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Maurice Oliver
After working for almost a decade as a freelance photographer in Europe, Maurice Oliver returned to America in 1990 to work for the Los Angeles Times. Then in 1995, he made a life-long dream reality when he travelled around the world. This time, instead of taking pictures, he wrote the experience in a journal. This notes turned into hundreds of poems. And so began his desire to be a poet. His work has appeared in The Potomac, Circle Magazine, Tryst3, and Dash30Dash. He currently resides in Portland, Oregon.
Originally, A Verb In repeating the where of words...as any attic in pajamas or a helmet might think it's doing...locked in a heated argument on a penthouse elevator going up...blinded by the sudden brightness of a river dividing...or wondering who would take the time to name such a street ...where complete strangers kiss each other on the cheek...miles less than visibility...in a vague disguise or what a myth might be...we try sailing around the nicks & scarps of misfortune...or in the murky green underwater currents before a storm...& then there's the war ...never confined to the pale murmur of elegies...or the evening news of untruths ...knowing the unimaginable could be delivered in a messager's pouch...but still untranslatable...lest it becomes the sea...or aisle seats in the front row ...so we recline in our diamond by the dump...in a city as large as this one never touching it nowhere...appeases the windward finally...or so the story goes. "With Moving Figures" Sonnet Roadkill stray dog feat on. The sharp distinction of solitary trees. Pencil shavings. Mistakes like paper cuts. Whistling like a teapot at the railway crossing. Coffee's aroma. Freshly mowed grass. A sentence that begins with "Exhibit A". Breath on a windshield. A voice apologizing for any technical difficulties. Cruise missiles. Yellow times two. The awning a pet shop. A traffic cop's white glove. I wave because she thinks I should. At least shut up. Homing pigeons. That faint silver lining. Reasons to cringe. A street of frozen traffic. Idle windmills. Manikins that all look alike. Souls that long to be driftwood. Of pity or adoration. Strolling through an evening where blue knows everybody. Then too, green could mean go. Dreaming In A Bowtie Things fall of their own weightlessness. Eons of surrender. Driving downhill in red with the radio loud. The second warm day turning green. Feathers crowded with crows. High corn dense as a broom. One sweepstakes prize- winner. Two steps redder. Wind on the breast of desire. To know how the snake's mind slithers... a tangle of kids bicycles a stack of old 8x10 glossies Evening fog settling like fine gauze. Clouds sky-long without an erection. Blue moons that turn into hail. To cough coal mines so much it hurts. a thorn in her breath. I feel it, I say, as if blindness were two hands. So touch or be touched- no telling the difference. Then maybe later, we could pretend to be dawn slowly lightening. At Last The Air So Steep Let's suppose I was the cosmonaut in a rocket to noon as bronze as a sunset or blind as a bullet I'd listen for the cling in a chainlink fence wearing real snakeshy or dragonflies in the reeds out of radio range while laughing in fluent Spanish I might mistake myself for the future or heart of rain drying on the roof where arms fail to hug each other or slightly ajar then applying the car's brakes into a curve where nobody was looking I wonder which of us died first or could we be just one of the billions of personal stories waiting for the wind to turn the page. Ratio Or Volume While the crowd of spectators surge forward to see what happened, I try walking way left, alarmingly close to the oncoming cars. But it's worth it. This angle affords a better view of giddy & uproarious. The snow flakes seem larger too from here. They say no two flakes are alike. But who took the time to check. Really? Is that the surprise ending? I thought even if the story runs out it goes on & is roughly calculated to where dialog comes out to be a seventeen-mile scenic drive. |