for sea & sight blue & white for sand so light prints are left till washed away legs will walk & hearts will talk till sea & we begin again
Natalie longed for a permanent position so she could stop subbing classes the tenured ditched. When she asked the lithe Suzanne to give her oral report per the regular’s instructions, the class groaned like a sick wolfhound and Natalie knew she should have stayed in bed. Suzanne’s voice, a prison-gray monotone, driveled facts as profound as rats have tails, so Natalie chose not to reprimand the students who stared out the window or doodled or checked their phones. She even let two in the back row sleep, one slumped with his head and fully tattooed arms on the desk while the other’s torso seemed to be attentive but with each deep breath her head bobbed like those spring-necked animals that line cars’ rear windows.
Suzanne never glanced from her cards to notice even when a crimson snake’s head poked from between her lips, further impairing her enunciation. Natalie tried to rise but was unable to rouse or shout as she watched the snake slide down Suzanne’s body and realized she must be dreaming—not her first lucid one so, wanting that skin to skin, she reached for Sam—until someone gasped.
That startling sound snapped all eyes onto the slender serpent, its slick tongue tasting air as it sidled the yellowed linoleum. Natalie wanted to flee but could only move her eyes and saw that everyone appeared equally immobilized, statues with moving eyes in molded chairs. Not even a finger twitched as three blue racers whipped out of Suzanne’s wide mouth, followed by a slither of snakes that seamlessly skimmed down her barelegged body to the floor. The crimson snake wrapped a girl’s red boot as if having found its mate, but when scales met skin the girl leapt from her seat and shrieked, her desk slamming the floor as the snake twisted through air, smacked the blackboard and fell with a thwack.
Suzanne finally glanced up, clamped her lips round a coral serpent writhing to escape, and swallowed furiously till it disappeared back in her gullet. Soft rattles mesmerized the class and the booted girl sank to the floor, eyes glassy, head at a peculiar angle. Suzanne stretched tall and spread-eagled, as the renegade snakes throughout the room slid from pockets, packs, sleeves, to stream up her pale skin and under her loose clothes till the last slender tail slipped in the basket of her mouth. When the bell rang, the students yawned, stretched, then rose as if from a refreshing nap, and Natalie resolved to never sub again.
Thank you to the editors at Doorknobs & Body Paint for first publishing this piece as well as choosing it as the Dorsal Contest winner.
you would be my loon calling long past light, my mourning dove, my sweetest finch flashing sun from black as night. If my bird you were I'd feed you nectar from my palm and plant thick trees for you to rest and nest until I could transform my arms and hands to feathered limbs— our hearts remade as song.
Thank you to the editors of The Tishman Review for first publishing this poem.
THEY HOLD THE SEA
Contagious as your hummingbird smile may be, it is your hands... hands that sculpt ki into a dragon's mouth with arcs of mother-of-pearl framing rainbow flames that smell of warm milk and nutmeg, while your touch draws the breath of muscle to bone, then deeper. Too few lines cross your hands, large, almost too large, they hold the sea.
Thank you to the editor of Something Like Homesickness for first publishing this poem.
Ki–Japanese word meaning energy or life force.
did you see three green bugs eating coffeecake flowers & squirming on bellies as they danced to the beat of caramel kisses from here to their hole?
Thank you to the editors of The Magnetic Poetry Book of Poetry for first publishing this poem.
Nothing is less real than realism. Details are confusing. It is only by selection, by elimination, by emphasis, that we get at the real meaning of things.
You must learn to be still in the midst of activity and to be vibrantly alive in repose.