Tom Koontz

the fifth season

 

 

— four seasons are as it were a kind of given —

 

a familiar temperate providence taken for granted

 

like the thin bread and wine of all good things

that sooner or later make their way onto the plate

 

of the next congenial meal — fields perhaps

 

 

where one can graze a resurrection on

 

 

 

— what if instead — a single season that trespasses

an oblivion that condemns the soul to its own ecstasy

 

 

— or a fifth perhaps that casts the faceting of sand

 

over the desert scent of night-blooming cereus

 

 

sifting the paradigm of chaos just enough

 

 

 

forcing the peaks of the sierra dead of summer

 

to settle out the squalls of snow blowing sheer curls

of back-lit cirrus to the blanched sands of the moon

 

 

 

 

 white light

 

 

— obscured even in clear air filtering the singularity of spruce

from stands of apple — details absorbing and reflecting parts of light

 

 

— late day in winter — under the slant of sun — white light shines

 

a tentative sensitivity — remnants of it at best visible at a given time

 

 

 

— it’s after staring across the facets of the surface glare

into the blindness of the dying shadows — that lets white light

 

the little there is shine through the onset darkening — it takes

 

 

the depth of night to rest its still intensity on the intense stillness

of snow on fields — that so moves with the light — on the light

 

in the light — to the light — where the past light of its future coordinates

 

 

bolts from a startled browse fleeing across the line of sight into the shaken

tangle of a windbreak — lost to some more remote unknown terrain

 

 

 

— a light seen nonetheless if only by a cold eye letting it dilate its iris

 

to concentrate a retina burnt on its source — always at hand

 

 

— no matter where — if it is — not here — and it is — not there




Roger Desy writes:  teaching literature and creative writing, I turned to technical writing/editing.  My plan when teaching was to write.   The last few years I’ve returned to short lyrics, where I began.  They’re where I find myself.  A few poems are accepted by or printed in Blue Unicorn, Kenyon Review, Mid-American Review, The Pinch, Poet Lore, and Spoon River Poetry Review.  It’s all about the poem, and the poem looks through atonement into nature.  My work assumes there’s no alternative to survival, personal or collective, than through an effective synthetic relationship with nature.





Roger Desy writes:  teaching literature and creative writing, I turned to technical writing/editing.  My plan when teaching was to write.   The last few years I’ve returned to short lyrics, where I began.  They’re where I find myself.  A few poems are accepted by or printed in Blue Unicorn, Kenyon Review, Mid-American Review, The Pinch, Poet Lore, and Spoon River Poetry Review.  It’s all about the poem, and the poem looks through atonement into nature.  My work assumes there’s no alternative to survival, personal or collective, than through an effective synthetic relationship with nature.