Funereal

(Excerpt from Worlds Last Imagined, novel in progress.)

Last night Ariana and I attended our own funerals. It was something we did from time to time. We saw ourselves, lying there, pretending to be dead, saw a wavering horde of faceless and nameless figures weeping and going silent for us. I held the silence close, and listened in. Then I placed the silence inside a jar, labeling it Adagio Silence. Who were these people? Where had they come from? Why were they mourning us?

Ariana looked at me looking at her, the dead her. You look so beautiful, Ariana, I said. You look like an angel dressed in winter white.

Ariana smiled and said I was always, without trying or realizing it, always finding words, the eight words, the warm ones, the living ones.

Ariana’s compliment left me breathless, like babylegs kicking me in the belly. I looked down at me, somebody’s idea of a portrait. Like staring at the sun, or into a mirror without end, you can’t look for too long. A careful glance, a passing one. To see yourself dead required a well-practiced casualness.

I asked Ariana how long we should pretend to be dead. She said she didn’t know. The theater of playing one’s own ending was irreplaceable.

When the visitors left, a new silence entered the ceremony. It brushed against me, like small muzzy animals. I left this silence uncollected, didn’t name it. I stay on guard against becoming greedy and gluttonous. I heard the laughing first, then saw Ariana rising from her dead, and because her teeth were painted red, she now looked like a different kind of angel, a teasing one, a demonic one.

Are we done pretending, I asked Ariana, who often did this, just started resurrecting without saying a word, levitating above her casket, and I noticed the casket’s interior was lined with pale violet satin, a nice touch, elegant, Ariana moving over snowdrifts darkened with fresh blood, moving into winter, away from herself and into herself all at once. I couldn’t take my eyes off her. I witnessed Ariana’s resurrection, not my own. Still, I mourned for us both, I played at mourning for us both, gave my best theater to pity and grief.

Ariana stood by my side, staring blankly at her empty casket. I stared at her empty casket, then at my empty casket. I asked Ariana if she was going on as Ariana, or … was that who she was, who she is now? She didn’t respond. That silence I preserved in a jar and labeled it Identity Silence.   

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Green Dark

We enter forests

at the liminal risk

of time lost

to the vagrancies of dreaming

and silence of choir—

Engendered by echoes

and bated tense

we move on

at the mercy

of mirrorless haunt.

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Love and Death

The branch of the tree reaching down. It reaches down to graze the time-scarred headstone, to caress it. Could this be … a secret love story, a love story with no history, or with a cortege of history, spanning many timelines and lifespans? They have found each other again. The skinny mottled limb decked out in long green perforated leaves and bright pink flowers, an asking limb, a fornicate falling limb, needing to touch the stone memorializing the person who has passed from here to there, from now to now-again (or perhaps new-again, or never-again).  Let’s call it a love story, consensual, textured, tactile, unassigned, a love story ministered by the migrating wind and its featherbrush fingers. Or, perhaps, it is not the tree’s love for the spirit of one who has passed, but rather for the stone itself, love stories are hard to decipher, many existing as riddles crammed into glass bottles cast into the sea. If you notice, about a couple of feet away, there is a tiny tombstone, more than half of it concealed in the overgrown grass. The scale of the tombstone signifies that it’s the grave of a child. Does the child factor into this love story, this scene, this drama? Are we witnessing a mother, father, and child reunited? Perhaps it is the spirit of the child that has gone into the tree and is reaching down to hold and touch and reconnect with its mother, whose tombstone is the taller one. Again, many love stories remain unknown, inscrutable glyphs and sphinxes. Yet, no matter the configurations of the players, and their relationships (in this life, past lives, lives to come), they pulse in and out of time, shapeshifting to abide manifest desires.

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Visitation Rites

Metaphors underscore

every moment of passage.

For example,

we, being guests upon this earth

but briefly, solidly imagined

as entities before dissolving

into blurs, en route to fading,

among the gusty corteges of transit.

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Rabbit Season

The love hotel under the overcast afternoon sky. Thick mottled clouds. Two rabbits perched on a crescent moon, backs turned to the viewer. Earth and sky mixed, how lust has room for all seasons. The love hotel is about 100 yards away from the prison. Do barred dreams infused with lust bounce off walls and rattle cages nightly? Many fevers for many seasons. Ominous clouds, threaded and tasseled with veins of brightness, bits of light filtering by degrees within the brooding bulbs of mist. Two rabbits, snuggling side by side, one male, one female, the male bigger, the female’s head resting on the male’s shoulder, both perched piningly on a crescent moon, which, within the interior of its apex, displays a hovering heart pierced by an arrow. In the conjugal cast of the love hotel’s fast season, valentines prefer dark.

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Passage

Empty streets beckon

to breed favored solitude

among vagrant dreams.

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Wanderland

There is no journey.

Only myths in which we fit

our lust to wander.

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Footnotes

Streets,

vivid in character,

and seeded in the calming lore

of desolation and subtext,

train the wanderer’s interest

to stop, notice, gaze

deeply at or into causes

warming us to the effects

through which we marvel, lost,

at curiously intimate lengths.

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Time, Travel

The boy sat on the train that would take him to the station where he would catch the train that would take him to the airport where he would be lifted away from everything he had been dreaming in real-time. It is hard to say goodbye. He pulled down his bucket hat, a gift from his grandmother, and stared out the window, squarely forming a portrait of the mountains in the distance, a misty blue, almost a chalky lavender in relation to the green landscape spread vibrantly before it. The sky was vapors, a gateway to vanishing, to dissolution. The boy cried. He hid his head, so no one could see. What is this feeling, he thought, this feeling of fleetingness, how everything passed so quickly into nothing, how rapidly it disappeared, when you stared out a window, a lens for a slideshow of images comprising not only scenery, but the way your memories adhered to that scenery, congealed, and became inextricably wedded to what you saw, how you perceived, in brief fleeting doses, and then gone, it sped away, fell behind, everything at the mercy of instant blurring, moments of clarity crunched into blurring, as if you were taking an unstable eye test—was the test unstable, the images, your vision … what is this feeling? Were these bladed pangs of a farewell that left a heart wounded, wandering, ponderous? The boy looked out the window and then fell asleep. I do not know what, if anything, he dreamed.  

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Gloaming

At twilight,

the softly paling

into summer

plum sky,

sliver of moon

suspended like

a bone-white boomerang

in the distance,

narrow street

courting its void

with dignity—

What kind of dream is this,

which reminds you

there is nothing to do

except savor and cherish

the lyrical lucid fragments

of this floating world,

its mysterious grammar

and subtext

in sublime accordance

with prevailing volumes

of unerring silence.

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