the bone pearl

glowing no sheen

rabbit-ed with fossil-scapes

starring on Earth


vally-ed talcum

thirsty & surrounded


for infinities


faces shed lunatic

cast insane still

passing Sun shielded

in Gaia’s shadow


her waiting cold

forever breathless

shines for us.



blue ball.
blue marble.
blue beautiful globe.

though so simple
will vary per individual.
we all know what it is;
what it looks like to us.

the universal feeling to tap into,
separated by layers of blue skin,
to find a vein of truth though;
to find the connection shared.

make it exquisitely beautiful,
is that the point?
is the point to reach & touch?

analogy as tool
would be able to do this.
getting under azure skin;
drilling below the ice.

stop & get lazy, discouraged, nothing happening.
turn out half pages that further in revision.

try, unreliably, to complete thoughts in revision,
that’s a shaky ladder.
Why can’t blood breathe out in strophes like Galway Kinnell?
very little training.
very little practice.

a soft u sound is underused.
it must be used one of two ways
once or a hundred times.

to write a poem with just soft o’s & u’s,
to finish with an a sort-of lead out;
post a $20 message on a $2 sign.

What is form in contemporary poetry?
contemporary forms, what the fuck are those?
under whose authority deems contemporary forms forms?
little training.
little practice.

is it by schools of thought that
we practice newer contemporary forms of poetry?
what are they? where are they? why not privy?
the argument is that classical forms are imprisoning?

cut off?
was it a sound game long before beat poetry,
and rhyme went to cross rhyme, and then abstracted,
over wild experiments of breakage and free form?