Breitengrad
the undetermined future
nightfall blocks out
other possibilities
gather at the stage door
last inklings slow me
through barricade raised
forced through as open range
in arbor hung inverted
to the searing
last moment of air
particulate air
slowing a spot found
on a wall in the wing
green rectangular light
balance held at speed
the road doesn’t waver
but turns over in its carriage
in an ill-fitted suit
statisticians replace my shoes
a cement block breaks
tree trunks to rubble piled
neatly nightly by stagehands
I can smell myself
salt-stained white
coastline dampered marimba
questions deferred like
who do you live with
how can you trap the sky
in its present state I act
as though every day is
unable to catch me
Close Quarters
brick brick bricklayer
brick
one carried over scaffold
crane crane operator
roof re-roofed
skylight now
further from sky
a ton tonnage
how weighty strong
or stiff sun world shouldered
gutted cellar to ceiling
grows from its gutter an oak
door next door
neighbors maneuver
into driveways
without complaint
souls compliant appear
to love us let us
loft a tarp into crispened evening
roll back their own
cover to reveal dilapidation
world without burst pipes
amen as in agreement
as in second language
meaning more lost than conveyed
hear creator as reactor
envision fallout
can’t go back
every year the disrepair
hear despair correct to disappear
depends on winter’s
severity surveys
homes steps from the roadway
famished hear furnished
pull up the last chair in the room
by this means (these means)
wounded wound in gauze
still too far away
to see clearly
in the calamine gloam
not a day stretches
toward its successors
but twilight’s succor my own reflection
the holding still one replaced
with way to go
or where they went
turned green an abscess
in my absence certain landmarks
visible from one direction stand out
leave pets plants
the perishable
ovations moments of silence
greeted as granted
givens offered without goading
I hound the lost until found
biography
FRED SCHMALZ’s work has appeared in journals including Spinning Jenny, Conduit, Another Chicago Magazine, and We are so happy to know something. He is the author of the field guide Claes Oldenburg’s Festival of Living Objects and the chapbooks Documenta 13 Daybook and Ticket. He publishes handmade editions under the swerve imprint. He is currently working with the artist Susy Bielak on a project about hotels.