I am assembling
a new gray tweed
suit. The plodding,

solitary elephant is
wandering on a dark
road. I am not an I.

Pinocchio is missing
an arm and speeding
in a big truck. I am

an eye that floats
overhead, smaller
than a pin-point,

nothing really.
In the murky
night Pinocchio

hurtles toward the
idle elephant, but
swerves at the last

moment, then I’m
wearing the tweed
suit, even though

it’s missing a
sleeve, and all three
of its ivory buttons.

In the foreground, a
child’s marble, made of
clear glass, incandescent,
aglow with blue and
green streaks and swirls,
on a table cloth the color
of the ocean on a
bright day, and in the
background, a window,
the inky night sky, the
luminous but gray moon,
smaller than the marble,
flat, distant, and in
the glass, an adult’s
face faintly reflected,
small, ghost-like, colorless,
embedded in the
starless black space.

Who knew there
are so many
poets—lurking

in the shadows,
walking in the
sunlight, running

naked on the
beach, or sleeping
in defunct malls?

The wind-up
clock chimes

from the other
room. On the

wall, a painting
of a landscape

five-thousand
miles away.

The room
illuminated

by lamp-light,
as if it were

the middle of a
long dark night.

Dried, faded red
carnations on
an electric blue

tabletop, a dark
green avocado
sliced open,

revealing the
ripening inner
canary yellow flesh

and sienna brown
seed, and on the
wall above, a

round clock—with
bold black numbers
on a stark white

background—
that audibly ticks
every second.

Gulls are crying
just outside my

window, as I

construct a ship
in a bottle.

The electric blender
is crying as it spins
round and round and

the spilled milk is
making its way to
the edge of the

counter, while the
refrigerator hums its
solemn tune and

something pops up
in the toaster, charred
beyond recognition.