Coming soon perhaps
but hard to say
a moment when
merge and you
cease to exist
or exist twice
real is left
but that you
be ashes and
give a damn.
When you look in the mirror
are you real, is your reflection real?
Be careful what you say,
for if I look into that mirror
and see you, is the you I see
anything other than real?
When you go through the gate
you say “I am exiting”.
When I follow you through the gate
I say “I am entering”.
Are we both liars?
A Reflection on case 58 of the Shobogenzo (True Dharma Eye)
how did it feel
when, in the pit,
the lion sidled over.
You saw his paw
and no doubt
remembered the thorn
you had extracted.
Did you rub his mane
as his jaws snapped
around your thigh
his teeth tearing
into your flesh.
As you saw
the blood spill out
did you curse
for his detachment
First appeared in Erothanatos, Vol. 3, No. 3, July 2019
It always seems odd how the dual veils that separate day from night, wakefulness from sleep, seem impenetrable in the moment. Yet they both fade, now pellucid, permeable with the simple passage of time. Now dreams are a reality, such as that purports to be, and the worlds intermix, one ceding it to the other, the other flowing back. It is in that moment It is then you realize both are real, both dream states and you exist only because you imagine it so.
She says if you could only
peel back the photograph, you could
read the entire story that lies beneath.
It is deeper than the image below which
it lies trapped, and wider, imbued with a meaning
the image could not capture, just as,
she says frowning, there are no words
for parts of the picture, a symbiosis
that we of unitary senses cannot unite.
This one, pointing to a crucifix, shows him
where he ought to be, the pain, his pain
apparent, but so much deeper than
any image or sculptor’s hand can fashion.
Undeserved pain, not by sacrileges, by rebellion
but he would understand it, he would
revel in it, for he was the greatest rebel
and he would easily peel back the picture
in step wholly into the story beneath.
It looks perfectly normal, the kind
of restaurant you would seek out
on a Friday night in a distant city.
The people look like those you know
or could know, those from home for instance.
She is not remarkable, blonde, older,
a slightly twisted smile, blue eyes,
but on meeting there is a sudden distance
as though this is not a normal world,
certainly not the world where
you first met a cousin, and you have
a nagging feeling, which grows during the meal
that one of you is an alien, an avatar
from some other world, parallel perhaps,
and this reality is anything but, although
the pennette is quite remarkable.
Would you meet your first true relative at age 62
you know that while blood may be thicker than water,
it also congeals just as easily.
Reality is clearly something to be avoided
to be dressed up in tattery, tied in ribbons,
perfumed, yet its fetid stench
is always lurking in the background
waiting to pierce your nostrils
in an incautious moment until you retch
and bring up the bile that marks
the darker moments of your life,
the kind that lingers in the throat
which no chocolate can erase.
Reality is often ugly, so we ignore it
or hide it behind masks, or offer it
willingly to others, a gift in surfeit.
It sneaks up on you, and sets its hook
periodically, and thrash as you will
the barb only tears through new flesh,
setting itself deeper, intractable.
You and I are dying, as I write,
as you read, an ugly thought
particularly lying in bed
staring into darkness,
no motion or sound from your spouse,
mate, paramour, friend, significant other
or teddy bear, where God
is too busy to respond at the moment
and sleep is perched in the bleachers,
held back by the usher for want
of a ticket stub, content to watch
the game from afar.
I cast ink to paper, an offer of reality
as though the divorce from the words will erase
the little pains and anguishes of our
ever distancing marriage, while
holding vainly onto the warm and sweet,
the far side of the Mobius of reality
(the skunk is at once ugly and soft and caring).
We write of pain, of ugliness, of anger
at terrible lengths, or weave tapestries
of words to cover the flawed, stained walls
of our minds, like so many happy endings,
requisite in the script. Basho
knew only too well that truth of beauty
should be captured in few syllables.
First appeared in Chaminade Literary Review Vols. 16-17 (1995)
I am a child of ghosts, my parents
adopted and birth, all visit me,
but only in my dreams, for ghosts
prefer the reality that dreams allow.
Some say that dreams are not real,
but they live in the mind as do
every other reality I experience
each day, my senses merely
inexact lenses for the mind.
Perhaps dreams are more accurate,
a deeper reality in the end,
for they arise without passing
through the lenses of the senses,
whole and complete, and as quickly gone.
I am a child of ghosts, and I
will eventually join them,
haunting the dreams of others.
He is fond of the name Alejandro Carlos
Ernesto Rodrigo Guttierez. The fact is
he loves the name. He knows it has
a certain nobility to it. It embodies and
conveys strength and character. It is a source
of pride and great satisfaction. The name
makes him taller, bolder. There is so much
in a name, that name in particular. “Vinny,”
his mother shouts, “Vincenzo Balducci, come
down here and take the trash out, your
chores come first around here young man.
He is not at all fond of the name Vincenzo.
As you look out the window
you say the branches of the tree
are dancing, the clouds barely stopping
to gaze down on the scene.
Walk outside and feel the breeze
skitter along your skin, see
the seed pods of the maple
take wing and fly off.
Ask yourself why this is,
is it the wind you see moving things
or is it the things moving
creating a breeze, which?
Consider that it is only your mind
that is moving, for if you do not
look or think of these motions,
how can you know if they stop?
A reflection on case 146 of the Shobogenzo (Dogen’s True Dharma Eye)