an old writer and his words

  • CHARMING

    You said it was a lucky charm,but I know my cereals and itclearly wasn’t that, nor was ita faked foot of some leporidaesylvilagus, even you would neverbe that cruel, you are a veganafter all, even your shoes aresome unholy man-made material. And I don’t believe in luck,I’ve never had it, good or badalthough I do…

    Lou Faber

  • PAPER CUTS

    Paper is at once boththe cruelest invention a writermay have stumbled acrossand also her salvation. The blank page invites,often demands the penand is unjudging, yet the poetmay change or deletebut the paper retains the originaland throws it back in his face. The computer, many say,changed all of that, backspaceor highlight and delete andthat mistake, misuse,…

    Lou Faber

  • ASHES TO ASHES

    He says he wants to knowwhat I want done with my ashesknowing I want to be cremated. I tell him I need to thinkabout that for a while, knowingthat “while” could be an evershortening lifespan, but Idare not tell him that, itsimply wouldn’t be acceptablehe would respond, setting offanother endless discussion. I don’t say that…

    Lou Faber

  • RENTAL

    The mountain reachesup grasping clouds.The river no longer runsred down its flanksnow traversedby a black ribbontwisting upward.The Hertz rentalhas a warningtaped on the glove boxdriving above 5,000 feetis prohibited, andat the driver’s risk.The Minolta sitsin the trunkas I denythe siren’s call. FirstAppeared in Raconteur, Issue 3, January 1996.

    Lou Faber

  • FLIGHT

    He began his trek up the mountain early in the morning to allow time for the ascent and return. He’d planned this carefully, and proceeded slowly so as not to be put off his goal. He smiled as he passed through a low hanging cloud layer, erasing the ground from which he set off on…

    Lou Faber

  • CITY OF (TRAFFIC) LIGHTS

    It is incredibly sadwhen all you have seenis Paris from a taxi hurtling towardthe center of the city, becauseyou are late for a meeting, and thenyour view out of the conference roomwindow is another glass buildingwhich, if you lean your headfar enough right gives youthe reflection of the Eiffel Tower. As the meeting drags onyou…

    Lou Faber

  • KISO CUTS A SNAKE 正法眼蔵 四十三

    Snakes, like coins,have both head and tail.If I cut a snake in two,have I two snakes,or none at all?Walk carefullyfor the spadethat cuts the snakecan dig an inescapable abyss. A reflection on case 43 of Dogen’s Shobogenzo Koans (True Dharma Eye)

    Lou Faber

  • CALLING

    In the dark heart of nighttime is suddenly frozen,the clock’s hands stalactitesand stalagmites, unyieldingdenying the approach of morning,leaving the sun imprisonedunder the watchful gazeof its celestial wardens. It is then you appear,call out to me, beg mebe silent, not askingthe lifetime of questionsI have accreted, providingmy own hopes andimagination for answers,but you have faces, notthose…

    Lou Faber

  • WINTER?

    In the early morning, beforeI open the blinds, beforethe sun approaches rising,I imagine the chill envelopingeverything outside, Octoberslipping quickly towardNovember, to the possibilityof rolling snake eyes, to snow. Winter always came that way,unannounced, and at leastby me, unwelcomed, thelast of the crimson, flameorange and ochre leavesdragged to the earthand buried ignominiously. But I know when…

    Lou Faber

  • ACUITY

    Acuity is such a strange word,sharp on the tongue andin meaning, but also a markof what once was, what willnever be again, replaced perhapsby a visual vacuity, comfortableword, no sharp edges, vagueimages floating behind a gauzeseeping slowly into a scrim,knowing the stage will soonenough go dark, despitethe ever brighter lighting.But replaced perhaps byever greater auditory…

    Lou Faber