No Molesting Vegetation

I want to make a wish
at an artesian well. Take me 

to the old comfort
station near the 125-year-old iron 

footbridge. No longer providing relief
to men, women, children passing by, 

it aerates the pond. Who will
aerate me? 

From this curved history, I can see
a pond in transition— 

half ice, half water freed
from the long arm 

of Minnesota winter.  I don’t need
a hug from that set 

of limbs. I’ve wiggled out
of that passive 

aggressive affair. Lately, I take
winter in layers, leave it 

behind when the last chunk
dissolves to crack open 

a warmer motion.
I no longer dread 

seeing the old lover—he’s got nothing
on me these days. I know how 

to remain unattached. I’m ready 

to place my feet before the well,
to drop the coin in.

It Being March in Loring Park

Cattails mashed
and embedded
in what’s left 

of the ice shield
over the pond. Ducks
float in the free 

flowing water, other birds
hop along those complex layers
of solid. I see 

that same old wooden wagon
unhitched beside the iron
footbridge. The gardener’s back. 

I’m circulating
the park, making decisions,
walking on.

She’s a Liar

The only part that’s true
is 

the river. It rushes in
an early thaw. She walks down 

to the rhythm
of let’s pretend 

he sees it too, his boots
hitting her off 

beat just so. Someone might walk
this way down 

there to make an honest woman of her. How
would she know?

Long into Late Winter

I see it rained, but
I didn’t see it 

rain. I’ve been lost
inside warm, closed
rooms of sleep, leaving 

a map of dreams
undrawn. When I say
I had none, how 

can anyone know
for sure? I reserve
that certain cartography 

for these scenes traveling
through my wakeful self—
put into motion 

by that Townes Van Zandt
song today. Yesterday,
it might have been yours.
You could look it up.

Spillway

Scotch on the rocks—the ice
sculpture would have lived 

on for months
up here. Someone decided
it was time
to get smashed 

under this loading dock
where caterers lock down.

Peel Away

She lives
in a land
of layers/she wants
to break 

free from
cumulative
strength. Why
can’t her own 

skin be enough?

Pulling them apart,
flattening
them with an old press,
she wants plains 

and straightaways
to be enough
poetry to land on.

Not a Thief/A Thief

A tiny stuffed brown
bear in the snow
in the city, she rescues it
because 

even inanimate ones need
shelter. Or, because
she can’t erase the concrete
image of careless 

disregard, active
rejection.  She wants to build
a story from repurposed pieces
of lives she’ll never know. 

She’s willing
to make it up.
She accepts her shortcomings
with plot, character, 

continuity, a driving force.
She believes the tiny blue
eyes and red inverted umbrella
mouth stitched in 

will be enough
of a lyric to loop 

into a rhythm of how things
get dropped, picked up, and
passed along—or pocketed
for later use.

This Is That Wednesday

No smudge for me.
I don’t succumb to that 

ritual anymore. I like
to keep my soul 

anonymous. 

I’ve forgotten how to walk
down city sidewalks marked 

on the outside.
What if someone calls 

my name before
I’m ready? I see one, then two, 

then remember.  A film
maker calls himself 

a freak for wearing a perfect cross
shape. But mine were always 

spills—stamping
my forehead off center.

Reverie

She dreams of a concrete
image, and it arises naked 

to settle upon her
shoulders—an invisible vibration 

ready to be captured
inside a bell.

What Color Herring

She can drop the music
on ice—it won’t 

break apart
the way she hopes her worry
stone strokes might. Cracks 

visible on a surface
take time to register inside 

her. Continuity
isn’t hers to give away.