words are nothing without definitions

the most often advice a writer receives is to write what you know. that without dipping into your own well, everything comes across as contrived. this always seems like such simple advice, always seems like simple fact in the face of trying to write fiction or truth. I don’t know about other writers, but I find this the hardest piece of advice to follow. I don’t know why, to be honest. Fear? maybe. Boredom? perhaps. Confusion? more than likely. It makes no sense, in reality. The only person with your complete history and perspective is you, yet I fail to be able to conjure it out of the aether of my life.

Tonight, I am yet again sitting here faced with a million possible word combinations, and none of them seem important enough for the words I do want to say. That my life, and thoughts, and word choices up to this moment are not necessarily false, but that they have no true context, no conjoining knot to follow through to the soul of the definitions. I think at times that maybe poetry is where it comes out, and at times it does. There are honestly five poems that I have written in my life that have told more truth about myself than any other thing I have shared. Be it through acting or music, or memoirs, none of them compare to those five poems in my heart, in the soul of my own truth.

I don’t know what happens in between those poems. Perhaps it’s like the musician trying to recapture that perfect rhythm over and over again. Trying to hang onto fleeting beauty, and who you are when that creation flows from you. It’s almost ironical when viewed from the prism of life. To be frank, I don’t know what happens from the start of saying something, to the end of it. It’s as if a metaphor is waiting to be written that I can never find the method to. Each word chosen too carefully, each sentence edited too much, each stanza carved down to everything but I want to say.

I drove this last week up to montreal to help some friends move. The whole drive I was lost. The whole moment of moving them, lost in the notion that I have lived thirty years and have no way to truly tell that story. No way to get those words out. At times I feel like I have lost my center, but in reality it feels as if I have never found that middle in the first place. That I have been drifting my entire life, and because of that, all of this passion is like an afterburner without a rudder.

Currently I work a job. That is all it is. I know that others have it harder, and I feel guilty most of the time for even thinking that I need for something else. But the more I run from it, the more I just say I need to pick myself up, the further I drift away from those five poems. From the truth of who I am in those words. I read them over and over again, trying to figure out where that person is. When I know that person is right here. There is no key that will unlock being able to write what I know. Not enough editing in the world that will find me carved out of the clay of this accumulated life of other peoples wishes.

I know something has to change, and I am tired of waiting for that. A long time ago I swore off grandiose statements because of my lack of follow through for myself. Perhaps that is the change I need to make now, and here. Because no matter what, if I am going to write: I need to become that person that I know I want to be and am in those five poems. Afterall, life isn’t an excuse for justifying what this world turns us into. Life is who we are when writing what we know.

naivete has always been my strong suit

silence should not be
misread as anger,
I can whisper in your ear.
the opposite approach
is in order when
dealing with the days
that slip in and out
over our sleep.

signs are easily misread
like the hunt for confirmation
of opposite directions
left off the map
that we fold into our
pockets and stop
to ask directions
of the guards at
the gates of graceland.

i have never wanted more
to hear a voice,
with it’s touch and lilt
left over from a youth
dismantling cars and hearts.

some say that waiting is for fools,
like the patience of little use,
those are only some, and we are all.

our existentialist fu is strong

adjustment is for the hair draping
across the whisper in moments
of who we are,
certain that
we will grow to be what we
just knew in the portions
of hues found at the
top of a painting flume.

evolution is for the fingers slipping
along the paradoxical spine
of who we never plan to
become,
but who we can’t wait to
become once we know
what it is to be that wave
cresting on a sand sharp
with every reason why
we should and every
moment when we couldn’t.

metamorphosis is for the wings flitting
over jet streams left by
every notion that we know,
we weren’t mistaken!
we scrawl across the river banks
nor were we taken by nor forgotten about
on that history that we
curl up like a map of treasure
on an island left in the
pacific of our life.

change is for us,
not because we need newness
or perfection,
but
precisely because every
mistake we know we can make
is subdued by
every hope we know we
feel in the empty bedded
thunderclap midnights teaming
with a cocoon left
to the right of all the time
we take to become
you
and me
and us
and we.

old poets find new words

take the words of men lost,
to the striations of
wax moving about a night
that we know
came upon us like the
lantern slung low
on bridges we
pass in our forgotten
new england soul.

take the words of men lost,
on the stalactites of
caves moving beneath a feet
that we know
carry us onward past
midnights laying slow
against the cheek we
pass in our perfect
southern smile.

take the words of men tossed,
into the maelstrom of
days shaking the grain
that we grow
under callousing hands
over the plains soaking
of streams falling
forward to your
western sea.

take these words
into your night
and as you shine:
make them your
perfect reflection
of
reverie.

Math has nothing on Metaphor

if we can write the future
using quills made from the
feathers of a phoenix
on it’s last time around
our burn, then
we should make sure
that each comma
and semi-colon (i love
semi-colons; you know)
and period and sentence is
like your finger tracing down
the spine of dusty leather book
left at the back of
the shelf; mainly because
we know that to read it might just
mean that it has an ending.

if we can forget our past
like a jet forcing our hearts
back against the history
of atoms racing over each end
of our wing in that color of
forced condensation like that
night the taxi lights held
the other side of our world
at bay long enough to lose
ourselves in the alleys
that were really meant for you
and now and not them and then.

if we live our presence out
of this space we each are breathing
inside the magnet of
amplified worldwide electrons
playing the splaying of the laying
of every progression that
we both know echoes louder
than an eclipse and softer
than a concern.

reasons

painting with the stars is
by far the easiest brush
to extend from the wrist
and flick the tale of
water color across the
canvas carved onto the leaves
gathered up into that pile
in the fall of youth.

raining the words down
upon the ears is by
far the easiest way to tell
someone those stories about
the twenty foot high fence
we would erect around them,
but the easiest route to
to the gate through a garden
tilled and sowed and
planted in your heartbeats.

explaining that life is just
images passing from novels
written by those that
have yet to plot a suitable ending
is really the narrator’s easy
way out, and we don’t really
like easy, do we?

smolder

here is a match lit in
my hand.
the sulphur tipped wooden
recalcitrant caller telling me
that in these seconds, prior to
us inhaling,
we are alive.

that match can ignite the stack
of books written by the fresh hands
of teenage wanderers who
know pentameter but choose to disregard.

there is a lantern lit in
your hand.
the cave stretching out before
us with the ruddy clay imposed
midnight echoing the paths
we get lost in
searching
for your flame.

that lantern can reflect the image
of a flashlight in our mouths
orange with wonder and red
with youth.

there is a fire burning with
your embers.
slow and smoldering with blue green
hot hiding the subtleties of
the crackled fizz pop
of my
explosion.

acceleration like axioms

i will drive at sound’s speed
if you ask.
meeting in that worn out motel
room with brass.
found at the convergence of
no questions asked,
with
the definition as simple as
your seductive task.

i will fly at mach three
if you dare.
meeting in that glinting gravel
road’s rarefied air.
found at the whisper of
destination’s stare,
with
my hand passing through your
rubicon of hair.

i will run at light speed
if you require.
meeting you at the ascending apex
of delicate spires.
found at the junction of
your heaving fire,
with
only the present tense gliding
through our desire.

bench seat

in your silk backseat
i can write you a novel
that will rev engines.

happy trails

i am the horse that
you keep in your stable for
riding through fields.

order and reason

days

March 2010
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