After the first beheading, hope was severed like a limb.
After the second, love produced a fountain of blood.
After the third, faith changed faces with fear.
After the fifth, knowledge bled to the last drop.
After eight beheadings, God recoiled.
After fifteen, there was no more happiness.
After twenty, it all seemed propaganda.
After thirty-four, more headless people took office.
After fifty-five, a collective body was sworn in.
After ninety-nine, children played with human heads.
After two hundred, there were no more days of peace.
After four hundred, it was hell on earth.
After six hundred, the executioners were put to death.
After a thousand beheadings, they dare not stop.
After fifteen hundred, fate and freedom were indivisible.
After twenty-five hundred, the heads kept singing.
After five thousand, a dialogue began.
After seven, the heads became oracles.
After ten thousand, there were more priests than people.
After fifteen, the books were sealed.
After twenty thousand, it was a total human eclipse…
Incantation Bowl
This is a poem that fills
The emptiness of a bowl.
This is also a poem
That empties the fullness of the bowl.
This is a poem.
Kintsukuroi
When everything is repaired with gold leaf
Good will shines brighter through our blood
Like a poem with golden seams or a living art.
So your favorite bowl shattered like the world,
Its pieces are still a bowl.
It could also be a more beautiful world.
Stonehenge Revisited
The earth is cradled in a grave
The sky is buried in the earth
The stones are hanging from a thread of light
And everyone here has been here before
And everyone has come a long way
And those who love meet those who hate
And those who breathe air breathe stone
And those who are fire are dust
And those who are clay shall be wine
And those who arrive meet those departing
And children find their mothers
And fathers reconcile with sons
And the old meet themselves in the young
And the young discover a road
And round the heavenly clock time is as nothing
And we cluster for warmth
At the brief fire of a thousand years
On a Photograph of an Abandoned Southern Home
Take me back to the earth,
as I lay dying I lay breaking.
Come home lost son and wayward daughter,
it is still sanctuary where I am father.
Birds are born from flowers
and trees wear sylvan robes
of beautiful abandonment.
Friends and ghosts of a delta wedding
glimmer in the moonlit garden.
Blow into my windows wild nature,
raise your children of inevitable
impermanent incongruous nature,
and I’ll be home when I am not
and I’ll be home when I am not.
The Painter after a Stroke
Half the loft in darkness,
Half the flowers watered,
Daylight shines halfway across the floor
Like a line he drew
With a yellow marker.
Half his mail unopened,
Half his cat visible,
One speaker crackles in and out,
A spark of recognition
Comes and goes.
He smiles like a canvas
With a middle margin,
And pointing to a window
Beside his easel
Perfect halves meet.
Tallgrass Prairie in Winter
Under the snow winter is pregnant.
The cold has a smell.
The sun is a copper arrowhead.
Birch bark scrolls tell old stories to the wind.
Rock writing talks to young stars.
When I blink, the ghost of an Ojibwe brave
Runs over the field without moccasin prints.
Near and far the patter
Of sleet on dead oak leaves,
That’s also the sound of a tallgrass prairie
When you’re really listening.
Clouds Over London
... neither God nor No-God
Louis MacNeice
Not clouds but burkas naked on clotheslines,
Hawksmoor gloom with Horus eye,
Warzone Luftwaffe left-over thunder,
Lions’ heads on building tops,
Quorum of the heavens… London fog
And a neighborhood in London fog,
The ghost of Hitchcock at the window
Of his house gave the shadow of a doubt.
Nothing was real, not buildings or streets.
Only a waking sleep from cab to cab
And a destination from which you depart.
Not clouds but statues wet in flesh
And veil, as in “The Winter’s Tale,”
Or the dead likeness of a changing guard.
North of the city an explosion; south, a beheading.
Astride the block a shadow slumps.
The head of God, a cloud in a basket.
Young Love in Ancient Place
I’ll share this photograph of my parents with you.
It’s like an old wine overflowing time, still new.
They’re eighteen and twenty-four, in their best poor clothes,
Posing under an olive branch on a Roman road.
The picture is classically imbued; they, permeated
By natural light like actors in a neorealist film
Embraced in some final frame of desperate justice.
The photograph arrests the wind of the day, that moment,
Blowing blades of blurring grasses into living inertia,
Light pregnant even in the stones and shadows;
And there’s something more, something magical,
Beyond youth and beauty, a divinity being born,
Cupid bending the olive branch, the arrow flown.
It’s like an old wine overflowing time, still new.
They’re eighteen and twenty-four, in their best poor clothes,
Posing under an olive branch on a Roman road.
The picture is classically imbued; they, permeated
By natural light like actors in a neorealist film
Embraced in some final frame of desperate justice.
The photograph arrests the wind of the day, that moment,
Blowing blades of blurring grasses into living inertia,
Light pregnant even in the stones and shadows;
And there’s something more, something magical,
Beyond youth and beauty, a divinity being born,
Cupid bending the olive branch, the arrow flown.
I Found a Severed Hand
I found your hand, Susana Chávez Castillo,
It was crawling north, somewhere in Arizona.
Right away I knew it was your hand,
It was clutching at a page of poetry.
It was writing in blood on a thirsty desert.
The names of your murderers appeared
Long enough to be recorded by the stars.
No one escapes the justice of the universe.
No one escapes the god of the black spaces.
I found your hand, Susana Chávez Castillo.
I buried your hand in the desert
And it bloomed with thorns, like a cactus.
Salvatore Ala 