In Its Place

I meet pain with pain

reveling in how my sharp tongue 

slices through conversation,

cutting it short.

Snapping out words

like a rubber band,

hearing them bounce back 

harshly in my ears.

But it is only the 

echo of pain, 

just a dip in the water

compared to the ocean

sized hole in my soul. 

So I fight and I claw 

to the surface,

looking for an escape, 

the anger an excuse. 

Because the pain keeps 

the fear at bay –

a much scarier monster,

cousin to grief. 

Fear of the unknown,

fear of trying again,

of the deep hole,

and perhaps what it could mean

to let go. 

At one point the gnawing

pain will stop 

and, in its place,



peace. 

Gilded

It was gilded, golden. Shining in the sun.

Staring at me with bright, assessing eyes.

But there was a softness there I hadn’t seen.

If I reached out, I could almost touch it.

What would it be like to hold it in my hand?

To caress it like a lover? Coo at it like a child?

I recoiled in fear and turned my eyes downward.

Better to focus on the Present moment.

It made a noise, like an alarm sounding too early in the morning.

Ding, ding, ding.

Wasn’t it time yet?

The Future stared at me again.

“What are you waiting for?”

Poetry in Motion

Their hard hooves a sonnet to the coal night

Iambic pentameter on the ground,

From the roots of the pine trees held upright

To the sharp beats that reverberate down.

Under the course mane made of wind and brown,

Saltine sweat-drops form alliteration

And sink behind blurred hooves, an ancient sound;

Imprints in the road a soft narration.

Velveteen nostrils form a quotation,

They steam a design in the frigid air;

Black boots on flanks a silent dictation,

“Together a sonnet,” the hooves declare.

And from the couplet comes the horse’s verse

Ba dum Ba dum on the road they traverse.

 

Frosted

Dedicated to Robert Frost

He is as on a mountain a red flag

Which stands to attention against the white

That the wind tears into a tattered rag, 

Battered and weakened it longs to take flight;

Lost among the boundless and bleached landscape,

The vermillion red meant to portend,

The threads woven into a makeshift cape

As the stiffened fabric attempts to bend;

Sturdy, it’s rooted in the frozen ground

Stuck to beliefs, but not unwavering,

The fibers moving but forever bound,

The scratched wooden stick stern and centering;

And when the winds die and the colors fade

There it will stand, against the white, unswayed.

Page 41

When I have a spare moment, I sometimes

find a quiet corner of the house

by the sun and away from the constant

hum of machines and the blaring

light of digital appliances.

 

In my memory I flip through the forty-one

pages of the previous years,

weighed down with layered emotion.

They are thin, three hundred and sixty five

words each, and full of forgotten things.

 

Were it real,

the ink on the yellowed paper would paint a picture

with brighter words than any pixels.

I sigh. My children will never know the world

before the bright screens and machines.

 

The stale tang of perfume from that first dance saturates

my nose’s recollections. I close my eyes,

the words memorized and the images bittersweet.

I see his hair, black like obsidian, a piece

of history that shone under hot lights.

 

Vibrations from his laugh tickle me now,

opening my eyes and capturing a smile.

His hair has dulled, with rivulets of grey

but he is still my essence even though

years have squished a frenzy of words between us.

 

I flip through the pages of thought with no real place.

Memories that carry the nostalgia

of sticky messes made by little hands stop me.

Their smiles are the same now,

though wider and not just for me.

 

 

In a quiet moment with my reminiscences,

I can forget how the world has changed.

Soon, I must replace the membraned pages

with the jarring glare of tablets

and the monotonous game of power with technology.

 

But, for this stolen second the book seems real;

The imagined slow turning of the pages a reprieve

from swiping up and down.

I follow the words into faded images,

sketched with verbs and nouns.

 

At page forty-one, the memories turn

into present moments. My eyes open

and I hold onto the idea tenderly.

I should teach my children that memories

are substantial and create the greatest book.

The Needle

The Needle

I.

Ink drips in my skin,

sinks in my bone,

paints a line of new birth.

The bitter tears,

a medicine,

a remedy.

The needle cuts shallow

into skin,

like a soft caress,

but from the pain

within.

The ‘L’ swoops

slowly,

circling

into the ‘o’ that follows.

The strokes echo

the ones they made in softer ink

years ago.

Nonna’s and Papa’s,

an excerpt of their

love

and a bit of their promise

to always.

It settles in,

swirls

over smooth,

thin layers of skin.

It bites in

cursive and

metamorphoses as it

sets in.

A permanent memory,

not a remedy,

but a promise.

 

II.

The needle sinks

into the patient’s

skin.

Long day done,

the dance

begins.

He sees her,

slowing circling

to where she stands.

It’s quick,

he’s hooked,

and then she’s gone.

 

Another needle,

a mundane day.

He calls her again,

the War begins.

And the feeling sinks in,

settles

over callouses around

thin layers of skin

covering the pain within.

Pen tip to ink

to paper,

the promise

to love

and to always.

A permanent remedy,

now a memory,

and a promise.

Tiny Smiles

It takes years to unlearn the biology,

to pick apart cells under a microscope.

I’m just trying to tell a story.

 

I live for the day theory turns to probability,

because even when the possibility is remote

it takes years to unlearn the biology.

 

Child after child with their parents in mourning

the cancer breaks apart their hope.

If they’re gone, is there still a story?

 

My research in the lab is not obligatory,

but study and discovery are on a tightrope

in the years it takes to unlearn the biology.

 

One treatment left for my son before he

passed. My syringe a vial way to cope

because he didn’t finish his story.

 

These equations lock me in purgatory,

and their tiny smiles keep me afloat.

It takes years to unlearn the biology,

but I just want to continue their story.

 

1900s Paris World Exposition

What if our buildings were inspired

by nature? The first builders were bees

or any other organism wired

with an evolution for beauty and efficiency.

 

Go back, for a moment, to 1900s Paris

where a structure’s spires caused people to stare

at the architect and its latticework as he sneers,

“biomimicry like this takes years

 

off my life.” For Rene Binet, it began

from nature to paper and the drawn copies

with needled lines of tiny radiolarians,

the plankton with engineered filigree. 

 

But nature’s second builders are flawed

humans trying to play with biology’s laws.

For Katie

            The Saran wrap twists together in my sister’s hands, the beginning stuck near the end and the middle a jumbled mess. Sandra sighs and stretches the material hard enough to rip it. What would happen if the vegetables weren’t covered? I wonder. Marissa walks down the stairs into the kitchen, stopping a step before her expensive heels can click on “cheap, imitation hardwood floors.”

            Sandra wipes her clammy hands on the rough black material of her dress. It chafes her fingers and seems to distract her for a moment. I can see Marissa eyeing her, intimately familiar with the way her eyes tighten around the ends when she narrows them, as if a string is pulling them taut.

             Marissa stares towards me impassively and turns again to Sandra who is now slowly rubbing her hands together in the hot water of the sink. I move out of the way as she comes closer, careful not to touch her as I know she will not like that. Her eyes look gaunt and the crow’s feet around them are deep enough to swim in. Her face is a mountainous landscape. Her nose, which was once as familiar as my own, seems bulbous in the dim lights of Mother’s kitchen and the dips and depressions of her skin leave her face hollowed like a skull. 

            “What do you want, Marissa?” Sandra asks.

            “Mother needs your help packing boxes when you’re done,” she says snidely.

            I snort. “Of course mother needs help with that right now,” I say.

            Sandra glances in my direction, but doesn’t respond. I roll my eyes heavenward and look at Marissa who seems to have grown more irritated. She fiddles with the edges of her black shawl, a nervous trait I associate with an outburst of impatience.

            “Just do it, Sandra. Mother isn’t much more patient than Marissa,” I say to placate them. As the youngest, I do not expect a response. Marissa and Sandra have hated each other for years and nothing seems meaningful enough to bring them together again.

            “Burying her was hard enough for Mother, Sandra. You need to help her now,” Marissa says with less rancor but no less impatience.

            I watch my sisters glare at each other from either end of the low-ceilinged kitchen. Suddenly, much to our surprise, Sandra throws the dishtowel into the sink and covers her face with her hands.

            The tears flow from her aged eyes and her mouth twists—with disgust at herself for crying, no doubt. Marissa looks as shocked as I am. Neither of us has seen Sandra cry since Mother took away her stuffed lion in second grade.

            “Don’t you miss her?” Sandra whispers.

            Marissa steps down from the stairs and approaches Sandra hesitantly before I can.

            “I don’t have time to miss things,” she says.

            “That’s a lie,” I say, my voice raising. Neither of them flinches from my outburst and I am left feeling cold and empty. Could it be the truth?

            “That’s a lie,” Sandra says, parroting my words in a quiet voice that is laced with accusation.

            I look closely at Marissa’s face. A streak of grey runs through her dark hair and falls into her eyes like a veil. Her blue eyes look dimmer than I remember, as if viewed through the lenses of a memory. 

            She sighs. “I don’t know if we can fix things between us, Sandy.”

            Sandra sniffles and regards Marissa with a trace of nostalgia etched around her eyes.

            “You haven’t called me Sandy since before Katie—“ she begins to say as a sob cuts off speech.

            “Since before I what, Sandy?” I ask, prompting her, needing her to say it.

            Marissa looks behind her at the darkened staircase. I follow her vision and picture Mother weeping over the boxes in the small room upstairs. Something compels me to stay in the dusty kitchen. Marissa turns back to Sandra and reaches out to her.

            “Let’s just try. For Katie,” she says and I notice her eyes glaze with a layer of water.

            I look at the counter where the uncovered vegetables lay limply on the platter, shrunken on a bed of lettuce. The square of paper next to them has a shiny picture on the front, a smiling girl with blue eyes and dark hair and the addition of a death date.

            “For me,” I whisper. Finally, they hear me.

           

Ode to DNA

The missing link is found

in you. Generations

of scientists shredding

their brains to ribbons

that twist

and turn

into the wiring of our

neurology.

The simple strand

that piece-by-piece

join humanity.

A basic

attachment

forming her heavy upper brow,

the way his lips dip

under into a crescent,

his lazy eye wandering to

the mole on her right cheek.

These rungs,

like stratums,

lead to insensible stacks

that make a synecdoche

of heredity.