I thought I heard
a woman singing
somewhere in the distance,
an ethereal song whose melody
floated over me, dropping
momentarily into my consciousness
then as quickly flitting away.
I walked off
the carefully tended path
stepped into the clutching brush,
the smell of Juniper
filled the air.
Pushing through a thicket
I thought I saw a woman
retreating into the trees
but the melody lingered
and I sat and listened
never seeing the singer
only hearing the song.


The man sits, waiting patiently
for the wolf to arrive. It has
been far too long, this wait,
as the Wolf has his lair in
the distant mountain, and
has little use for the people
in the city, in the place
where the man sits waiting.
The man is sure they met once,
although he is now beginning to
wonder if it was simply coyote
assuming the shape
of his lupine imagination.
The man cannot or will not say
why he wishes to see the Wolf,
it is enough for him
to have the desire, and he knows
that once wolf arrives,
he and the Wolf together
will sing a piercing
song to the moon.


The music hides, just out of sight,
beyond the edge of hearing.
We assume it must be something by Mozart
or at least Bach, a tocatta and fugue,
swallowed by the trees, the cardinal singing
faintly, mirroring the tune,
but there is only the wind
meandering throught the pines
which have cast off the weight
of winter and patiently await
the fullness of spring, swaying
and singing a song to the night.


Leaving the fields
of the countryside
for the city, it is the birds
that tell you when
the invisible boundary
has been crossed.
There are usually signs
along the roads
bolted to steel poles
but the birds know better.
In the country, birds
sing long arias to the day,
to cornstalks making
the slow green to gold transition,
of a cat chasing a field mouse
among the fruit burdened trees
of the late-summer orchard.
Crossing to the urban world
their songs grow shorter
a kirtan with a squirrel
cut off by a car horn,
the briefest prayer
to the morning sun
a tentative greeting
to a dog or cat sleeping
on a sidewalk.
We would do well
to listen to birds.


It is his hands you notice first –
dark fingers bent and gnarled,
several banded in silver,
knuckles scratched by the cat
curled at his feet, the tip
of his index finger sacrificed
to a distraction and the saw,
untrimmed nails, rough, ragged
a torn cuticle, liver spot rubbed raw.
The fingers curl gently around the worn
maple handle of the knife,
which flicks away shards of wood.
He leans into each down stroke
pulling gently back, the other hand
wrapped tightly around
the debarked Koa wood.
Over his shoulder, Mauna Loa
rises, a peacock feathered rainbow
from the lava shore, and still
he flicks the knife across the wood
rocking gently in the old bentwood
chair, its caning torn, split.
I ask him quietly, “Do the shavings
that leave your knife know why
they have been sacrificed?”
He stares at the wood, at the pile
of shavings around his feet.
He looks up slowly his bronzed skin
burnished in sweat, glowing
in the Kona sun, “Bruddah, da whale
sings the whole ocean in a single song.”


It is the promise of the grape
that lures us, that allows us
to imagine the glass stained purple,
or a deep golden yellow,
an alluring pink.
It may be accompanied by words
that suggest the approach
of a moment not to be forgotten,
deep, vibrant, tobacco, stone fruit,
a veritable catalog to entice us,
though meaning what we are not certain.
It is only on the tongue
that the grapes speak, and do so
in a voice that defies anything
as simple as language, for wine
sings to an instrument all its own.