New Work in Inferior Planets

New Work in Inferior Planets

“when I say we sometimes I mean I and the voices I’ve heard or the voices I’m searching for. and sometimes when I say us, you can join in. and sometimes when I say you, I can’t imagine who I’m thinking of. and sometimes when I say they, it’s about me. and sometimes when they don’t like it, I revert back to I and start again.”

Read the rest here:



What is happening

is the job

of hyper-real



of natural

and experiment(al) following


through idea into its truth

and history

being created

as it breathes

as its fog of being makes misty

eyes and ears


a reality to be beyond

recording but ready for



“ . . . irony cannot break the wall

. . . building around . . . poem . . . ”                                                                                                           (Harold Norse)


Fermented phemes have grown culture

through aging

fragrance stronger still and stronger to come

but hasn’t yet.


Treasures of the night

have never been found

on ice.

* * *

To the streets filled up on sour

and acidic

quelled on probiotics


Bacteria grown against

God the virus.

* * *

Sewer grates leave menthol and regular packs

green and red

at the curve

of the corner


Back up Coke and Pepsi cans,

and the logos

all the sigils stamped

in coffee cup,

burger wrappers, empty chips, sweet still sleeping

in candy’s former sleeve.


But water

and what passes for water

where concrete, brick

and asphalt meet

slips through

with even

the most fickle poem.

* * *

“ . . . Does

Maybe not matter when maybe’s a landscape of untethered

starlight?”                                                                                                                           (Rowan Ricardo Phillips)

* * *

It’s all enjambment


All disjoint up up above

as together unbounded


and point




spray paint that won’t come loose

from walls

and monuments


where                   upturns

is a route

able to navigate

for food.

* * *

Words are black

and have running

in their blood

Drapetomania is the suffering

of text enslaved

to the page.

* * *

Captivity lets faith, hope

and charity


with visions of Zion

and all lands promised

to the passed over.

* * *

This world cannot be taken personally

* * *


does not make

digesting come

does not confirm

nutrients extracted

to destinations



Swallowed in sips

language has no

bottom of cup


So bloats

So bursts


So hyponatremia

of thoughts

first attacked, assaulted

then accepted.

* * *

Where can’t walls be built?

Gates, fences,

neighbors cutting off stanza from stanza


lose sight

of one                                   another


Disjoint occurs

nonsense teems

begins plans

against 5 or perhaps 6

senses –

sentimental, sensual,

sensible (?).


Springtime further blossoms

nature’s lines of defense,




Winter drops guard

lets jokes

slip through –

pushes them on blizzard



to bury

and give cabin fever

to homesick

broken lines


* * *

Just and just


not too much

* * *

Having lost vowels

over centuries


in clay and sand


Consciousness lost name

and rose as ash –

ashen rose

burnt out


spoken through brush

and to Jeanne D’Arc


and in caves


In places beyond and between opposite openings

side 1

side 2

left channel right channel


in need of visitors’

whispers / speaks / tolds / talks / yells /screams



How the machina comes

is on ears first

– save for Saul.

* * *

Life was begun by forgetting

this entrance.


Since then,

gifts  -if received-

are misconstrued


And grow into curses


* * *


1) to be easily crestfallen by outside forces upon the ego.



2) to be empathetic to the crestfallen outside of the ego.

* * *

“. . . silence crowns the song.”                                                                                                   (Ursula K. LeGuin)


But Guess Again

What sentiment is so equally shared





Absolute has no relation to


tether’s hold is not another

way of saying

relation- empathy returned

the book of resemblances

was not written in sympathetic



vowels harmonize given the opportunity


clusters also

are broken

when chance is had


but guess again for stars draw            long and short

of clouds in distances varied from

cones and needles


In stereo

Everyday has been a

Shoot first mistake

Enough so to

Throw in the towel.

Tasting hell burning down heaven.

Groove cut for later questions

Footmarks of tongues

In the house

(S)worn to secrecy

Haven’t had a good reality in years

That much is known

* * *



There was/Research


About it  – sound a

S/word – conversion

Dead to the 4G world

Airplane mode

Rubbing elbows in stereo

From Not So Fast

Not So Fast

But there is a chasm
filled with scripts
or screenplays.
Somewhere there’s a rusty
RCA Victor mike
And a Yamaha amp
with peculiar buzz
of mosquito secrets
And no one has been able
to fill the ad.
Openings and closings delayed
with the same repartee of one of these
* * *
Can’t both stare in the mirror
in the same moment.
Two wholly wholes
halfway blended
Connected – a point just beyond
the brain.
Craniums fused into one –
with lyrics
of cowboy songs.
A multi-appended chimera
facing two ways
into compromise
And when one goes
I’ll have to carry
that load
String arrangements.

To read the home poem click here

or go the Chapbooks and Long Poems page

So Long

And all will pass

into the indivisible love

Andre Breton

Remember that -oh so long

ago when we were

ships whose sails

were not made

that day hour by


And ‘oh these things happen’

But now, the winged

octopus will no longer

guide this —!

For life is not always a cabaret

Sometimes it’s just pitching

coffee cups at the trash

after consuming endless days

of creamy middles

and no wafers

in sight.

* *

Or incognito

as the signs

we’re waiting

to receive

while the unspoken words

are put out to sea

And what a shanty they’ll make

And the scurvy they’ll cure

And the doldrums they’ll surpass

And oh the cargo hulls

they’ll begin to fill

So soon they’ll

throw unnecessary passengers overboard.

(written 2010)