Cimetière Montparnasse

I wrote this after visiting the famous cemetery in Paris. I visited a few cemeteries in France (the Père Lachaise was another one) to see the graves of some people I admired, although the solemnity was undercut somewhat by being handed a map and feeling like I was at a theme park. Of course that’s a consequence of people like me wanting to visit graves. I don’t really have the desire to do that anymore like I did back then.

I didn’t learn until afterwards that Baudelaire had an cenotaph a little ways from his actual headstone and resting place. That’s what the picture is of. I should’ve paid closer attention to the map..


Cimetière Montparnasse


It’s a rite of passage for any young writer
to visit the grave of his hero, pay his respects
and, consciously or not, certainly agonistic,
pry the baton away for himself with
a sentimental piece that won’t see
the light of day, and, whether or not
it was sunny, say the weather was gray.


That day it really was gray. Except it was summer.
The trees were full. Stone warm to the touch.
His grave wasn’t easy to find—I mean without
the map they give you. Then it’s a scavenger hunt.
One man, prowling the grave of Sartre and Beauvoir,
fired the Canon round his neck, turned to his wife
and declared “Next.” It was getting close to lunch.


Finding it in the shadow of a taller mausoleum
I stopped, gathered my solemness but was
suddenly overtaken with wondering why his name
was sandwiched between that of his mother’s
and stepfather’s—really the stepfather’s grave—
I’d read somewhere he loathed the man—
Only forty-six? Was he only forty-six?


There’s the rite too of the stomach like a diving bell.
I hadn’t properly contemplated the importance
when a woman landed like a bird on a wire.
Oh! Guardate,” she called out “questo è Baudelaire.”
Six vacationing Tuscans fell upon the site.
I placed a pebble, a gesture for all his work.
For mine he said, “Tant d’appas répugnants !


Stone Age

Each section of Figments consists of variations on a theme. The first section, “Of Language,” uses tropes of languages and letters.

I was interested at the time in how language evolved. How did uttered sound first acquire meaning? How did it evolve to signify something other than the music that it made, and how was it refined and abstracted to represent complex ideas and strings of thought? Playing with the tropes of “ages” of human civilization, I had in mind that words first arose from a direct association of sound with action (in this case a violent action).


Stone Age


Imagining the origin of words
one pictures two tribesmen,
friends, standing around a fire.
The first one points to a stone
and sort of grunts. The second
furrows his australoid brow and
repeats the sound. From then on
when either needs a stone he
simply points and goes ongh.

But what need is there for words
between friends? If the two had
the pleasure of each’s company,
enough to know and utter poetry,
what’s the point of words at all
when just the pointing would do?
Who else is a friend but him who
knows my meaning without my
having to say anything at all?

Picture those same friends enemies,
the one having overtaken the other,
cast him on his back in stunning
internecine war, leans poised over,
a hand upraised, with that same stone,
its sharp wedges, its blunt peens,
incanting its name victoriously,
seized by a prophet’s madness.

The last word becoming the first
adopted into the quiver
when it was discovered later
how the next person need only
hear it uttered and that was it
that was the end of it.

Ozymandias Revisited: Sam Bankman-Fried

Ozymandias is one of British Romantism’s most enduring poems. Written by Percy Bysshe Shelley in 1817 and published the following year, it is a perfect sonnet. It accomplishes so much in only 14 lines. Lyrical, narrative, and dramatic all at once, with a complex rhyme scheme, it is a powerful indictment of Man’s ambition and hubris.

Here is the figure of a once-eternal authoritarianism, an Egyptian Pharaoh, his legacy buried in the changing sands, a monument to tyranny and to tyranny’s inevitable end.

Rilke thought of poems like art-objects not unsimilar to statues. They cast stories into forms we recognize, not bodies but ideas. Shelley cast his idea into a poem the same way that an artist sculpts their statue.

I’ve had the idea to do some variations on Shelley’s poem for awhile now. My first attempt was a sonnet about Mobutu, a former African dictator. But it struck me last night, after reading about Sam Bankman-Fried and the collapse of FTX, that the variations need not always be about dictators.

Ozymandias is not just a poem about a dictator and his monument. The poem itself is a monument to hope for those who toil under the ruinous consequences of zealous ambition. It is a testament to enduring the catastrophes that plague society when men and women succumb to their egos, when they play gods and lack wisdom. The indifference of Nature to Ozymandias’s proclamation inscribed on his pedestal, the “lone and level sands that stretch far away,” is not only a suggestion of the Pharaoh’s fruitless ends, but the hope that life for everyone else continues on long after the mad tyrant is gone.


Ozymandias Revisited

Sam Bankman-Fried

I met a tourist from Nassau who said—

“One oversized blue-velvet beanbag lies

on the office rug, unused, that was his bed,

amid the clutter of startup supplies.

A sea of spinning chairs, and monitors,

six to a desk. Their walls of black screens,

hung with headsets, tell of what occurs

when the good is pursued by any means.

And behind the gatehouse of Albany

these words are typed out to his users

from the infinity pool on the balcony:

I fucked up, and should have done better.

Nothing beside remains to the losers

but the balmy Bahamian weather.”


Dawn of Man

As I work on my Redwood manuscript, I thought it might be a useful exercise to go back through some of my previous work and see what ideas I can draw from it. I’ve found that the best writing I’ve done is sometimes beyond my immediate apprehension. During the process of writing, I don’t fully understand why or what I was trying to accomplish. I’m always straining the limits of my thought, my technique, my intimations about sound and sense. To go back through and recover something useful might help me find my way through this current creative process.

This is the first poem in my book Figments, a collection of poems written from about 2017-2020.

I love the word figment. It comes from the Latin figmentum, which means “something formed or fashioned.” It’s also related to figura, or “shape.”

Figments are the ephemera of the mind. Illusory figures whose echoes are thoughts and ideas. They exist in the theater of the mind as simulacra generated out of our interactions with the external world. Do we form them ourselves, or are they imposed, impressed upon us?

This poem, and the subsequent poems of the first section, “Of Language,” set up the major themes of the book. Here is the first bubbling up of the physiological process of a mind generating figments of its imagination. The microscopic world of electro-chemical signals in the brain that give rise to visions of reality.

I really like how dreamy the end rhyming is here. I hadn’t even realized until rereading it that I’d managed to link every line together. Again, when we’re in the process of creating, the meaning is often hidden even from the artist.


Dawn of Man

The stickiness of consciousness
the spthlink spthlink of unlinking polymers
emulsifying in soupy darkness


The viscoelastic creep and tear
of a brain remembering where
it was impressed in elastic presence


Measure it by the mucous trail of its laws
and you too will become like soft plastic

What it Means

As the Powerball lottery makes headlines again, climbing to a $1.5 billion payout, I thought I’d post this poem I wrote back in 2018, about the largest jackpot payout in history. It’s from my first book of poems, Figments.

To buy a ticket is to buy an opportunity not to win, because you won’t, but to dream about winning. To live for a few days with the thought that it might be you, out of everyone else, it might be you that’s chosen. And what kind of person, what kind of life would you lead then? You buy a ticket to think these thoughts.


What it Means


The poem tells you what it means
if you drove all the way to buy a lottery ticket
on the Californian border because
you never know about these things
and there’s a line because nobody’s won yet.
The payout is over a billion—Imagine that!
Imagine what you could buy with all that.
You have to remember you’re at the age
when you’ve started to feel as though
you might’ve missed out on something.
Whatever it is, a billion dollars should cover it.


You know there’s a better chance
of being struck by lightning. The news
keeps telling you that. But it doesn’t matter
because who wouldn’t want to be struck
by lightning and live to tell about it?
You’re assuming you’ll live because
you’re assuming the right kind will hit you
and not anyone else standing in a line that
outlines the parking lot of the Indian casino.
After all who wouldn’t mind
their greatness being thrust upon them?


It might as well be you, you’re decent,
and if you won you’d want your family
and friends to have some. You might
even give back to the community, who knows.
At any rate it would certainly be nice to lift
this weight off your back, whatever it is.
What you’d do with the money is less important
than what you imagine being chosen must feel like.
A world somehow faithful to your point of view.
For you require great significance to satisfy.
You must touch lightning bolts to live.