27 things

1. I must tell you I met someone.
2. Named Gold.
3. Fire burning tight in a small frame.
4. Birdcage, voice box, body.
5. Skin supple, subtle to the eye.
6. I want to, but do not.
7. So much age, so much youth.
8. She laughs and she says.
9. I step back and hold myself back.
10. Half a hundred smiles.
11. Three hundred times of waiting.
12. I search for something else instead.
13. Try again patience, the kind that sees through the last of the ripples so the liquid surface calms again into a mirror of sky.
14. Morning, afternoon, night, the chairs and tables by the streets are with people, warm temperature in the middle of winter.
15. Spark, spark, spark.
16. I dream of the outline of her.
17. Search for something else instead.
18. Is it possible to call it mirror? 
19. Translated into permutations: woman, night, flower, gold.
20. No one remains innocent, not after the wars folded in the years.
21. Are you spring cleaning?
22. I have two rugs and two wooden, folding chairs.
23. There is a list made into existence everyday and made to disappear everyday.
24. Am I waiting? Yes.
25. It is always the same woman.
26. In different translations.
27. The same.

trace

More likely than not, the Japanese
got it right. About the traces
in our lives--our very long lives, 
perhaps, very long till our souls 
grow very tired and very old.
                             And 
more likely, Buddha, as well,
got it right. About the traces
in our lives--our very long lives,
perhaps, very long till our souls
grow very tired and very old.
                            

The snowflakes that wait by the road

Dear Friend,

Are the leaves falling where you are? The view of the mountains where I am are beautiful in a quiet and almost sad way whenever it is autumn. Mountains in autumn remind me of both hope and bruise, and that space in between them without a name. Also of Native Americans and the colored people, black, brown, yellow. The weight of history is heavy and long, and though we may want to refuse it, the times remember for us. The length of its memory, the memory of an elephant. Have you ever placed your open palm on a grown elephant? Gentler than the dog's, the dog who loves you and sleeps by your side as though there is nothing else in the world to ask for.

The tree right across my window is black and bare. It is sleeping now that winter has begun. Since my arrival, I have noticed two stray cats called by their names at night by a woman's voice. The cats are not hers. I have seen her on an occasion feeding them in a corner. Sometimes the cats are by porch steps when I arrive; they look at me and I try to put a name to what I feel. I am wary. Though I can count by years the length of stay, moving is always inevitable and necessary. Someone, many years ago, engaged against it: she said there are things that cannot be changed. I let her have her way, though I did not agree and still don't; although admitting, I must say a part of me wants to believe it.

I think about the birds, and the squirrels, and the stray animals at times these days, their lives no more lesser or greater than the lives of those in the Third and war-torn worlds, in conditions where gentleness remains to exist.

On the last days of this semester, students tell of long and heavy histories of themselves; art, again, as always, a catharsis, although...you must have sensed by now I remain grappling: to old to believe and un-believe. Hope. Is Always An Expensive Thing. We buy in exchange of spirit.

There is plenty of sadness and pessimism to share. And yet there remains joy in things so little, like the snowflakes who lives ever so momentarily only to fall and wait by the wayside, to lose itself and rise again.


Signed, P

After, Then

There will be no return, woman. 
No knock on your door, my once beloved.
We both are too weary to attempt 
Any more old familiar dance.
Any better man knows, there really is
No more having back what was lost.
What was lost impossibly scattered now.
Irretrievable. Irredeemable.
All that we have left, you and I
Are the remains. Only another form
Of ashes. Arms wrapped around yourself
Standing by the closed front door. 
I, looking back at you, at the porch, 
The yard, the house, the neighborhood, 
The curb, the life,
From the rearview mirror.

The Act of Remembering

A dangerous thing, this act.
Betrayal to one's own mind who
once decided and precariously
ordered the will to 
severe part of itself, 
preserving most 
of what spirit remains.

And then suddenly this-- 
re-collecting, bringing back
to make as part again
what had been 
intentionally let fall away.

When still young, there was 
so much strength to push
ahead, against the gusts.
To keep forward the head
steady from not looking back.

Perhaps because the road
was still long, the young
eyes still unable to sense
what lies by the by, 
by the bend.

Our immortal's time.

Now here we are. Here I am.
The familiar autumn 
on my back. I try, I try
to push against the gusts.
To keep away from the act,
from surrendering to
remembering. I do not want

to say I am afraid that come
this winter, the bones will,
on their own, remember.











  

the seat, the leaves, the squirrel, the flowers

1
From this distance, a handmade paddle and paddle boat,
the sound of waves to the shore in the early evening
while Venus or a waxing moon appears
is almost an imagined thing.
This is what distance does to a finite weathered body.

2
When I was much younger there was a girl with whom
I had wine with at the rooftop of an apartment.
No moon, not even a folding chair, but a clothesline 
of damp clothes behind us. A concrete step of some sort
and there we were -- while I was seated.

Like in the movies, you know, so I now try every time
to substitute the word to love.

3
Do women used to (always) think of "marry"? 
Do they count people they (once) love?

4
I've had a drink a number of nights with the person
one woman slept with, loved with. It was all very well. 
The entire time I could see them in my mind's eye 
and I wanted violence
I held the clear glass, there was lemon, salt, rocks.
And I wiped off the grin on his face.

5
In my thirties, I thought of "marry".

It meant sitting, chair, porch, dusk or early evening
with a woman I am sharing quiet with.

6
She sends a photo of her green garden.
From where I am, the leaves are falling.
The squirrels are brave. Because they do not hibernate.
Flowers know the number of days even though
no one bothers to ask.

7
There is a back pain. There is 
an invitation to read a poem. I wrote 
a poem about a body. A body. A body.

a matter of time

And does he tell you he will return?
In what words, scattered like rain or
Clumped together like flowers in bouquet,
Predictable as the swinging of a boy
Just small enough for the set, too old
The year after this next. In what words

Does he tell you he will return?

I move through water filled with pansies
And daylight that spills into the night,
People without colour in a language
Familiar yet strange; how do I tell her

I will return?

She waves her hand, says name no month.
There is a garden beside her, constant 
Sunshine above, occasional rains, 
Eternal stars. The dogs lay close to her.
I dream.
Watching the night here remain light.

(thursday night) a long goodbye 5

For whom is the goodbye? I ask myself now
Finally understanding why they all ask

My consistent refusal for despedida
No send-offs, I said, No one is leaving.

Even so I think of returns.
Knowing all these are leaving me

As I leave them. 
I do not want to sleep, wanting only

To keep awake. Lengthen, possibly, time.
This Thursday night longer and longer still.

There is a date waiting for me. A door.
An airplane. 

a long goodbye 3

Dear Friend, I fancy meeting you in a very crowded street in an intersection of peoples when the red light turns green and everyone including ourselves rush forward to our own elsewheres. 

The preciseness of things will allow us not to see each other unlike the way one morning on a particular June day I met again at once four people in a corner paces away from ---. 

One I was with about two years in my early twenties with no love lost between us at parting. One met in the late twenties leg of whitewashed paintings. Another through her large scales paintings of cats and flowers. The fourth mere hours from an airport. 

What are the chances we meet again? Together in a spot as if rehearsed sometime somewhere. If at ten dreaming in California someone tells us we will commit suicide at 26 and have PhD at 36 and then be half way around the world bearing a kind of slowness of

Being, that there will be sunshine and sea and we will wonder if this is still life or dream. Why should we not fancy multiverses where in another life some things did not happen and all these merely a child's wondering. A child still must be dreaming elsewhere 

On a bed with starships taped on the ceiling and midmorning flooding in a roomful of books. Or must it be a dog, one of the hundreds of strays in a Catholic country with least love for the least. I fancy hectares of land where dogs run and not only dream. When I move 

From one place to another and meet people and memorise faces in spite myself I fancy meeting them again in another life. One where hurriedly passing the crisscrossing pedestrian lines we are less estranged from ourselves.

When memory is long

it is more difficult to forgive. I remember
the exact words you said 
inside the room 
where all the words we hurled at each other
lay with the shards of glass and mirror

remains of china, frames, memorabilia
what you wore and the colour of the sheets
the sound of begging
and finality, that immovable self-possessed weight.

The stolid words, once arrived, stay
no matter you sweep them with many vacations,
drowning them in tropical seas of laughter
into a forgetfulness; the words know

how to breathe darkly in subterranean waters
finding their labyrinthine way, resurfacing
as beasts of reason
for disbelief and anger 

unfaithfulness. 
You and I do not mention 

the lock is broken and I wonder why 
it cannot be said in plain words.
What we choose not to understand.
How memory gets in the way.
A hallway, a strait. You and I, different shores.

the space between cities

The space between cities is a body of distance
hardly translatable into a map we can pretend
able to transverse by way of roads and rails,
ports and piers cohering so-called boundaries

of what is there and here and then and now as
east and west and north and south referring to
sun and wind and seasons, the way we attempt
landmarking passages if only to remember all 

places we've been, also those never been to 
except heard by name or gestured at in story.
The space between is body of distance, tunnel
lighted dimly: memory and dream, both palpable

to skin, real enough to hear the laugh from
a mind's photograph of one's own ageless self 
in a moment everlasting. Who else is there?
an entire library of snapshots handwritten in

cursive with names, some clearer than others, 
invoked often as bridges over which one's own 
mind and body travels, loop of a map a place
only in river-spaces crossing between cities.

from a burning room

I am slow to anger, except in particular times
There is no water. Nothing except dry heat
For instance this, in forsaken countries
(for there really are such forsaken places).

It was not always like this, the slowness 
The calm with which I attempt to take in stride
The many kinds of failure: processes and people.
There had been much audacity when I was younger:

Edition of myself that had not yet known better 
Someone I can now only admire on those still 
Burning in fire, those still absolutely certain 
On certainty. Leading the walk ahead convinced 

Nothing cannot be surpassed, no matter literal. 
Such admirable conviction! Such admirable anger!

Perhaps anger can be exhausted, though not all
Not all. There is still anger in reserves 
The kind that is slow to come, vengeful 
Poisonous and antipathetic, something that does

Not easily yield to forgiving or forgetting--
It is terrible! As all things are when passions
Come alive. Who is afraid? Who else is afraid?

To whom are we writing for

Possibly the sense is the same: all of these--
Us writing on a wall: millennials and those 
Past who scribbled their names on slates 
If only to say "I was here". Or "Joni was here".
Some form of validation knowing our own passing.
Finite, are we not
Deliberate to leave a trace of ourselves here?
Evidence of existence; fossil of memories...

(I have only sung alone in public once:
holding a guitar borrowed from Music Majors;
in the middle of a kiosk, love then had audacity
to call everyone's attention as introduction:
"Hi everyone, listen"--did I say it that way
I can no longer remember--"I have a song for..."
The girl blushed but remained on her seat--
I think now, it was probably out of confusion
or public embarrassment--to endure

Such shameless proclamation. THEN a string 
Strummed SNAPPED.) Who can remember that 
On their own? Recall names, retell the story,
Laugh at appropriate moments in the telling?
It has been years before this: This
Writing on the wall about it.

words do not die, one must remember the sunshine

Words do not die, one must remember the sunshine
what it was that used to feel 
the world is large enough for all the rooms 

of love. 
All the windows open, you kiss by the street
both twenty 

or something again. Words do not die, especially
unsaid what it was that used to feel
what was meant when she said 

to never call again. One must remember the sunshine.
Words do not die in another universe
someone has courage to dial the phone again.

My Father's Birthday

My father's birthday yesterday, I remember but chose not to
Say anything, choosing to remember why not. 
The backstory is long, kept away in a partially closed room

Not far from where most people stay to admire the garden
Among others. Stoicism is plenty, so is civility.
Keeping surface clear, spotless from hostility as a glass table. 

My mother expected me to call. I am always never 
Too far from anything I chose. She must be upset now
Not replying to my message left like an after thought

Pretending forgetfulness. Of course, she knows and chose
Not to remember. My poor brave mother whose dreams 
Must have been as bright as she before bearing a child

So similar in many ways to the father who, too, must have been
As bright as any bright and dreaming young man before 
He succumbed to secret darknesses.

gentle non-fiction

One type of genre I step back from is the personal essay. In spite of ideas such as fossilised written selves vis-à-vis transitory selves, the certainty and nuance of an elusive self migrating in space and time, the lies of protracted drama in the name of art, the unreliable "I", other beautiful and convincing arguments the many number of friends writing in the genre say, I remain a step away.

Non-fiction, no matter how gentle, how sincere, tells too much. A freshman's first draft of narrative essay tells how she was physically abused by a father, how she cried in the middle of a cornfield, thought of running away from home, decided to stay. Another draft of a Haiyan survivor's account.

Sometimes I pretend not to wrestle with the question why. 

No matter sometimes I feel something surfacing from the well of quiet to be written this way, in this genre of gentle sincerity. There, a lump in the throat. A remembering of something that is, perhaps, being slowly forgiven by the self within the self, in spite of the self.

And yet, I step away. Less courageous than a nine-year-old battered by her father at the cornfield.

some form of paradise

there are photos and memories and dreams
to keep close in pocket, in mind, in sleep
when one finally holds oneself 
grown and able, still
with fears no more
and no less than
a child's

photo by S. Kho Nervez

after the party is better

After the party is better
at night when only empty glasses
remain crowding together
on tables being cleared

There, a few careless stains 
on tablecloths for what spilled
and broke of so much cheer

The band is done
all dancing, too, as guests 
gone
memory of a good night:

waiters making sounds
stacking plates etc. minutes.
They too, very soon gone.

How much conversation
is left, is to go on--is how much 
night we have left.

I think I will prefer now
after a brunch party

Still sunny, we still
can have rest of the day 
together yet. 
                  

                                     photo by A. Schneidt

drowning with woman

Counterculture communes in the 60s and 70s
attempted to distill love
through music, herbs, and freedom in forest
idyllic edens or as thought to be.

My own short experience told me 
youth has a way of imagining 
as does any spring beginnings.
To have a time of easy belief in hope

has its own good, if only to make the later years
bearable with dream-like memories. 

There is always something beautiful
about the long ago we have lived or survived.
Thus, that smile when we are
alone one morning with second cup of coffee

and remembering. Times, there, of love
also of beauty we had not recognised
while it looked us on the face. Gentle gust.
Perched on our palms like easy wind.  

How time flies. 

The hours we wasted arguing and hating
each other as much as ourselves for 
nonetheless loving both self and other. 
No counterculture communes truly survived.

There is no way to distill love.

what we left behind in love

Who, what we left behind in love.
Left behind out of love. 
All reasons into one final tangible thing--
The leaving. Who truly understands it

Not even fully the one leaving, 
Feeling only that which comes first
As feeling before any knowing--
Feeling being the very first language

Of that that cannot be enclosed
Into any simple names.
Who, what we left behind in love.
Left behind out of love.

Others, as well as our own selves--
Versions of the less or more of
What we now are.