Even the scrapyard's upscale now,

with its flag-spangled marquee, the husks of junked cars
barred off like a gated community
                                                              or the White House—
huddling before the newly christened Innovation District's
clutch of corporate offices, and Jet's Pizza.
                                                                            Lately, M-59 and I

pass each other like strangers, hundred-thousand-dollar
monuments and signage posing
                                                         in the median like thirsty police
or a billboard sequence, rapt in praise of a mattress no one
is permitted to sleep on.
 

                                       \\
 

                                                    Beside my Honda, cut scenes

of a hundred films wake suddenly into speech: here, the empty lot
where once my father's favorite bakery
                                                                     slung rolls fraught
with cigarette smoke and cinnamon, nothing left now but a name
calling out from the aisles
                                                of wholesale clubs and groceries,

and here, the Coney Island where my child used to cede our quarters
to prize pods every other month
                                                        in exchange for rubber dinosaurs
and sticky hands, which lately has renounced its heritage
to become another faceless Bar & Grill.  

 
                                         \\ 
 

                                                     Lately, I can't stop making lists,

as though exhaustive cataloging might explain, somehow,
what it means that I am from here
                                                              but can't afford a home here,
in the capital city of controlled entrance. Because to name
a thing can be a way to claim it,
                                                           I take as much as I can carry

and run, until the catalog overwhelms my capacity to shape
or make sense of the narrative:
                                                      Dawn Donuts, debris, Rock-a-Billy's,
debris, Farmer Jack, debris. Only Trinity Lutheran still persists,
the final vestige of old Hall Road—

 
                                         \\

 
                                                    The thirty-five-foot-tall golden halo,

steel frame coated in aluminum, is wedged before Michigan's deadliest
intersection. It has no history,
                                                     pyrite glare obscuring border patrol
headquarters, Lakeside Mall, and a thousand offices that don't care
what populates them
                                        any more than wrapping paper. Roadside,

two men with shovels maneuver a struck raccoon into a garbage bag
as cars approach, and swerve.

                                                    Whatever was here before
Target doesn't care. The drive trains of one hundred thousand
vehicles per day don't care.
 

                                         \\
 

                                                    At the food court Magic Wok,

my son, fidgeting, knocks his cup of milk across the takeout box
I've bought for us to share.
                                                While I dry the table, he goes to work
sopping up soaked rice and chicken, asks me how much can we save?
It's fifty years since Neil Armstrong
                                                                set foot on the moon, one handred

since the advent of the assembly line, and a dozen mall birds
root under tables for garbage
                                                     meant for nests up in the skylights,
a shoot of grass stands through the cracked tile of the fountain
drained of water, and all of its lucky pennies.
from the book SPRAWL: POEMS / Ohio University Press
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A Picture of Japan's Natural Landscape
"Japan's Haiku Poets Lost for Words as Climate Crisis Disrupts Seasons"

"'The seasons are important to haiku because they focus on one particular element,' adds McMurray, a professor of intercultural studies at the International University of Kagoshima, where he lectures on international haiku. 'But typhoons arrive in the summer now, and we're getting mosquitoes in the autumn, even in northern Japan. The risk is that we will lose the central role of the four seasons in composing haiku.'"

via THE GUARDIAN
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Cover of book Public Abstract
What Sparks Poetry:
Jane Huffman on Language as Form


"In 'The Rest,' I use the repeating language pattern to demonstrate a breakdown from idea into sound, from the recognizable image—a vase of flowers—into something stranger, something that attends to the 'prehistorical, preconceptual and prelinguistic' utterance 'prior to its translation into language-mediated conceptual sense.'"
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