Four Methods of Crisis Management

Four Methods of Crisis Management

I.

Hold your face even
with a fountain and
the shock of water
corrects itself against
your chin. Rain
would be simpler; its
drops fall in electable
soundbites.

II.

Stop at every rest area
the interstate offers. The gates
of the vending machines
have their own trigonometry.
When you think of choosing,
you’re in the process of
splitting clouds. Vapor
is a way of thinking.

III.

Elevate your feet
when graced with torpid
bones. A fireplace may be
effective as a map
of resistance.
The steel grate is a counter
to the unexpected
brisance in your blood.

IV.

Memorize all escape
routes with your ears.
Echoes on stairwells
are miscreants of
biblical proportions;
five point plans
get panicked
by asterisks.

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samizdat

samizdat

bring the papers to me, dear
and let the ink boil rebellious
against the obeisance of fingerprints.

creep to me under charcoal skies
and wear your rutilant hair
upon your ceramic shoulders.

scrawl your protests
in the text of poppies;
everyone could be watching.

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reveille

reveille

I am solved by the
equation of your eyebrows.

They lift like windows,

multivalent,

like fog rising

from the coruscant
sheen of morning.

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dear victory

dear victory

dear victory
don’t ring the bells yet; let
your sparkle fill the thirsty maws
of gulls at ebb tide as the
water recedes and toddlers
scamper after treasure chests of
purloined shells and sharks’ teeth;
let the last fleck of tired hands rise
up and seize your cannonball grace
and fire back at the leering jesters
who blacklisted your parade.

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stephen as a lady

–Author’s Note:  Many years ago, I wrote a poem of the same title that got lost to the world.  This is an attempt at a new version.  It’s inspired by the poem “The Heart” by Stephen Crane (which is a fantastically underrated poem in itself).  This is still very much in draft, but I’m curious to what others think.  In any case, thanks for reading.  This one is still rough but has potential (and the lines in quote are from Crane’s original poem).

stephen as a lady
(after stephen crane)

it starts with an image
and once again it’s stephen crane
and once again he’s on
the same riddle of a battlefield,
wearing a white dress stained
with dirt and blood and
stray instances of turpentine
even though you want
to imagine oak or cedar.
so he’s there, huddled
in the denouement
of your third draft
of heartbreak, slapping
at two stanzas
of lust and beasts.
he’s a woman you
have loved, he’s
quoting himself in
her eyeshadow and
rolling up
the stockings you
once ripped open
with your teeth. he’s
stuck in the middle of
your image that
started this story,
his words stitching
themselves together
out of our her
lips. he is smearing lipstick
onto stubble, garbling over
the perfection of her hips.
stephen crane is quoting
himself or is it her, was he
that fair-haired when he
slaked the thirst
of his virtue
with her gathered tears?
or did her hair crimson its way
into your throat, its strands
twisting the words around
his vocal cords? “it’s bitter, bitter,”
he says of his heart
and you are left in repose
studying the stillness
of your own passage.

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my intimate architect

–An older piece that has gone through a new revision.

my intimate architect

you began the scaffold on me
and took notes in the margins of my naked side.
throughout, you were as elegant as a bookshelf,
illustrating for me a designed lust where words
lost their meaning until they lay side by side,
etched in mahogany bliss. you ruled me,
compassing past my straightest edges,
gathering drops of blood from papercuts
on nicked fingerpads.
the blueprint you drew was the easy part
but then the time came
for the foundation to be laid.
you insisted on doing it yourself and i
questioned whether architects built their own designs.
you laughed and asked when i
had ever advocated for private contractors.
so you built it all to scale,
saying that we would always be able
to afford innocence.
you pulled me to you in the framework
before the walls went up
and asked me if i could taste how sawdust
mingled with sweat.
you asked me if i liked the almost finished
product
and i said that did.
but i told you to keep the walls out and
let the air outside filter through the dust
and make its own shapes in a natural way.
so we stayed that way,
complete,
waiting,
until we could taste the stars inside the ceiling.

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elk

 

elk

the moon is a faded
lingering imprint of chalk
in the evening sky and
the elk are bordered
by the stamp of pines at
the far edge of the clearing
and the shoulder of the
highway a hundred yards away.

the man and woman
take turns with the
binoculars.  when magnified,
they notice that the elks’ coats
are sloughing hair the
color of burnt crimson.  small
pieces of fur loiter and
then fall like snow to the ground.

when she passes the binoculars
to him, she places the straps
around his neck without asking.
he notices this in a small part
of his stomach, how there
is no need for words
between them but instead
only the phrases of their limbs.

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statement

statement

the sun is a bright bullet
fired into the sky and if
you listen closely, you
can hear the echo
in the chamber
from which it departed.
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gibson and celia are in love

–Author’s note: Another new one in its 3rd draft currently.  Sort of a companion piece to “boys and girls in the night” but these two characters have intersected before in other places.

gibson and celia are in love

gibson and celia are
in love. kisses tattooed
on their fingertips, pouring
makers down hollows
in each others’ backs and slipping
firecrackers into mailboxes
on aluminum summer nights. gibson
reads her carver and murakami when
she gets too much into the nineties.
celia is a nurse in the ER and
she carries a teddy bear at
all times. she says it belonged to
a young girl whose parents
were killed in a fire and the girl
ended up in a small on-ramp
in the carpool lane of celia’s heart.

still, celia
loves the smell of gasoline and
can’t help but lift her finger to her
nose when it rivers onto her hands.
gibson does the graveyard at a local
homeless shelter but is a master of something
fine in the arts from past days of
possibilities. he carries a lighter in
the shape of an eagle and the
flame spits from its beak. he got it,
the lighter, from a stripper he
wanted to make it with
when he REALLY thought he was THAT kind
of guy for THAT kind of girl
on an occasion but
we are all only incorrect instances
of what we thought we wanted
to be at a given point of
hushed lust and burn on
a larger landscape.

celia believes in the
concept of breathtaking and
thinks it’s no small wonder
that stars seem to dance like
polished marionettes
if you look just so. she prefers
the word “fuck” instead of “screw” and
when she first fucked gibson
she said it was more like
a screw but gibson said screws
have ridges and they agreed
bodies conform to those ridges.
the hype was justified, a perfect
font imprinted into the thin
paper of their swollen aortas.

celia tells gibson he talks too
much of anatomy. gibson says
anatomy is like caffeine for him
and she thinks of swooning but
not quite. he asks if its love and
she says “have another one” and
he does and they bump broadside
against each other like two
boats in adjacent sloops in a
slack tide. “where water comes
together with other water,” quotes
celia and that starts it all
over again, that answer taking
the breath away from their question.

(the words on the pages of
our skin can never, truly,
be erased.)

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Thought of the Day from Raymond Carver

“There is in the soul a desire for not thinking.
For being still. Coupled with this
a desire to be strict, yes, and rigorous.
But the soul is also a smooth son of a bitch,
not always trustworthy. And I forgot that.”

–Raymond Carver

 

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