March 19, 2016

Ghost at Seveth and Lee

(c) 2012


                                    “Notice how everyone has just arrived here from a journey.” Rumi

                      

 

A Seattle snowfall is rare and after two days of it

I bundle to walk around Kinnear and up to Galer.

We wandered these hills enough, those mid-70s summers,

stoned and mute, and even then,

when we had all the energy of youth

we had to stop to breathe at each block’s crest.

I can hear it all the way to here, our labored breathing,

branches scratching and sparrows chirp-chipping.

 

By the time I hike to your old house on Seventh,

I need to shake snow, like white ash, off my sleeves.

I am so determined to walk past your house,

a frequent tourist, I return year after year

as though it defines Seattle.

 

Instead of recalibrating my trek I trudge in front of the man

who set up a tripod to photograph the sound and the snow.

There are people everywhere snapping photos,

that is how beautiful it is where you used to live.

 

The hedge your mother planted has grown

into an impenetrable nine-foot wall

The tennis court lot was sold, crowded now

with another four-story, five bath.

And what’s with the gridiron fence closing off

the yawning garden and stone path,

and  bamboo hinting at modernity, an Asian aesthetic?

 

I have finally arrived, Glenda, at the moment I know

with dead certainty I will never

buy this house for us. I will never inhabit

your mother’s room with its spectacular view

of storms lighting up the sound, of the grain elevator,

ships creeping out to feed people around the world.

Never again the luxury to have you for myself,

 

to dance to Radar Love in your room that faces

the stairwell up Lee. John and Mark used to sit midpoint,

smoke, and wait for you to show.

And who could fault them? I am a ghost,

hovering there with them, longing for a glimpse

of you in all your fifteen-year-old perfection—

but it didn’t.,

 

I can’t look up—

the flakes sting my eyes,

and by Galer

I am sobbing. 

Where I am From

(c) 2015 


I am from wood spoons deep

in cookie dough,

from C & H sugar and Karo syrup.

I am from normal; not from natural.

 

I am from asbestos-tiled homes

and kids who looked like me.

From kick-the-can on summer evenings

and walking home after dark to watch

black and white T.V.

 

I had fluoride-fortified teeth,

iodine-stained knees

and sipped heated whiskey

to burn out the flu.

 

Mothers collected aprons

and read Westerns—

where rape was codified as romance.

Good girls keep their legs shut.

 

I am from drafts and protests.

 

I hid a box under my bed—

report cards with one C after another,

ribbons and badges

for memorizing bible verses, sewing pillowcases,

believing domestic skills would save me.

 

Getting It Out

(2016) rev 3/2026 (c) 

In dreams, I am forever processing my shit. 

I clearly lack the skill at getting it out

and on the table, so to speak.

 

Toilets are noxious and clogged

by generations before me.

Or the bowl water rises

level with the seat.  

I can’t bear flooding.

 

Sometimes it’s a hole in the ground—

my baby blanket stuffed inside

plugging it.

 

Sometimes the toilet is in a school locker.

No matter how I try, I can’t fit in.

 

Once, I was asked to perform shitting

in a high-school talent show.

I refused. 

Artistically-speaking,

I have been constipated for years.

 

Sometimes the toilet is in a church pew,

or is in a bar—

the bartender insists

I have a few drinks first. 

 

Usually, I am alone. 

 

At other times there’s a line-

shitters ahead of me

secure and successful at detachment.

 

My relatives pull up chairs

and watch.

It feels less like encouragement

and more like ridicule.

 

From over the stall wall,

Freud’s mistress throws a tissue roll.

a roll of tissue.

Coated in toxic waste, the sludge

is as catastrophic as intrusive thoughts. 

 

Sometimes I just sit there

and read.

 

My husband doesn’t want me

to analyze my shit. 

I took Zoloft to help—

 my husband flushed it.

 

I need to leave him

and can’t, because wherever I go

there will be another sad, malignant toilet. 

January 19, 2012

Crime and Desire

(c) 2010


“All human acts and all human creations constitute a single drama, and in this sense we are all saved or lost together.  Our life is essentially universal.”  Ponty

Dominique Hughes was picked up for shoplifting

by the Bon MarchĂ© security guards. 

This yellowed index card says he was nine years old. 

 

Another card— age twelve,

weighing in at a slight 95 pounds

he was caught peeking

into a women’s dressing room. 

 

All of us articulate want as legibly as we can.

 

I find another card—mine.

It shows I’m fourteen.

Accomplice.

That is a lie.

I am tempted to rip it—

to replace accomplice with observer.  

 

After all,

 

when Shelbie snapped the rose-etched, leather bracelet

around her wrist I hissed—put it back.

Only a month earlier

Glenda and I stopped and searched at J.C. Penny’s

for palmed lip gloss and dangly earrings.

I didn’t even have pierced ears.

Those blue beads looked cold as ice cream,

like polished milk.  I was hungry with want,

but a want that yearned to receive more than this take.

Shelbie didn’t put it back.

 

Between tears, her mouth contorting like a hooked trout,

security guards bruised her upper arm.

On command, I lifted my shirt—

drafts in that gray concrete cellar

hardened my nipples into worthless currency.

 

I am momentarily surprised,

whether by oversight, or charity,

the Bon Marche hired me to add

to that collection.

 

Thousands of cards—

each a record of want:

a watch, a pair of shorts slipped

under a skirt. 

 

Dominique, again.

 

At 15—a concealed gun.

 

The card is sparse,

handwritten scrawls fading. 

 

His history—

a series of bad choices

kick-started by f desire.

 

 

Now, twenty years later

the newspaper informs me

Dominique Hughes—

sentenced for murder.

 

Before I can file an imaginary card

in my mind into something manageable,

my new manager waves me over.

 

He shows footage—

American Air-fighters

zeroing in on insurgents. 

I walk away.

 

They deserve it, he says, punching his desk.

 

Yesterday he was telling me

about his annual hunting trip with his nephew.

He can no longer bring himself to shoot elk,

he can only catch and release fish;

that’s how soft he’s become.

 

He said he hopes I won’t think less of him,

 

Some days the want and shame,

are too much for me to take in.

 

We are all connected—

and I can no longer tell

where one desire ends

and another begins.

Yes

(C) 2009


As the last geese head South,
a mob of crows shift through glinting foil and debris.

The last seeds swirl across hard soil.
The water line—high and restless.

And just as the world tips to cold

I find you—

warm.


Like coming home,
though home was never like this.

There is still lavender scent,
faint behind the last mown clippings
rotting underneath reddened maple leaves.

Death and growing, leaving and staying;
this season complete.

I say yes.


Val Mesmo: Go Then

(c) 2011

When I fuck you, it is Mardi Gras in my head—

sweet,

with my mask secure, and you

 

like a slide trombone,

a pandeiro, reco-reco in your hips.

 

I put it down—down

like a samba,

its pulse the beginning

of our everything.

 

With my mask secure—

there it is—

one rabid mask or another,

trepidation hidden

behind yellow feathers.

 

My mouth, which would say

I am about more than this,

is buried in the pillow,

my hair caught in my teeth like reins.

 

Jesus, pinch me again.  

 

Your touch tears through me,

yet it isn’t all that I want. 

 

The sun has gone down—

or is about to rise,

I’ve forgotten where in the world I live. 

Seattle—Brazil?  

 

Quero vocĂȘ, doce amor. 

 

This heat, this funk—

it pervades the room

and you are telling me again

you need to go? 

 

You leave—

my juice slathered on your skin;

a trace of me

under your nails—

evidence--

a crime scene.   

 

What will your wife say?

 

When we fuck

it is Carnival, and in my head

I hide my fears

under feathers,

sequins.

 

Wherever you touch—

gimme, gimme, gimme.

 

I am hungry.

 

Your leaving tears me up—

this is not what I want.

 

I want to be seen with you. 

I want to be seen by you,

unmasked.

 

Your scent on my hands,

the ache where my jeans ride up—

you know where I live.

 

You need to stay.