Wednesday, April 10, 2019

painting by Neil Kaplan

Viktor

I keep my sun in the shadows
which is not the same as
hiding my light beneath a bushel.
I am content with being
in the cellar 
amongst the gnarly armed, 
malformed potatoes.
Darkness has it’s uses.
Beauty must begin somewhere.

My work is my poetry.
Though, my goal is
to make a man:
chore-loving, 
shorn of vanity,
kind for no reason,
a man
with an effortless
un-self-conscious 
demeanor.
A poem of a man.

What I couldn't 
have foreseen
was that
we would be 
forever synonymous;
twin pages
marred by words
in some 
mysterious way
for better or worse.

This is how it begins.
The world drives me
from itself
into a barren room
where I find no respite,
the morning’s 
colorless fog
assuring me
that nothing is
 more fertile than
a cloud full of rain,
but for myself
willing you to live.

Finding my state
no longer reflected in the sky,
I search for new signifiers.
Where are you in all this sunlight?
Are you where I find myself?
Or am I like you,
a rapturous fugitive,
a creature sewn together
with a spider’s thread,
the grafted visage
of my own youth's tender ideals
like the borrowed breath
of a broken heart
sworn to do no harm.

You
forever my great truth
begun in this
blessed blasphemy.


Peter Valentyne
April 10th, 2019


Monday, April 8, 2019

Enigma

“Why is it that when you wake to the world 
of realities you nearly always feel,
sometimes very vividly, that the vanished
dream has carried with it some enigma
which you failed to solve?”
                     ~Fyodor Dostoyevsky

i
Time is not horizontal,
if anything, its vertical.
Everything is happening
in a circular world,
perception is an onion.
Rising above
and going within
are not 
measured by distance.
Forget the perversion 
of the forward,
reject the seduction
of the backward.
Awareness is vertical.

Nothing is achieved
by racing toward it.
Only standing still
and becoming aware
of what is.

Learn the language of dreams
where distance is meaningless.
Consciousness is a spiral stairway
leading only to here.
When are you elsewhere?
Yesterday is a fever dream
and tomorrow is a fable.

Time is a contagion of the mind.
A mysterious illness
only a poet can translate.
Poetry as diagnosis.
Only night returns us 
to our natural state.
Day is for dreamers.
Night is for 
practitioners of soul.
Here, logic disowns you.
There is no distraction
from feeling everything.

We only think up
adventures for our bodies
to pretend they have
a life of their own.

ii
Our basement 
has a basement,
let’s face it.
Beneath the shadowy stairs
like the shadow 
of a shadow;
someone has to 
go down there.

Let the one who hurts 
the most go,
the one who feels his way
through darkness
by believing in the light.
Someone who can befriend
the neglected & rejected ones
even when they bite.

I’ll go, 
tethered to a thread.
You needn’t yank me out.
I will keep my head instead.

I’ll go.
With my faith’s sunny detachment,
like a wise fool who can’t tell
a compliment from condemnation.
This way,
if I turn the other cheek
I can rest the monster in my lap.


Peter Valentyne
April 8th, 2019

Wednesday, March 27, 2019

Ouroboros
(for Bob Hock)

The first thing I thought
was What if this is
the last time I ever see him?
He’d just come from the CVS
and was crossing the street with
an un-customary grimace on his face,
contorting into a crescent smile
the moment he saw
me closing in.

I could tell he was in pain
and he probably 
didn’t want me knowing it,
never wanting to draw attention
to his defects or failings
as he was trying so clumsily 
to be one of the living.
His grocery bag dangled
like a drug addict’s purse,
a green leafy lettuce
poking out from it, 
a feeble reach towards freshness.
He was one of those rare men of age
that still kept up with cooking
his own meals.
That, and he had needed his refills.

They say he’d come around
to Bingo and was looking much better
in the last week.
He’d even been seen
binging on an over-sized 
wedge of birthday cake;
a grown man channeling 
a wide-eyed child,
even as life threatened to become
more than he could chew.
I can see that photo-ready face
he must have made, 
an actor still ready to deploy a mask.

He always announced himself
with that funny gait of his
that made him so easily imitatable;
a stride that, I felt sure, had been quite sexy
in youth, but now had resolved into
a kind of wounded affectation. I knew
he was in pain only because
we once spoke about 
the evils of opioids
after an un-characteristic confession that his feet
hurt him with every step for a decade.

“How are you feeling,” I asked.
“Oh, I’m soldiering on,” he said flippantly.

He was wearing one of his plaids.
His flannels always made me think of the Midwest.
I think he was from Illinois or Michigan,
a life bolstered by it’s proximity 
to water.
Was it poetic license that he once added: 
“Every mother is a natural body of water.”
I pretended to know what he meant.

Once I saw him talking to a much
more youthful man
that looked like the other end of himself.
I wondered whatever were
they telling each other.
Why is it so odd
to see the young interact with the old?
Maybe because there's only so many ways 
a man can hide a battlefield with a smile.

I keep to myself, he once said. 
The youth today are animals.
I gave him the benefit
of his cliche convinced that it
was just his loneliness talking.
Maybe we’re all animals
until we birth a soul,
I thought to say, but didn’t
as I wasn’t about to lecture him.
But my inner thoughts continued 
to close the circle.
What if a soul is not a given?
What if we were cobbling one
together all along
even as we used
those imaginary tools
of childhood?

He had a fear of falling.
Life had become a balancing act,
each day passed in
a death-defying circus ring.
Of late, he’d taken to walking
around the block looking for
someone who’d dare to meet his eyes.
More than that, he wanted
to be seen straight through 
to his insides.
To meet that person
who could apprehend the 
journey that was curling
around itself like an embryo
at the heart of him,
as if an affable visibility might
bring him full circle.
Could I be that person?

Dilapidation had begun to
bring reassurance;
a wabi sabi of acceptance
of one’s own diminishment,
even as his handsomeness
had long since sunk beneath 
it's lunar surface,
he was and is a man of great beauty.

On his worst days, his spirit
felt like parched flowers 
in a waterless vase.
He thought of Mrs. Conrad
who kept a jar of crisp
rust-colored roses
by the side of her bed
where dust had formed 
an encasing web,
unwilling to bring herself
to clear it away;
the last of her beloved’s cells
as precious as 
the memory of a first snow.

Now, back on the raw reality
of 10th Ave and 43rd,
a wind conspiring to 
blow us both away,
I embraced this 
civil war 
of a man
and for one 
un-embattled moment
he and I became 
a circle of two.


Peter Valentyne

February 9th, 2019

Tuesday, March 12, 2019




Theatre othe Deferred

In dreams
I am my own
understudy.
Every night
another
big break.

The truth is:
I'm being made
to play myself.
To go on
I must enter
through a trap
in the floor
that signals
my acquiescence.

My bed sheets,
the white flag
of my surrender,
a page without script.
Night is no writer
but it's theatre
built upon
a compost of dreams
produces nightly
artful improvisations. 

In this one
I play myself
at a crucial age
when everything
was still possible.
A rare memory play
in an age of forgetting.

As a producer
night is brazenly tyrannical.
He likes me helpless,
vulnerable,
off my game.
His concept:
always the avant garde.

The house lights dim
and the players join in.
The stage manager 
is feral,
clutching my diary
like a dog-eared bible.
Sexless, he (or she)
illuminates the stage
with a vanity mirror
that bounces light
off the moon.

Ragtag caterers arrive
like a band of bit players.
Out of the darkness
someone whispers "Places!"
and things go 
south from there.

The dead 
make their entrance 
without applause.
Someone I loved
has unfinished business.
Take note:
every prop an impromptu artifact.

Rousing to a lack
of occasion,
I look down at
my body in paralysis
lying discarded,
an obscene marionette;
my fate made fictitious 
by questionable facts.
I brace for a reckoning.

Asleep again, 
I live only in the past
an anti-body
unable to discern
what is happening 
and what is not.
How would you feel
being made to star
every night
in a black sky
of un-finished stories?

Tonight, I'm cast as the Garbo
of multi-duplicitous affairs.
My loneliness
used for so much mulch.
I am in turns
overwhelmed, frightened,
joyous, and enervated.

Tonight I'm given parents.
They enter stage left.
Has Beens desperate for a come back.
The woman playing my mother
I recognize from a commercial 
for Mutual of Omaha Life Insurance.
But she makes the scene work.
I'm in tears in no time.
My distress giving her something
to play off of.

Am I the only one
not acting in this sideshow?
How is one to act
when portraying yourself?
Are these dramas
messaging me from
inside
in order to aid me in
an acorn's individuation?
I am my own fodder.

Who’s version of night
turns me so inside out?
Every evening's production
is meant to undo
what makes me tick,
to force me open,
even while I'm
pinned like a starfish
to a plank,
my five senses
held in place
beneath a shriveling 
midnight sun.

Peter Valentyne
March 12th, 2019

Sunday, March 10, 2019

W-A-T-E-R

We are at the well.
I am spelling myself out
to you in our
conjoined hands.
It’s simple,
but what’s veiled
resists vocabulary.

Our hands are wet,
damp with nouns;
ripe words made of juice.
I am urgency
jacking the pump
as if to fill a flat
convinced that
air and water
will bring us
both to life.

We are in the dream.
There is no 
mine or yours.
Finally, we are 
without possessions.
I pump the water
ferociously
through both our hands.
We make our clumsy cup
a holy vessel.

Dream water
sparkles in the sun
though it arises
from dark depths.
We are made of 
and for
each other.
This is where we 
marry the world,
reconnect our
thirst with the clouds
and begin
to wake.


Peter Valentyne
March 10th, 2019






Santorini

We met
at the top
of a
chalky white
tower.

Your lithe
tan body
full of
the life
ahead.

You tied
a bag
of black
umbrellas
to my bike.

I was
going to
have to
make the
next boat
as it
looked like
rain.

I followed
you 
into a
celebration
full of
vivid
colors.

We lay
down
on the
ground
to watch
something
small
crawl away.

Then
I
woke
to 
a morning
full of rain.


Peter Valentyne

March 10th, 2019




Saturday, March 9, 2019

Use Me

Dying has enlivened me.
I live for rain.
When did I stop writing
about love?
After too much pain?

What I wanted
hurt others
because I refused
not to be the protagonist.
Until I did.
Now I’ve no longer any need
to tell my story.
I’m free.

My mornings are spent
trying to resemble the living.
My clothes barely conceal
my absence.
People mistake me 
for one of them.
I’ve no doubt
 a dead poet is
writing through me.

The cat knows,
but no one else.
Living is very distracting.
And love always
wants us to
kill ourselves.
I let it happen.

I am being used.
It’s okay
because everything
matters now.
I was willing to step aside
and let my tongue shrivel
up like an apple 
too loved by the sun.

I can relate.
After too much loving
I begged to be locked away.
Give me a rocking chair.
Let me 
cry to Mahler.
But I digress.

I have since
found employment,
the miracle so far behind me
that remembering is tricky,
if not mythological.
I can no longer keep it 
here.
It keeps me.


Peter Valentyne
March 1, 2019