Skip to main content

Kim Malinowski

Comets

Pretend we are strangers sharing patchwork blankets on a frozen field. That we aren’t staring at each other’s irises and counting freckles, your wild mane combed by my hand—the conservatory open and winds smelling of frigid freedom and the marvels of darkness where only red lights are allowed. Pretend our lips don’t meet—that you don’t cry out as the first comet streaks. Pretend that awe is for me. Let me capture that shriek of wonder—the darkness, Orion making his trip, and the deep freeze. Pretend with me.



Ode of Oath

I would protect you from everything
if I could—even the sunbeams
you flinch from—
rays you guide me away from.
I would steal your shade,
my hand across your five o’clock shadow
and hush you.
Steal away the smoldering
or give you cause to.

Let me protect myself—even if you think it’s silly.
That is how you can love me.
I will lullaby you into history,
our hands clasping, damp, flinging.
Neither of us are ordinary—we’ll never be boring, huh?
And as you simper and hedge around questions.
I will learn the language of broad shoulders,
the pulsing near collarbone.
Your tension and release.

Love,
May I call you that?
Even if we are not together.
I will make you laugh,
bring down the moon,
dive into my own nervousness.
I will fret. I will knock.
Then bang.
Kick sideways—until you open yourself
and you can courtesy, all ladylike.
And let you cry
into my breasts.
Let you let go
of your terror,
all those unknowns that haunt you—
all the beliefs
about what men are.
I will clutch tight your secrets
as you return upright.
I will dab at your eyelashes.
I will protect you from anything.
Especially yourself.


Kim Malinowski is a lover of words. Her collection Home was published by Kelsay Books and her chapbook Death: A Love Story was published by Flutter Press. Her work has appeared in Amethyst Review, Mookychick, War, Literature, and the Arts, BLUEPEPPER, Enchanted Conversation, and others. She writes because the alternative is unthinkable.

Comments

Popular posts from this blog

Ed Dorn's # 22 From Twenty-four Love Poems

                                               from Jacket The strengthy message here in #22 of 24 Love Songs can be summed up in two lines: ['There is/no sense to beauty. . .' and '. . .How/ the world is shit/ and I mean all of it] What I also like about this brief poem is the interplay between the title of the book and the subject of the poems (love/anti-love (which is not hate)): it's all a mass of contradictions, like love. And I have to say that the shorter poems of the Love Songs and the last book he wrote before dying (Chemo Sábe) seem to me much better and more memorable than the Slinger/Gunslinger poems. These (generally) later poems probably attempt less stylistically, but are more sure-handed, hacked from a soap bar, maybe. Easy to use, but disappear after use. In any case, Dorn is well worth the reading and re-reading, for me, though he'll never become one of my favorites. And doesn't every poet want that, dead or alive? ;-) #22 The agony

Mike James

 The River’s Architecture for Louis McKee, d. 11/21/11 The river has a shape you follow with your whole body: shoulder, footstep, and ear- those who know how to listen hear how river wind is like breath, alive in lung and line. Mike James makes his home in Murfreesboro, Tennessee. He has published in hundreds of magazines, large and small, and has performed his poetry at universities and other venues throughout the country. He has published over 20 collections and has served as visiting writer at the University of Maine, Fort Kent. His recent new and selected poems, Portable Light: Poems 1991-2021, was nominated for the National Book Critics Circle Award. His last collection, Back Alley Saints at the Tiki Bar, was published in April by Redhawk. He currently serves as the Poet Laureate of Murfreesboro, TN.

Weldon Kees

Along with my Jack Gilbert kick, I've been reading the poems of Weldon Kees as well as the secondary material (very little of which seems to be available in book form), which is too bad. There's a pretty good book called Weldon Kees and the Mid-Century Generation: Letters from 1935 to 1955 , which is structured in such a way that it seems more like a biography in letters. Normally, a writer's letters are collected and footnotes are rare except to sometimes identify confusing timelines. Robert Knoll includes more narrative about Kees than it does letters. I think otherwise it might not have made a full book, otherwise.Very interesting anyway. Kees seemed poised for mainstream uber-success at 41 years old when he simply disappeared.  His car, with the keys still in it, was found near the Golden Gate bridge, but with  no trace of whether he committed suicide or simply ran off to Mexico, as he talked of frequently in his last years.  James Reidel's book Vanished Act: t