I seek a village.
And in it a house. And in it a
room, in which a bed, in which a woman.
And in that woman a lap.
It pours from a muslin sack like sunlight
through a cracked window shade, fifty pounds
to a metal washtub, old as your footsteps.
I’m old as stones and not as solid.
Gloria fritters a while
and fiddles my left eardrum,
a tickle not a hum.
I’ve come to half believe what Ho Chi Minh
said about his need for more poets
who could lead a charge, sharpen bayonets.
And what emotional impulse leads you
to speak of the heart, that cliché, its chambers
for sleeping, for weeping, and remember
the chamber for repair—of course you do
Driving through Pennsylvania is lovely
except for the God, Bait & Guns of it all,
except for the money and bullets behind it,
the fishing line, triggers and damnation.
Her a’s are like small rolls warm from the oven, yeasty,
fragrant, one identical to the other, molded
by a master baker, serious about her craft, but comical, too,
smudge of flour on her sharp nose
we are the weeping spring rain
What one thought to be certain,
wavered. But wherever
the wavering wavered,
even the wavering did not waver enough.
and one day you are a vermin. And
your brother a vermin
and your son is a vermin.
The pasts, the past perfects: each sentence
a forest pool shining with borrowed,
broken light
Tempest Storm understood that what excites when eased off
slowly, creates horse-laughs, falling down.
the window lets the light change
so every time you re-enter the poem,
it feels different—familiar, but new
When I meet others like me I recognise the longing, the missing, the memory of ash on their faces. No one leaves home unless home is the mouth of a shark.