Satellites

“Longing on a large scale is what makes history.”
.   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .
“Most of our longings go unfulfilled. This is the world’s wistful implication–a desire for something lost or fled or otherwise out of reach.”
~Don DeLilo, Underworld

In the year I discovered
I was a lover I was a

glass-eyed and hungry
beast locked behind the
cold steel of my indecision,

unsure of what it was
that would make me whole

but wanting it all, all, all
to myself. How strange it is
to place a stranger, a body

cutting the blustery chill of
the street, into my mind,

by my side in endless permutations
of things I tell myself will make
me happy, a kiss or a fuck or a

conversation that only happens
in the scratchy highlight reel

of my fantasies. And stranger still
this attraction to people who will never
pluck me from the identity parade

of skimmed-over silhouettes; mine,
a wish made yet unfulfilled. I exist

within the shadowy halls of the
House of Black and White, a quilted
wall of faces I’ve never forgotten,

my loneliness uncovered and laid bare
before their eyes. I feel I must give account

for this shortcoming, must provide an entire
history of longing, an autobiography of
warmth lingering beneath the numb rind

of my fingers, my loins, my lips. But how
can you account for the world moving beneath

your very feet, how do you explain its wistful
implications, all rising tides and shifting plates
and stench of peat? And why do I feel I should

be ashamed of being ushered to sleep on the
rippling echoes of the confessions I whisper

to the moon, for hoping that someone else speaks
sweetly to its cratered face, for knowing in my bones
that these lunar orisons float through the cold

glimmer of aether between us, cruising along an orbit
of desperate optimism, but always just out of reach?

Fibonacci Poetry

On StumbleUpon, I recently found a collection of Shelley Batts’ work that demonstrated Fibonacci Poems. I was instantly intrigued by this new form, which relies on the Fibonacci Sequence. If you’re like me, this is a familiar but extraneous remnant of your middle school knowledge, but it’s fun to play with the form and think about things adding up as you move along in the poem–it adds a natural momentum that you can see as well as hear. While the examples I found applied each number in the sequence to the number of syllables per line, I chose to focus on each number as the amount of words I could use per line.

Cartography

One
word
then two
then three more
and over and over again
until I’m outlined on sheets of loose leaf,
my life whittled down to seas of spilled ink, the graphite boundaries loose
and shifting like sand, each slant a mountain, each dip a holler, each pink smudge attempting to hide my heart’s topography.