Chekhov and the Cat

“The longer a poem, the weaker the impression that it has been dictated from above: Heaven is not verbose.  The more you talk, the more you lie.”–Vera Pavlova

When I am overly verbose,

I am trying to convince myself,

or my angels that I am worth

their undying devotion.

That, or I’m trying to validate

my reason for being

to unrealized eyes

living in the back of my head.

When I am silent,

I am like the cat

who fluently models

Chekhov’s explanation of grace

as some definite action accomplished

in the least number of movements.

I’m pretty sure if Chekhov and the cat

were in the kitchen together

and Chekhov were explaining his definition,

in so many words,

the cat, remaining still,

would yawn and close its eyes.

Some poems, teasing verbosity,

don’t go anywhere,

yet simply lapse

into the waiting cradle

of silence.

About John Biscello

Originally from Brooklyn, NY, writer, poet, performer, and playwright, John Biscello, has lived in the high-desert grunge-wonderland of Taos, New Mexico since 2001. He is the author of four novels, Broken Land, a Brooklyn Tale, Raking the Dust, Nocturne Variations, and No Man’s Brooklyn; a collection of stories, Freeze Tag, two poetry collections, Arclight and Moonglow on Mercy Street; and a fable, The Jackdaw and the Doll, illustrated by Izumi Yokoyama. He also adapted classic fables, which were paired with the vintage illustrations of artist, Paul Bransom, for the collection: Once Upon a Time, Classic Fables Reimagined. His produced, full-length plays include: LOBSTERS ON ICE, ADAGIO FOR STRAYS, THE BEST MEDICINE, ZEITGEIST, U.S.A., and WEREWOLVES DON’T WALTZ.
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