To pull the metal splinter from my palm my father recited a story in a low voice. I watched his lovely face and not the blade. Before the story ended, he'd removed the iron sliver I thought I'd die from. I can't remember the tale, but hear his voice still, a well of dark water, a prayer. And I recall his hands, two measures of tenderness he laid against my face.

Our bodies look solid, but they arent. Were like a fountain. A fountain of water looks solid, but you can put your fingers right through it. Our bodies look like things, but theres no thingness to them.

Poetry is the language of extremity. Poetry is a transfer of potency. You feel something potent and then you transfer it onto the page.

We suffer each other to have each other a while.

I've been thinking about something for a long time, and I keep noticing that most human speech-if not all human speech-is made with the outgoing breath. This is the strange thing about presence and absence. When we breath in, our bodies are filled with nutrients and nourishment. Our blood is filled with oxygen, our skin gets flush; our bones get harder-they get compacted. Our muscles get toned and we feel very present when we're breathing in. The problem is, that when we're breathing in, we can't speak. So presence and silence have something to do with each other.

A door jumps out from shadows, then jumps away. This is what I've come to find: the back door, unlatched. Tooled by insular wind, it slams and slams without meaning to and without meaning.

And I never believed that the multitude / of dreams and many words were vain.