Dear Sister


Sometimes I drive past the blue house
with its ashen roof and white trim, note
the collected changes of a decade –
gone the bushes at the end of the cracked
driveway, gone the redbud popcorn bloom of spring.
There’s a small garden in the backyard
where the above ground pool used to bring
the family together, and the wide oak, sick
with canker and BB pellets, no longer leans
heavy into the porch, lending shade to those
unforgiving summer evenings.

I see you, bouncing room to room as if we
were too poor for doors, your hair electrocuted,
the bottom of my outstretched t-shirt scraping
the carpet. I see the home movies where you
played all the parts. I see our first dog, scarred
by coyotes – still her tail thumps the floor.

The old neighborhood is a horseshoe in
the wandering lens of a cold satellite,
a postcard with a watermark so fine
you don’t have to hold it to the light.

The door is locked, but all our ghosts still haunt inside.

Caught Looking


Beneath Broken Arrow power lines,
Drummond Island in damp knee high grass,
Croton and Henning Park, warmed in last
light; the ball turns purplish orange with
short tosses upward before landing in soft
leather, like the fitted glide of putting on
Sunday shoes. I love the motion, the rhythm,
the movement of the seams – spinning, floating,
dancing, guided by higher, misunderstood things.
Deer watch from the edge of left field as coyotes
canter in right, in royal view of the town water
tower across the river, last in feeling the sun,
framed in center. Practicing our knuckles and
curves like boys who never wandered into the
woods, never stared down wolves in new darkness.

Originally appeared in The Tulsa Voice: October 2017.

Link to poem

Apocalypse #2


This bar is lit year-round with Christmas lights
reflecting off the varnished oak, drinking glasses,
and liquor stock, and a dozen little tiki lamps
sporadically glow from their stationed posts;
an aura not unlike votive candles flickering
at the feet of the Blessed Virgin.

I’m redefining what it means to sit here
in the dark. It’s a shame they won’t be
talking about this in the next century:
the way he pronounced vacuous when
asked to describe the room, or the shot-glass
clank tuned in perfect collective pitch.
It’ll either be too hot or too cold by then,
and reading will be as ancient as laugh tracks
and patriotic cowboys, Monument Valley
now a beatific dementia that rises with
Abbadon and sets with Big Sur.

But I’m not thinking about that right now.
I’m thinking about you, whoever you are,
wrapped carelessly in a coral, melon-white
Mexican blanket on Zuma Beach with your
back to me, and whether or not it’s really been
ten years since I’ve seen the ocean.

Originally published in Sugar House Review: Fall/Winter 2018