Mythic

~  IN PIECES

1. HADES, WAITING

He stood, eyes to the sea, watching
the waves marbleize into
savages on the sand.
Trying to see through her eyes…
in metaphor and something beyond.

“In the moments that make an impression —
the bank of fog rolling in, for instance,
the marine layer that’s clouding out the
sun moves inland trying to capture
an echo of the flying Icarus
before his wings melt;” — she’d once said.
“A replica of the original
when the original has been taken,
or was never given…
Something has been lost.

“The grey scale against the swallow of
tides and salty air dissolves sea into sky
until the wall of wet confronts
a father’s palms.
Palms cupping leftover feathers
and loss. The mists were too late.
The escape so palpable,
so final.

“To love a thing too much
defies eternity,”— she’d added.
“Something is always lost
in the metaphors of sun and flame
and feathers.”

It was not the father [feathers] of
a lost Icarus he was trying to grasp,
but her.
He captured her memory that way —
in metaphor. It was the only thing
standing between himself
and the eternal sum of her.

He knew her though. The way
she infused meaning into the moment.
And she had, at one time or another,
known him.
Known his habits,
the way he ground his knuckles into
his lips, his thumbs
cupping his chin in thought.
She, so quiet behind him,
setting her chin on her hands on his head
and looking down to watch him deliver
equations one to another,
a copulation of calculated expressions.

He’d exalted in her presence.
She asked only how he viewed the world,
in numbers or hypotheses of souls,
maybe in definitions of words
rooted in something more articulate
than language.
At that he’d opened wide his eyes and turned
to her. “All those words,” he’d said.
“Nebulous, subjective at best.”
And she laughed her laugh of antique
dignity. The one he missed most.
“Maybe,” she’d said, nourishing his
dark humor.

But that’s all he could lay claim to —
her fingers on his pulse.
This sea-staring, Icarus-dare
he hoped, might clarify her nebula,
or fuse it, at least, with the white heat
of her absence.

She became more to him when the sea
stood against the dark night,
when they were hovering on the smooth,
shiny wood of the pier looking down, down
together through the black,
silent waters, the only voice,
the voice of the deep and unseen.
Sometimes shivering, she huddled
into him, his arm around her
siphoning out his warmth;
both of them made bold
with a new heat. Maybe that’s
what he missed most,
the split nerve of the quiet hour
when pomegranate pips burst open
on her tongue, and she is his again.
At least, for a while.

2. PERSEPHONE, BOLD

Story goes I was stolen
amid a field of blood-red peonies,
each one open, ripe for the ripping.
(Or was that me?)

Anymore, the thing they call me is legend,
a prop for a god’s inhumanity.
But I fell in love.
You know this.
(Sh.)
If Mother knew,
she’d kill the year instead of just
the seasons.

The inhibited say your name means death,
the otherworld for
the cursed, the damned,
the God-rejecters.
They forget the Elysian Fields
and have never seen you.

Your dark-throated beauty unseeded me
more than your pomegranate pips, —
the lull of dangerous delicacies
ripe for the ripping.

It terrified me, the thought of you
not hearing me
amid the tumbled swords of legend
that might leave me drifting
soundless among the words
of a thousand other myths.
Lost in foreign tongues that
misunderstand the heart.

But you knew
even if no one else did.
It was me that chose.
That swallowed the pips
and sealed half a life of lies,
the other half
buried with you
beneath Avernus
in the dark caves that suck the
breath of birds.

Fairytale endings happen, they say.
To others.
For me, the gemini-hearted twilight
sinks a summer sun,
and I am gone,
gone to the waiting arms
of you, my Love, who holds the power
of death if not life in your dark embrace.

And, in the temporal death of the earth,
I am, for a time, against the propagation
of misinterpreted myth, free.

©2010–2025: Zoëtrope in Words. All rights reserved.

Dripping Fragments…embroidered with snails

~Purity.


The purity of words.
The purity of saying the very thing you need to say, reading the word apropos to the moment, seeing the familiar call of another soul in another place who speaks your thoughts — the rare taste of the divine in the common moment, calling the common moment out.

Whitman is tactile. Colette, vivacious. Both speak and the world quiets down.


Whitman prepares, Colette illustrates.

“Beautiful dripping fragments, the negligent list of one after
another as I happen to call them to me or think of them,
The real poems, (what we call poems being merely pictures,)
The poems of the privacy of the night,…
drooping shy and unseen that I always carry,…”
— from “Spontaneous Me”, Walt Whitman


“Ask me…I could tell you…the dirge, the moaning in a minor key of the two pine trees that lulled my sleep, and the youthful voice, sweetly shrill, of my mother calling my name in the garden. I could open for you the books over which was bent my forehead…and in a puff I could blow away…the dark, wrinkled faces of the pansies,…which, innocent young pagan that I was, I pressed between the pages of a book. You will hear the hooting of my shy owl, and you will feel the warmth of the low wall, embroidered with snails, where I propped my elbow. You will warm your arms, folded one upon the other…” — from “Earthly Paradise”, Colette


The particular paragraph above echoes the piece that first introduced me to Colette. A chapter from “My Mother’s House” in which her mother, from the garden and from the aching spaces in her soul, called her children home — “Where, O, Where are the Children?”. I’d never read anything quite so unsettlingly pure. It was then I was riveted with writing.
Riveted with the purity of words.

©2010–2025: Zoëtrope in Words. All rights reserved.

Certain dark things…


Pablo Neruda speaks and his whispers singe my senses. In my recent wanderings into the world that is Pablo, I found this edgy piece:

Sonnet XVII
(translation by Stephen Mitchell)

“I don’t love you as if you were the salt-rose, topaz
or arrow of carnations that propagate fire:
I love you as certain dark things are loved,
secretly, between the shadow and the soul.

I love you as the plant that doesn’t bloom and carries
hidden within itself the light of those flowers,
and thanks to your love, darkly in my body
lives the dense fragrance that rises from the earth.

I love you without knowing how, or when, or from where,
I love you simply, without problems or pride:
I love you in this way because I don’t know any other way of loving

but this, in which there is no I or you,
so intimate that your hand upon my chest is my hand,
so intimate that when I fall asleep it is your eyes that close.”

©2010–2025: Zoëtrope in Words. All rights reserved.