A Game of Chicken
These days I don’t sleep
so good.
I am brimming over.
I am over-filled
with my own quiet.
Do I need a bloodletter?
A leech? A cup
of warm milk with
a whiskey back? Or
is my quietude’s source
untraceable?
Could liquor pop fly
my mouthpiece
like a ruthless right
gut shot? & once it
hits the canvas, then
what? Would words
be the second shoe’s plop?
Could laces tell me
the answers books
seem lately to keep?
Some nurse told me
to rub my earlobe
in little circles, said
it would relax me.
Laces? I am looking
in the wrong place, Lord.
I am searching the water
for those trembling clouds
of shining fish. I am
searching the water
when what I need is water.
What I need is more
than a gulp. What I need
is more particular
than sleep. More sensible
than night. What I need
is an owl to fly straight
toward my bedroom window,
& let me close my eyes
before it crashes through.
My Problem with Description
If I told you the moon was
a marionette, suspended
by fine wires of starlight—
you’d say I scorched the earth.
You would say save room
for the breathing people,
family dogs & cats too.
If I said the stars tinkered
clock-quick in the gearboxes
of our souls, you’d say
you feel the same as before.
My problem with description
is the last train out of town
has no interest in catching up
to my itinerary, bought off
a travel agent from the future,
train trekking warp speed
ahead of everything I pen.
My problem with description
is that no timetable ever has
a block marked off for me to sit
& eat an ice cream cone. No block
for a couple in the sleeper car
to knock down the curtains
while making love. You’d say
my problem’s four-sided
as a boxcar. Is a trackless railway.
A relationship block. You would say
my problem with description is
I keep rubbing off.
False Start
I live inside the hole inside the wall.
It is always closing. As if the wall
itself decided to grow peach fuzz
in 5th grade. As if it chose regression
before old age, decided to push
down girls on the playground
that it had crushes on, hold
a thick lemon-scented marker
under its nose and inhale deep
whenever the teacher’s not looking.
Sometimes, when the fumes knock
the wall on its ass, a stress fracture
zips through plaster like a rip saw,
crumbles the wall into gypsum—
my lungs, an unholy chute.
The immaturity nearly killed me.
The happiness nearly maimed me.
I wonder what the house looks like
from a satellite, that slow moon made
of eyes. I can crawl up the walls
to the roof and wave hello.
Hold up a sign to the sky that says:
I’m here. Thanks for noticing.
And I’d mean it, too. I can lie
to you but the moon is a merciful
polygraph that beats the truth out
of my heart. The moon knows
I love its real time orbit more
than any old, gorgeous text book
depiction. The moon knows
my permanent address. Knows
I want to sleep on its celestial frame.
Knows how to drown me in its seas.
Even if its water remains uncharted.
biography
RYAN TEITMAN is the author of Litany for the City, chosen by Jane Hirshfield for the A. Poulin Jr. Poetry Prize and published by BOA Editions. His poems have appeared in The Journal, Ninth Letter, The Southern Review, and other magazines. He was formerly a Wallace Stegner Fellow in Poetry at Stanford University and is currently the Emerging Writer Lecturer at Gettysburg College.
MARCUS WICKER is the author of Maybe the Saddest Thing (Harper Perennial), selected by D.A. Powell for the National Poetry Series. The recipient of a 2011 Ruth Lilly Fellowship, he has also held fellowships from Cave Canem, the Fine Arts Work Center, and Indiana University where he received his MFA. Marcus is assistant professor of English at University of Southern Indiana.