I’ve been posting some “moon poetry” on Instagram (@tp_poetry) for NaPoWriMo and I just realized I hadn’t posted any of those poems here. Is this happening to you too- is Instagram (or twitter) becoming your primary poetry app? I think I still come back here to post longer poems and to read poetry of fellow-bloggers. But I worry about the future of poetry blogs. That said:
like a separated lover
from a safe distance –
admit it! close up,
the moon would be unbearable
“and moonlight on naked skin.”
– even one more word
could be too much for a poem
this grief borrows from the primordial chaos,
the chaos that stirs the mud, the mud that
doesn’t hold on to the river, the river that knows
the route to the sea, the sea that cannot unlove
the moon, the moon that is always whole and
dark, the dark that tries to tell you that light is
false perception. Tell me, have you found a
different way to console yourself, tonight?
In August 2017, I had six poems published onThe Cherita. I couldn’t share the poems immediately because of the rules of the journal and then the display format. Later, ‘The Cherita’ released several anthologies, collecting all the poems published by them. I recently managed to get myself the kindle version of one of the books titled ‘Where the river bends‘ and can finally, have all my poems up on my blog. Cherita is a form, as you might know, created by Ai Li who is the editor of the online journal and the curator of the anthologies. (If you’ve already seen a few of them on my Instagram page, well, this is the backstory)
(1) the horizon thickens
the sea separates from the curdled sky
we rise like wet birds from the water into emptiness, into nothing
(This Cherita also appears in my book ‘Water to Water‘) (2) origami bird
I fold and refold our love
hoping one day it will fly (3) the after-rain
a moon trembles in every puddle
sleep leaves the window and slips into my empty bed (4) a door slammed
a dog barked softly once, twice
she woke up when she heard the wind tiptoe into the garden (5) afternoon quiet
the cat sleeps in sunshine squares
the light and I argue about shadows and god (6) the sound of temple bells
No one knows how to heal our broken world,
barely held together by twisted concertina
wire. We made enough to circle the night.
Several times. How else will we protect us
from ourselves? How will we decide which
side is free? Truth burns blue on the pyre,
it’s final act of resistance is to choose if
it should turn into smoke or ash. Then why
does the air still reek of toxic optimism?
Aren’t bright eyes and unbidden cheer
frightening in the dark? I push his hand away. Hope, I tell him, is just another four-letter
word. He laughs, his breath oddly warm,
frankly, what other option do you have?
Poetry is dead. Long live the poems.
Does the poet still bears the burden of dissent,
of finding new words for a retro revolution,
when there are none left?
Let the seas rise, the cities fall. Let the snow melt.
Let the last of the evil fly one-winged, out of that box.
Let the chasms widen until
there are no more rivers to run through them.
Let people be divided over and over and over again
till they fit in tiny spreadsheet cells.
Let me be gathered as a data point by a factory of
algorithms that build a bubble around me.
Wasn’t it the scriptures that said that the world is just
perception. (And that was before Facebook.)
What do you want to resist most, today?
What outrage fills your coffee cup this morning?
How many odd tweets does it take to draw an even breath.
Because I have no poem for you to declaim.
No verse for you to hang your mask on.
No couplet. (What rhymes with orange or against?)
Go stand upon your upturned crate and say to the
three-and-a-half people around you that
poetry is long dead. Gone. RIP.
Now kneel for a minute in silence.
Rain is louder than thoughts, but only in the first four three minutes.
Our Your shadow is still stuck to my wall, where it was cast, without care, that last weekend before the first lockdown.
At some point, I turned this year into a convenient excuse. Like you did.
Probability is inversely proportionate to the length of silence. Words however cannot change the outcome.
If so much pain seems senseless, a little little happiness, by extension, is senseless too.
Every existential equation is solved in the songs the birds made up when humans emptied the streets.
The thing is, phone calls end. Like life. Like time.
It doesn’t take that long for “every day felt like a year” to become “a year that felt like a day”. (It takes a day. Or a year.)
Isolation is terrifying without a secret preoccupation. (Unless you are secretly preoccupied with the terrors of isolation, in which case the preoccupation is terrifyingly isolating.) (Why secret?)
Being a poet during a pandemic is a test of brevity. How best can the endless void, the featureless grey wrapped sky, the road that bends into the horizon, the distance that is measured in everything other than distance — how best can the infinite be compressed into neat lines that in the seventh reading still make some sense.
Size has swapped meaning. Big has turned small. Little is too much. Consider. The Universe. One word. Forever. Now.
Mostly, just #11.
Truly, just #4. But concise is always a verse, thirteen verses too long.