The one time I wrote a love poem
it was to a dead man who, when he was alive,
had taught me how to see behind
my own words for shadows,
shadows, which, more often than not,
contained stories I was ashamed to
tell myself, but really wanted to hear,
since some more unconscious part of me
knew embarrassments were always more
deeply meaningful than philosophies.
But it wasn’t easy to read this deeply
at first, and I turned my face away from
the practice as cleverly as I could,
since the last thing I ever wanted to share
with my reader was what I really wanted,
and I thought most of my writing friends
would scoff at the idea of introspection
being a kind of poetry.
Though in usual fashion, I was harder
on myself than they could ever be on me.
Aren’t you being a little self-centered
and narrow-minded, I told myself,
each time I intuited my way behind
words on the page only to avoid
acknowledging that,
in addition to not understanding what
I’d just written, I was vigorously defending
an idea of what I thought the poem was,
its arms crossed, its logic broken and closed,
like the heart of a drunk with some sound
advice.
That’s when I started to really write, I think,
since without a way to hide from myself
anymore, which, to be honest, is why I initially
started writing, I felt obliged to depend on
the nesting doll-like darkness of memory
and whatever ordinary half-buried likeness
of character I revealed there,
as a way to be as explicit and forthcoming
with myself as I could, telling myself
the story of my trying to find a story, and how
I didn’t know how to do that just yet.
So, yeah, I think it’s this story behind the story
and enactment thing
that I’m reminded of whenever I think about
what a love poem means to me now,
it’s like it’s not the flower that I give to myself
or anybody else when I’ve made sure nobody,
not even myself, can read that, but the power and
freedom in unspooling, plainly, how I secretly
want to be like the flower, after I’ve made sure
everyone can.