Ice Fishing on Lake Sakakawea

Water rushes forth
cutting through the landscape
tearing down trees…

In my youth
we would gather there.
That was ‘base.’
Some perversion in the soil
grew it awkward
and preserved it.
There was no other of its like
we’d count,

                “One”

                “Two”

                “Three”
Turn and lay low any who moved.

…bushes, plants
gnashing at them
with a hurricane of white caps,
roiling top soil;
the mangled limbs of old oaks.
The flood consumes the forest
but is unsated,
cartwheeling down the street…

We rode our bikes,
cards in the spokes,
three abreast;
like we each had
a full tank of gas, no curfew.
        some of us didn’t
and only went home
when no one was left
to muffle the night.

Taking with it loose sheets of concrete
gauging them out with the dead ends
of what once was a forest
only a few short moments ago.
As if on a mission
                  serving a purpose
the torrent sprints down main street
a feral beast of a cat
on the serengeti
ignoring all the buildings that lined its path
driven only to one end;
to take down the theater.

In the darkness
outside of time
fantasy becomes tangible
while reality falls away
like sheets of snow
from a hot tin roof.
Captured in that web
I am what I am meant to be
until the lights come on.

It may have been the first to go,
but the flood took the whole town
              and discarded in its place
              a lake

When winter comes
and hides it all beneath ice
          we drill holes
          drink til we are warm
          and toss in a line
      only once in awhile terrified
                        that we’ll pull up
                        some part of that old life.

Rhapsody

Who –
who
        are the wires attached to
those dangling strings must end on limbs
      loose now, but most times taught
bringing to heel those movements transposed
        imposed
by a handler at the other end
[rhapsody]

Who –
who’s joy are we seeing?
      the puppets joy can be inferred from context
          an elaborate event, well staged
  but just above their head a storm cloud of strings
like tentacles grasping from sea floor rocks;
    there is danger in this kind of truth.

Who –
who would concede so easily
    and not follow their suspicions to the puppeteer?
  Surely this rhapsody is theirs.
      they move the strings to the songs they sing
bringing the puppet to life,
  though when the wires die,
so too the light in their eyes
  for the mind within is troubled.

Who –
        who then is rhapsody?
    is it anybody or nobody?
        The mirage of a destiny we wish to manifest
from either end of those strings.

Stagehand

Found
on the ground, a rhythm in the dirt
like a cackling brook beneath the surface
the sound is nervous
confounding any sense of purpose.
Look around
[you];
while you are free most are bound
a town full of brown slacks
round spectacles
all shapes are there on stage,
but the spotlight is on the testicles
because there lies rationality
or so says the old spectacle;
a fashion of resounding sterility.
Anonymity the greatest renown
or so says the celebrity.
So what if it costs our identity?
foster instead gratitude
over an exhausting attitude,
those, “what-ifs” reeling always around the head.
That fish you wish you’d caught?
You’ve already fought before and tossed back.
It wasn’t about what it had
but what you lacked.
Now, you’re on the other side,
more mad than glad that bridge was crossed
yet always
still
lost.

Tchaikovsky

The hand raised high
               is hung on the hook
                              of a distant light;
               digits cradling an unseen flower
while shadows collect – condensation,
               beaded below
                              lengthy limbs
dropping into a river of darkness
that ends hidden
               beneath
                              sheer cloth.

Farther down
               slender legs – rushing waterfalls
against the floor
               frozen in time;
                              where the toes plunge
the heel and the arch
                                            splash
               playfully above.

Though the music has stopped
               the moment remains poised for the future
until then,
               we wait.

Center Stage (w/poet Riley Seidel)

a man to match,
two husbands for mother and me,
two pennies shined and spent,
irrelevancy captured in pastiche
be not my father, fleeting, fugacious,
a filament of generational morals
or rather something less gracious.
I burn for my sins, sitting on your pyre
was my death cathartic enough, my child?
did you really have to call me a liar?
I cried for my matrimony,
nineteen and a child already lost,
supposed residual bonding upon this acrimony
can you tell me,
what couldn’t I see?

Beneath those hands
that were once so quick to strike
you hide eyes that shed tears in the light
but remain quietly dry in the darkness.
the audience, with that sad soliloquy, is sedated
but I remain a victim resigned backstage
a witness to all this from an angle much less complicated.
as supporting cast, I played my part,
myself reduced so you could be elevated
though you “died” you lived on in my heart
for the life you were to me was all I had known
until finally those curtains began to close
and I recognized that I was grown.
How could you see, from up high on that stage,
anything that you didn’t want to be shown?