Emily

This is not another one about
how I would like to kiss you,
how I forever and always,

Sincerely miss you; because
I is tired of acting, because
You is tired of passing, because

We are tired of writing poetry
that pleases the masses,
but leaves us feeling like asses,

For dishing out what is expected,
for speaking in a different voice
that sounds too akin to a whine

to belong to a prophet or pastor,
or someone in the business,
of delivering advice,
and receiving forgiveness.

This is not another confession.
This is a poem. About something.
A poem about politics or pedagogy

Or people, but not a person not
some arbitrary object of love
named You.

There may be pretty rhymes,
enjambs, and bits of tulle,
but do not be distracted.

There’s more to be desired
inside. Go ahead,
and unwrap this.

This poem does not care
if you muss up her hair,
and feels no shame

For setting it, or for wearing
a belt to accentuate her form.
That’s what [women] poets do.

We have the tools
for spinning letters
into fine language,

And are not afraid
to use them.
That’s what makes us crafty,

And crooked.
Beauty is essential to our strategy,
of getting you to pick up this thing

That, despite its gender, does not bend
to the feminine style, or other limits,
which do not exist.

There were no concessions made
for your taste, aside from that
brief mention of love,

Just because. Because

Emily is an ode, with brown hair
and brown eyes, and a mouth that
shouts sometimes;

To her lover, who also has hair
and eyes, and a mouth that gives
kisses to Emily.

Emily is neither sweet as pie,
nor humble as mashed potatoes,
but she is what I like,

And this is not about you.

Shilo

Shilo belongs to a protected category of person,
the kind that must be managed so as to preserve
its natural condition, to appear unaffected by the
forces of nature, and the imprint of man’s work,
afforded at least five thousand acres for solitude.

At first brush, it seemed probable we’d be lovers.
She had me feeling all-American and free, shout-
singing: “Girl, this land was made for you n’ me”
and all other beasts of the Northern Nevada wild,
where the desert is high and dry and exposed, not
so low and wet and closed as where I come from.

“What brings you here, to these parts?” should be
easy — a basic exchange of creative nonfiction —
and I’ve heard that it gets better, but when you’re
queer and a woman probes for your preference of
parts, it’s imperative to leave the door open some,

So you say something like “Where I come from is
called the River Valley, green and fertile and deep,
with mountains on both sides, thrusting up toward
the sky. Your land has dimples and mounds in all
the right-familiar places; it reminds me of home.”

Shilo showed me the Playa in June, before Burners
came to boogie and burn, and we scribbled crayon-
portraits of each other, our busts against a backdrop
that could have passed for the surface of the moon.
She drew me in — in an extraterrestrial style — soft

-shelled egg of a head, floating on a band of gold
dust that was literally black (as her tip of charcoal)
but, for better symbolism, I remember in gold.

Aubade for What Stayed in Reno

Twinkle, twinkle, little star
How I wonder what you are
Up above the world so high
Like a diamond in the sky
Twinkle, twinkle little star
How I wonder what you are

Oh, darling one
I wish I may,
I wish I might
have that wish
we made last night,
on that bright star
neither first nor right
but fixed as it was
to the grid of light
seemed a safer bet
to count on to stay
twinkle-twinkling
than a dumb rock
in the sky, though,
not so dumb as we
who got hitched
to a deadline
not certain, as we
who bet love
on some number
of days before
the Chapel of Bells
goes under.

Oh, bright star,
would I were
steadfast as thou are,
could take your
leave-taking
with no hand
in the jar
not reaching
for crumbs
when there’s cake
right in front of me
full of butterlove
the better love,
the solid, yellow,
stick-to-the-ribs
kind of love;
with no head
under the bell
not stewing
on what you are
hanging aloft, alone
in Reno’s sour air
when there’s someone
who cares, standing
right in front of me.

Oh, sweet heart,
so soon we part
— yet, you are
still steadfast
still unchangeable
still as night
at the break of day
with eggs breaking
with sugar shaking
how can you be hungry
for lovemaking
it’s too early, too new
too much, too fast,
and too soon — yet,
I am still happy,
still over the moon
still laughing along
with the little dog,
at seeing such sport
as the dish carried
off by her spoon.

When the blazing sun is gone
When he nothing shines upon
Then you show your little light
Twinkle, twinkle, all the night
Twinkle, twinkle, little star
How I wonder what you are.

Would you like to throw a stone at me?

There’s a rat-a-tat-tat on the window
that my imagination takes for bird’s
play — swallow — and then I see her
dancing, with her twin in the glass,
damn narcissist, she’s asking for it,
go splat
at my feet. No feathers?
There’s a feet, or two, or
a pair of Converse shoes
faded that familiar blue-
like lavender but not so sweet-
smelling as bodies do when hot
so hot so fucking hot are you
here on some errand? Here, winner
take all that’s left of my peach.
Pat of butter? Cup of sugar?
I have none nor the patience
for solicitation
for polite salutations
or whatever it is that you’re trying
to sell me today.
I want to give more
than what fits through a window,
so, if you will,
please come to the door.

My First Place

lamplightIn the northwest corner
a tent for the sun
diffuses light muted divine
across this uncarpeted territory
that I deign call mine
but rather than bask
in the afterglow
of an energy bill paid
and my utility proven
I shut the lamp again
until it cools
“it” being the bulb
but also the fear
of being outgrown
as toy is by child
of being the child
who outgrows
the clinging
the tantrums
and toilet accidents
the infrastructure
for success
in health and happiness
that I built last season
when legs were shorter
and it made sense
to sit on his shoulders
for a clear view of the stage
beyond the next hill
beyond the walls of our bedroom
beyond “us”
and I stand
corrected of all errors made
under the influence
of the status quo
the normative hetero-
and other biases
on the subject of
how women and men are supposed to live
together
to live creatively
and I shout
I was an artist before we met
before he gave the go-ahead
by commenting on all my pictures
cute!
and I will stay an artist regardless
of how I use (or do not use)
my sex
and I sound
self-righteous and overexposed
to darkness and solitude
but I am not low
because my ego is so high
and I step
off my soap box taller
the tallest in the room
knowing one thing to be true:
for as long as I am here
I will not be where he went.