swimming on the soil

in the series of liquid drops that fall from the sky
I draw a puddle of the world
a crystal ball to sieve my thoughts
universal ramblings sometimes shimmer
here within this watery dimple
beneath the shallow surface
deep dissonance
my sonar, far from a bat’s
still can locate earthen skin
hair bronzed by morning light
eyes ocean aqua
and a heart not quite complete
tears I believe to be mine
join their brothers and sisters
swimming on the soil
early summer winds shove the late spring clouds into the sun
the puddle washes into black
my crystal ball collapses

the funny thing is
when the sunlight returns
you’ll completely disappear
and the only thing that can save you now
are the puddles in your own head

mint eyes

mint eyes

20 thoughts on “swimming on the soil

  1. Beautiful words and work AnnMarie! My new med adjustment worked. I was happy and excited I heard back from the indy female wrestler Santana she liked the story I wrote for her. I wrote her another one for her. my med adjustment worsened my diabetes so i have to work super harder to control it. AnnMarie=Number One! Woo hoo! Even on bad days they are still good because I got my good friend AnnMarie!


  2. I wish to speak here of what I shall call your use of the “floating ‘you.'” This clever device is what, for me, makes reading an AMRK poem so intriguing.

    The “floating ‘you'” is use of the second-person pronoun which often appears out of the blue and forces the reader to contemplate the object referenced by that “you”; in other words, to whom is the “you” addresed? To another person-you? Or to the speaker her/himself? In this poem there’s all of that great, lush detail, the nouns and adjectives piling up so handsomely, and there’s also the speaker, the “I,” and until 3 lines from the end we’re close with that “I” but then … (ellipsis used for your sake, lol) the “floating ‘you'” makes an appearance: “you’ll completely disappear.” Hey-ho, wtf? Where in the heck did THAT come from? Suddenly the “you” is thrust upon the reader–and that “you” could indeed be the reader him/herself or some other addressed you. No matter, what the “floating ‘you'” does is pull the reader in very, very close, very quickly, and it forces readers to read the poem in a whole new/other way. This literary-writerly move is quite fascinating: suddenly the “I” gives way to the “you” who needs to be saved by those “puddles in your own head.” Now the reader is as close to meaning as ever, yet she/he has been brought to this point not in a linear fashion but by the poet’s associative leaping (in the same way one’s thoughts leap and jump from one connected idea to the next). As I’ve said before, reading you is like watching a mind move on the page.

    And that, my friend, is why I so look forward to reading your work and parsing out the meaning, which is never easy but is always mysteriously fun. Bottom line: this is a wonderful poem, AM.

    * These words written under the influence of Cinco De Mayo. The pitcher of margaritas (plain, salted rim) were, like your poem here, delicious.

    Liked by 1 person

    • oh, my, my, my DS
      you’ve (you) have outdone your(self) here, my God, I sincerely appreciate (me) this gilded amazement – humbling really to read a cross-section of my words and know them in a different light-
      you(you) are Yoda in tall and (much prettier:)) disguise – or perhaps you’re the strong woman behind Yoda;)
      thank you, thank you
      how the hell did I forget Cinco De Mayo – not that I need an excuse;)


  3. Tears joining other tears … Sunlight coming out and tears drying up within the soil — marks of puddles left within the mind .. Your words make thoughts ramble in my head this morning. Amazing words as always. …and green green eyes…

    Liked by 1 person

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