Ecstatic Murmuring

Westbound on Detroit Road,
Thursday afternoon—
the sun at last undoing
what the week of hard cold had locked,
wind finding purchase
in limbs long held numb.

At the light, I was made still
beneath the oaks that rise above the church,
their upper branches clearing the roofline,
where dozens—perhaps hundreds—
of narrow arms were lifted,
bending back, then forward again,

not in time,
not together,
yet not alone—
each answering the wind
along its own brief arc.

I searched for the word:
rhythmic—too orderly;
swaying—too mild;
dancing—too deliberate.

No.
This was something else.

An ecstatic murmuring—
as of congregants when a current passes through them,
not taught, not rehearsed,
each moved according to its measure,
yet taken up into one trembling praise
of what simply is.

The light changed.
The branches did not stop.

Night Reading

The poem finally opened itself:
after readings enough, I saw
how the line broke, why
that word and not another.

The pleasure—self forgotten
in attending, briefly lodged
in someone else’s precision,
language doing its work.

Book to shelf. Poem to page.
The body turns to its ablutions:
water, soap, the day undone.

I glance up at the mirror—
it will not hold image.

Water still running. My hands, still wet, suspended.
The book already distant on its shelf,
the lines loosening, unheld.

Genesis: The Creation of Adam

He formed him
from the ground—
clay still wet,
clinging.

He bent close.
spent breath passed—
spittle,
the damp of earth
at the mouth.

And the man lived:
warm,
hungry,
leaking already
what he would lose.

This was not corruption.
This was the gift.

Psalm at the Glass

Sand—
before sight,
before consent,
light broken among grains,
each scattering its claim.

Heat intervenes:
lightning’s instant law,
the long travail of fire,
a stone descending
without regard.

What shatters
learns another order.

Glass remembers
its former dust.

In the mirror
a tower stands—
not stone,
but color
held by lead,
raised through fracture.

Harps flank it,
strings held still,
as if sound itself
were waiting
to be spared.

Notes lie as sand lies,
each apart,
each complete,
owing nothing
to the whole.

Or else the chord
was always present,
and hearing is the art
of consent.

Reflection is not the self,
but the hour
when the many
are allowed
to hold together.