God's Loneliest Men or (Writing Chapter Two)
Recently I heard a film critic use “God’s Loneliest Men” to describe the Hollywood action heroes of the 80’s and 90’s.
Those grizzled, whiskey-shooting lone wolves were my patron saints: their split knuckles, my zodiac. I taught myself martial arts from library books, practiced one-liners while falling asleep, and learned how to say goodbye with nothing but a look.
Those were my impressionable years.
After a summer love turned winter, so did I. I joined the military, hoping my secret failings would be burnt away in its fires; and what remained hammered into a cold hard silence.
My heart was a machine whose purpose was to push the body forward; the body would be the instrument that would "diffuse the bomb" or "vanquish the ancient evil." The reality is the opposite: the body is the machine -- the heart the instrument of salvation.
I wasn’t saving others. I was saving myself from the human ache.
The poems in the second chapter of My Father’s Hand Is a Mountain Range are about loneliness, loss, and how seeds do their work in the dark.
They are a small collection of long walks through bad weather, and dances with rain.
The oldest poem was written seventeen years ago for a soldier who was swallowed by a solitude.
Another poem questions the weight of fingerprints, how those whorls and loops foreshadow the mazes we carry inside.
There’s one that addresses the body's inevitable betrayals. Another where a bruised apple demands the intimacy of a wounded lover.
In the most recent one, the poem is a lawyer who visits the reader in a self-made prison.
I say all the above, and every post that follows, with this caveat: Maybe. Maybe that’s what these poems are about.
These musings are the wreckage dislodged by passing storms from my drowned cities. I have no idea what they might stir in you, if anything at all.
To paraphrase the poet Stephen Dunn: It is the reader who completes the poem. That being said, I look forward to hearing how you finish them.