Sleepless Ghazal

This entry is part 29 of 63 in the series Morning Porch Poems: Autumn 2011

If coffee has no effect, neither has milk or tea.
Dense fog curls outside the window, mimicking sleep.

In childhood, recurring dreams of flight across
billowing sheets of white, harbors of sleep.

In the early hours, your footfalls down
the hall rouse me from watchful sleep.

My bed is lumpy with hidden vegetables,
the mattress striped with wires: elusive sleep.

Wild silences of deep solitude, trapdoors
amid the roots: for tumbling headlong into sleep.

I once had a rusted key to a garden where
arms carved me makeshift rooms for sleep.

The tremor starts along the foot, a fright
like falling into the sudden depth preceding sleep.

 

In response to an entry from the Morning Porch.

Landscape, with Castoffs on the Sidewalk

This entry is part 28 of 63 in the series Morning Porch Poems: Autumn 2011

Across the street, the neighbor pokes
through piles of furniture left on
the sidewalk, hoping to rescue

a vintage lamp, a serviceable side
table, a stool whose rungs might be
replaced. It’s early yet in the day,

the truck from Samaritan House
not yet there for pickup; expected
rain still a couple of hours away.

At church, in the Commons; at the down-
town thrift shop; or behind the high
school, a row of oversized bins

where we bring castoffs from time
to time, for donation or recycling;
winter coats the children have

outgrown, small kitchen appliances
and tchotchkes taking up too
much room— so many times I’ve felt

the urge to evict such senseless
excess from my life. Things multiply
in the dark; enjoy it now, you can’t

take it with you; or, out with the old
before in with the new
— home-grown
platitudes for making room and yet more

room for stuff. I think of Basho on
the road with his notebook and traveling
cloak, of ascetics spending their days

in meditation under a tree. Oh habit
and earthly desire, what purchase we
still hold on this worldly life—

Stubborn to the end, enamored by
the promise of the beautiful, we cling
to every surface assuring love that lasts.

 

In response to an entry from the Morning Porch.

Spell Against Grey

This entry is part 27 of 63 in the series Morning Porch Poems: Autumn 2011

I am looking for the little cathedral
window Neruda found in a slice of lemon,

for the cascade of rain that rice
grains make inside a hollow reed;

I am searching in the wild rose bushes
for the tiny hearts of deepest red

the birds return to again and again;
for the five-pointed star exploding

seeds in the apple’s creamy interior. Warm-
wet or windy: but I want to remember

the day’s pallor is merely one scene
in the stack of cards dealt by that

unseen fist: deceptive green, curled leaf
caught too in the first blush of death.

 

In response to an entry from the Morning Porch.

On the Nature of Things

This entry is part 26 of 63 in the series Morning Porch Poems: Autumn 2011

“Against other things it is possible to obtain security, but when it comes to death, we humans live in an unwalled city.” ~ Epicurus

When the radio alarm kicks on at 7:15,
there’s an NPR interview with a writer

who’s talking about how the world
became modern— Still blurry with sleep,

I listen to a few anecdotes about burning libraries,
then some talk about the Renaissance; and of one

Poggio Bracciolini, secretary to several popes,
who found a copy of Lucretius’ On the Nature

of Things in a German monastery— which
everyone thought had been all but lost for the last

thousand plus years. This is the same Lucretius
who wrote about Epicurus, not to be confused

with the website Epicurious (“for people who love
to eat”), where on Thursday the featured recipe

was Turkey Meatballs with Cranberries and Sage.
According to the writer being interviewed,

Lucretius’ text (really a paraphrase of Epicurus)
offered readers a view of a world where the most

important human endeavor was the avoidance
of pain. The world itself was made of wobbly

atoms that jiggled and swerved through space,
sometimes colliding with each other to produce

other complex forms of matter, including humans.
In this old-new world, there are no gods, there is

no afterlife, no heaven or hell: and thus the good
philosopher and poet advise that the sager path

is the enjoyment of life and the relishing of its
pleasures. No need to fear death, as when we die,

our atoms will fizz into the ether and our selves,
as we know them now, will vanish. Why not walk

outside to the porch with a coffee mug in hand,
sit in a chair and set your feet upon the railing?

Bring a saucer of buttered toast spread with some
thick-cut marmalade or a trickle of honey, a book,

some poetry. Enjoy the pearly light while it lasts,
and the quiet: before the day and its many

distractions lays siege to whatever little rim
of pleasure you’ve drawn around this moment.

 

In response to an entry from the Morning Porch.

Landscape, with Traces of Prior Events

This entry is part 25 of 63 in the series Morning Porch Poems: Autumn 2011

What of the milk they nuzzled at birth,
and prior to that, what of water and blood?

What of the debris-spattered windshield,
the tunnel wide enough for only one?

What of the minerals gummed with salt and mud,
nourishing dark mixed of earth and flint?

What of the aster and the amaranth, then tiny buds
of forget-me-nots stripped from the field?

What of the year’s deepening light pooled in
the eyelids, a glaze the shade of pomegranates?

And what of the flanks of animals stepping through winter
wheat; then shadows of antlers crossed with the honeylocust’s?

 

In response to an entry from the Morning Porch.

Counterpoints

This entry is part 24 of 63 in the series Morning Porch Poems: Autumn 2011

The motet is a musical piece for several voices, where independent melodies may be seen to alternate with contrapuntal passages; dating from the 13th century, its name derives from the Latin movere, (“to move”), especially in its description of the movement of different voices against each other; or from a Latinized version of the Old French mot, “word” or “verbal utterance.”    

 

The year dwindles down in earnest, the swirl of
many voices decanting heat and timbre:
notes that move, fevered brass to diminuendo.

We hear them beating against the sky’s clear blue,
dark flecks like carets, bent to their patterned flight.
They’ll find their way to some other page, where wind

combines with other kinds of weather. Don’t rue
too deeply their disappearance; nor the fickle
hue of things steeped in the sun— that russet fruit

whose cheek has turned to blue; that gold persimmon,
its bitter juices puckering on your tongue.

 

In response to an entry from the Morning Porch.

Aria

I’ve turned the bird of my inmost longings
loose into the ether. It used to sit in a cage

of sinew and leather, its red singing
voice muffled beneath the hum

and chirr of turning gears. It visited
all the dreams I could no longer

remember— How did I know?
I knew, because it left the smallest

of teardrop shapes, tiny salt
chandeliers encrusted on the pillow.

At noon, its unsung arias begged
to be pried open: they swelled,

round-hipped and brown, like figs,
ripe; like rosewood hips of a cello.

They begged to be pried open,
marbled to liquid in a throat drenched

by sun. And so I let it be. I’ll keep
the green branch on which it roosts,

should it return. I’ll learn to live on
this door’s swinging hinge,

sustain on flimsy hope. Because I
love it so, I’ll let it take its leave of me.

Luisa A. Igloria
11 10 2011

In response to an entry from the Morning Porch.

Letter to You, Again

Dear heart, dear absent one, yes I’m still talking to you: more threadbare than the shroud that veils the moon— not quite full, mottled blue and silver— nevertheless my halting speeches aspire to permanence and shape. I’ve seen the Three Immortals, pilgrims too, with their dusty paper scrolls and staffs and red-ripe peaches plump as children’s cheeks. Is it unseemly to want more, to be as one skein of silk looped richly in the arms of defoliated trees, more than mere sigh in the shadow of departed wings? How long since I lay in the arms of untrammeled time, slow as love and thick as honey; how long since I first troubled the fret of tangled knots, looking for your hidden face? Each night the curtain lowers its velvet drape. Still unspent: my good-luck coin, glimmering fitfully beneath.

Luisa A. Igloria
11 09 2011

In response to an entry from The Morning Porch.

What Leads to Marriage, in a Mostly Roman Catholic Country

In order to avert a crisis,
the family comes as one
to plead their case: no one

bothers to verify if it is true
a child is on the way—
how could it not be so?

Quick to the church,
and quickly exit with streams
of jaunty orange and gold;

and all that rice, rained on
the heads of all who’ve
gathered at the door:

and all that fractures
and multiplies in little
bits of rattling white.

Luisa A Igloria
11 07 2011

In response to an entry from the Morning Porch