cannot talk
anymore. Teaching me,
even as you were dying,
about dried flowers.
* Ilocanos have a four-soul system: kararua (like the soul that only leaves the body after death); karkarma (the soul that can temporarily leave the physical body if it is stolen or if the person is frightened — this soul can be called back to the body); aniwaas (the soul that can leave the body when one is asleep, and visit places familiar to it); and araria (the soul that is liberated after death, though its presence can continue to manifest—to haunt living relatives and loved ones).
Araria*
(fourth soul; a nonet)
I bow to the blooming squash flower,
to whorls of seaweed on the shore.
The moon’s fingernail wakes me—
I am its wayward child,
a tiny insect
blinded by light,
climbing rungs
streaked with
ash.
* Ilocanos have a four-soul system: kararua (like the soul that only leaves the body after death); karkarma (the soul that can temporarily leave the physical body if it is stolen or if the person is frightened — this soul can be called back to the body); aniwaas (the soul that can leave the body when one is asleep, and visit places familiar to it); and araria (the soul that is liberated after death, though its presence can continue to manifest—to haunt living relatives and loved ones).
Aniwaas*
(third soul)
In a dream, I scour
the countryside, looking
for groves of cottonfruit—
their leatherlike exterior
cradling a tart but honeyed
core, a heart that’s mastered
how to be both guide and
its nemesis. If I don’t return, put
a pebble under your tongue, there
at the fork of the road facing east
* Ilocanos have a four-soul system: kararua (like the soul that only leaves the body after death); karkarma (the soul that can temporarily leave the physical body if it is stolen or if the person is frightened — this soul can be called back to the body); aniwaas (the soul that can leave the body when one is asleep, and visit places familiar to it); and araria (the soul that is liberated after death, though its presence can continue to manifest—to haunt living relatives and loved ones).
Karkarma*
(second soul)

* Ilocanos have a four-soul system: kararua (like the soul that only leaves the body after death); karkarma (the soul that can temporarily leave the physical body if it is stolen or if the person is frightened — this soul can be called back to the body); aniwaas (the soul that can leave the body when one is asleep, and visit places familiar to it); and araria (the soul that is liberated after death, though its presence can continue to manifest—to haunt living relatives and loved ones).
Summer Tankas / 12
And yet, the terrible
pulse of the heart keeps arming
and disarming. How
is it not louder than owls
in the trees, hooting all night?

