Tuesday, September 09, 2014

the widows in waiting

you will die.
you will die like the others.

you will push your
last breath
against our wailing chests.

if we are lucky.

they will find your husk
eaten, wasted, the bone
shoving through your meat
after they have already forgotten
you were lost
everyone but us.
everyone but those
who sleep by your pillow.

our faces
will curdle with tears
sharp ribcages
caving in
and everything will bleed
everything will bleed
everything will run red
and everyone
who walks with us
will track it through the world.

this love will knife us,
as we try to crawl away.

Saturday, March 01, 2014

this is why

hold on.
i keep you
like muscle to bone;
like words in a language i knew
and spoke once, fluently, but now my sentences strain;
like an ache nursed in some deep bone,
twinged by bad weather;
the far-off
smell of

holding --
this keeping --
is unmuscular --
a branch that grows over a rope;
like the footprint of fortissimous sound on soft ears,
or a song that keeps repeating,
or a falling dream
as i drift

the press of
this accustomed weight
hanging in-between my breathbeats;
swelling and contracting like a tide that carves my shore
and somehow, the shore holds the sea
even when the sand
feels naked;
the moon,

Sunday, November 17, 2013

how you look to them


I hear the first fistful of food hit the wall. 

The sharp report of unidentifiable porridge against plaster shudders through the wood-latticed windows. It rings all the way out to the balcony that wraps around the traditional Chinese building we're in. We're here because we've been invited to an event-closing banquet -- now, that banquet is apparently airborne. I hear the sound, but I don't really believe it until I glance inside, just in time to see the second handful of lobbed porridge smack the wall beside the first. 

Most of the BASE jumpers have evacuated the small dining room for strategic positions outside, between the windows of this once-stately wooden restaurant, but a few are still crouched in ersatz foxholes between the tables, giggling like ten-year-olds.

I whip back into the safety behind the wooden shutters and blink in wonderment. We were invited here -- wined, dined and entertained by a government welcome so gregarious as to be almost startling. The regional sports department has covered our travel, put us up in comfortable hotels, fed us every meal and provided us with the best jumpin' bridge we could possibly have hoped for. 

Why are we coating their walls with porridge?

Our Chinese hosts stand among the conscientious objectors on the balcony, smiles flickering. In their position, I'd be hustling us right back to the bus. They, however, are bravely determined that the show must go on. 

We're shuffled downstairs, onto a covered deck that observes an outdoor stage. An autumn rain has begun in earnest, drenching the stage's concrete floor. Despite the downpour, several girls in ornate traditional costumes stream out from the building. Their painted faces smile earnestly at us as we swig muttonheadedly from a sea of beer bottles. Their headdresses, glinting with a swinging fringe of tinkling metal, flash colorfully under the stage lights as they file past us.

As they make their way to the stage, one jumper I know from the Valley reaches out, laughing, and smacks the last three on the back of the head as they process down the walkway. He's grinning. He's obviously pleased with the way it makes their metal headdresses shudder and jingle.

I cringe. Mortified.

Sure, we’re in the hinterlands of China – but this isn’t a cultural misunderstanding. It’s a systemic problem. BASE jumpers seem exempt themselves from all the rules: not just from the aspects of human behavior that imply subservience to a very un-BASE-jumperly social norm, but from the rules that govern basic human decency. Those rules keep underpaid restaurant staff – who had been previously riveted by your wild-eyed jocularity and torrent of your unfamiliar language – from silently hating you as they scrub your dinner off the walls and floor. Those rules prevent you from making teenage village girls cry a little bit while they dance, in the rain, for your enjoyment.


Wednesday, October 09, 2013


I wear you like an iron dress
that is so 
beautiful on my body

I don't mind standing here,
watching the world move warily past
as I crane my neck to stare into the mirror.

So beautiful.

I'm not sure I can take you off.

Tuesday, August 13, 2013

moss never grows

I was still a child.

That part still strikes me.

I was a willful, independent, self-starting, motivated, clever, manipulative, larger-than-life, talented, big-dreaming...child.

My family was living in central America at the time. I was neck-deep in dramas that my parents were gamely ignoring. I wanted to escape.

I told them I wanted to move back to the States; to stay with a friend's family on their estate in the rolling idyll of the Napa Valley. Applying to universities would be easier.

They told me: OK.

But you can never come home.

My decision, at that point, had already been made. It was only when the little plane rose above the end of the runway, my parents' house disappearing into the broccoli puffs of jungle below, that it even caused a ripple.

You can never come home.

The way we lived, moving from beige shell to beige shell at the whims of the Air Force, a place with them was the only 'childhood home' I had. Their furniture, carved into prim English roses from Phillippine jungle wood; the cats, whom I remember visiting in quarantine in Panama; my father's books, which I began to gobble up in middle-school and reread until I left. (I remember the day so many of those treasures were thrown out; I remember my father's face.) There is no building I can stand in front of and say: "here, I spent my formative years." There is no such thing as a "permanent address."

That was so many years ago. In the span of time since then, I have perfected the art of molluskhood. Onward, onward, onward to the next. No shell can hold me. There is always another. I am not a child any longer.

Now, as I enter my 30's, their rumbles get louder. They ask: when are you coming home?

Maybe you forgot what you told me. Here -- I'll remind you.

I am never coming home.

Thursday, May 09, 2013


watch a child hooking fingers through the cracks in its egg
watch the wind take a dried husk

my heart's memory is strong.

i can still recall the first hand that touched my waist
five fingers
then five more
and suddenly my cheek is resting warm above a plaid pocket,
and four feet are squeaking on linoleum
under paper banners

the music lasted longer than I could
so I broke early,
sitting on the curb outside the school
trying to identify love and not-love by the shape it took against my crowded organs.

even now
ravaged by love
spilling love from so many seams sewn in haste
my edges made ragged and soft by love
my center scooped savagely empty and refilled to bubbling bursting by love
i do not quite recognize its face.

is it
the boat that floats shallowly over a teeming sea?
the juggernaut of bare-toothed determination that growls and thrashes through years of poverty; of isolation; of a death in your arms?
the breathless promise of forever between two children?

part of me is still sitting hunched on that curb,
fingers worrying the wilting flowers strapped to my wrist,
wondering what this is.

this delectable violence;
this mouth of a thousand tickling teeth.

a love letter to salty, written far far away


“It is so hard to leave—until you leave. And then it is the easiest goddamned thing in the world.” ― John Green


the cerulean patchwork of salt pools stitched into the bone-white shoreline of the great salt lake, as seen from the open door of a King Air slipping up to altitude

the sweet hour of rocking, trainbound peace between my doorstep and the Ogden wind tunnel

tucking myself into a wood-paneled corner of the Brighton lodge to write after a long day on skis, snow-softened sunlight pouring across my hands on the keyboard as I wiggle my toes in the fireplace warmth

the moment when my motorbike curls around that uphill corner halfway into Little Cottonwood Canyon, where the stinging, slightly mineral smell of forest pours in to fill my helmet

standing on tiptoes at my window, fingers balanced against old brick, to watch the Wasatch blush with alpenglow

lying on the teddybear softness of the climbing-gym floor, the muscles of my forearms ratcheted tight to the bone, burning and smiling

the sussurus of a needle on my father's records

climbing up to bed on the hangboard, just because

the beautiful barista in my next-door living room, peeking her blue-eyed hellos through a thick fringe of bangs as she draws my third espresso of the day

the green canvas of a summertime Liberty Park, Pollocked with dogs and ducks and hulahoops and slacklines and tattooed flesh and dervish children and balloons and so much dancing

a city chosen mine, keeper of my only root.

Wednesday, May 01, 2013



I should have known that, after the initial struggle with the biological imperative to stop at the edge, BASE jumping would be relatively easy.

After all, "risking it all for nothing" is all I've ever done.


Doing one's first solo BASE jump is the conclusion of a long internal conversation. Mine started months ago, as I saw myself constantly wiggling out from big-group commitments in an orgiastic summer Valley. I knew this isn't why I'm here -- to joke and flirt and gossip and goad and sticker myself forcibly to the collective memory of the sport. I'm not here to geek the camera.

I've always chafed at the group dynamics of a busy exit; always disliked the banter of a group hiking out. I stopper up my ears with headphones. I hike far ahead or far behind, never in the cluttered middle. I hide.

I thought I'd need babysitting much longer than I did. As it turns out, I found my solitude quickly and easily.


I ran the boys out late that afternoon, flashing just enough tooth to move them along without being concerned by my sharpness. I waited long after they left, dawdling, until the sun started visibly fading in the sky. I wanted to be sure I'd follow through; wanted to be sure the press of darkness would send me over even if I stood there whinging.

I started my hike in a spirit of collected certainty. The calm surprised me.

When I rounded the first forested corner, a little orange fox stopped in the path in front of me, white tailtip painting wide strokes across the green as he wagged it. He dashed away almost as soon as I registered his presence. It felt like there was luck in that, as in the bighorn bullgoat I caught grazing in a little meadow a few moments later, and in the family of deer I spooked from the trail farther along. I felt the Valley encouraging me, somehow; urging me along as night began to close in.

I stepped up my pace. I started singing to myself.


I thought it would be harder at the exit. The terror I had planned for doesn't live there anymore.

As I methodically applied my gear, I thought about how little I actually wanted to stop. I thought about how delicious this was: the simplicity of this solitude, the feeling of fabric and metal in my hands, the snap of the pilot chute in the undisturbed hush of forest twilight, the warmed-butter quality of the last sunlight, dropping through the fringe of trees. I let myself down the rope to the gravel at the exit and heard, for the first time, the sound of the nearby waterfall suspended in the air.

I heard the smile in my own voice as I counted down, then my outbreath replaced by building air as the evening Valley enfolded itself, it seemed, within the wrap of my solitary, hurtling embrace.

Clarity. Exactly.