ZEBULON HUSET and KATE STRONG STADT (Issue 20)
Buried Poem Triptych 2
III. Vicarious Escapee
The kite string snapped
 and for a few moments
 it flew free—the boy
 allowed his heart to jump
 for just that handful
 of seconds, to see that piece
 of himself soaring—
 escaping. But when it soon
 lost its updraft, slipped
 and flickered out of sight
 somewhere beyond the wall
 he returned to the rubble
 of his playground, his home.
II. How Long To Fly
I will always have the kite, held by a string of memory
 to a boy I thought I had snapped the rotten off of.
And the kite, I thought I had cut it loose –
for a second it seemed like it could fly on its own,
 a second became a few moments,
 and I turned from it, I flew free –
 I let the boy go, I allowed myself
 to become weightless.
Then his heart crashed into me;
 the kite had missed its chance to jump
 for the limitless sky, had come back to earth
 laden with Boy, just taking me with it.
 A handful of gravity, a taste of seconds.
 And then to see the ground again, to feel that piece
 of Boy lodge himself into my organs of flight
 when I could have been soaring...
I fear that my grasp on the kite
 will always be “escaping.”
 I try to resist but when I tell the kite “escaped,”
it only whispers, “soon.”
 Never “now.” Never “yes.”
 The boy is lost, except for what is left of him in me.
 The kite will never find its updraft.
 The string holding it will never have fully slipped.
 And, worst, I fear my desire to cut it has flickered,
 as the sky retreats away out of sight.
Somewhere else must be beyond the wall
 between flight and gravity. The boy must know.
He has returned to a place I can’t follow.
 Never enough to hold him, the kite
 and I mired in the rubble.
 It was ever his playground, his cosmology.
 But the tug of a kite worrying the splinter in my back,
 that feels like home. I tell myself it’s enough.
 What else can I do? Tell me, what.
III.           To Fly
                       the kite,
      the kite,            I      cut it loose –
                  it                 it
                       it    flew free –
 I                     I
     become weightless.
 the kite      missed
      the limitless sky, had come back to earth
                                         me with it.
 A                     gravity            of seconds.
                                         my organ of flight
                                    the kite
                       “escaping.”
 I             resist                      the kite “escaped,”
 The boy is lost, 
 The kite 
                            will         have fully slipped
    the sky
Somewhere else
 between flight and gravity
                              a place I can’t follow.
                                            the kite
 and I mired in the        .
                                                   cosmology
                    of a kite
 that feels like home.   tell m  e 
 What     can I do     Tell me
Buried Poem Triptych 3
I. Crow Friends
I haven’t made a crow friend yet
 but I’m trying. They say corvids
 will bring those that feed them
 treasures, tiny shiny thank yous.
 I spy each dash of trash on my stoop
 like it were stashed under a spangled
 douglas fir in my living room.
 But if anyone asks, I’m doing well.
II. Palms out
What I have decided about you
 is that you are hoping
 that I haven’t made up my mind
 if you are a true crow, a friend
 of our family yet.
 I have decided. I say,
 what a dream to put faith in.
 What a waste of a dream.
“But,” you will say,
 raising a quavering note
 in your voice like cracked scales.
 I step away. I’m not interested.
 You by your trying is suspect enough.
 We have had endless and faithless
 of what they of your kind say.
We hold our own ways pricelessly close.
Corvids will bring our dead and our children
 to those lands that feed them,
 spacious and radiant, suns for us.
You strew treasures, tiny shiny
 worthless measures. You expect ‘thank you’s?
 “But.” You drop the word before me.
I will not even spend time considering
 its worthlessness. You spill
 tears like coins. You tell me anything.
 Now I say “but.” You may be a spy.
 You throw each dash of words
 like they are of worth. On my stoop?
Here, I live like it was up to me,
 one of the few, the expenses
 of my kind stashed under the broken
 promises of a spangled douglas coin.
 We carry our children and our dead,
 we mark our ways by maple and fir.
In my eyes you are the one not
 up to the task of incredible living.
 Give room. For once in your life. Give room.
 I return your watery words, “but.”
If anyone else is coming, tell them
 to take their shadows off again.
 Each one of you asks the same kind
 of blank spaces, faintly traceless.
I’m doing for my own kind.
 A fir for myself. Mark me well. 
III. [Shiny, Worthless Treasures]
What
          you are hoping
 I have decided
                      to put faith in.
         a waste of a dream.
  But
         a quavering note
                   like cracked scales
                           is suspect enough.
                     you        say.
We hold              pricelessly close
                    our dead and our children
 spacious and radiant           for us.
You       treasure         shiny
 worthless                            thank you’s
                   spend time considering
          worthlessness.
                       You tell me
              I                  may be a spy
                      of worth
               I      like it 
                           the expenses
                                          the broken
 promises of
                our children and our dead,
 we mark our ways by maple and fir.
In my eyes you are not
                               living
                         your life
                            tell
        shadows
        you ask
   blank spaces, 
                for 
 A                   self.
Note from the writers: In our Buried Poem Triptych collaboration, the first poet writes a very short poem-section, from that the other poet writes a 'buried poem' section (think the opposite of an erasure, the original words are kept in order with many more added in so ostensibly an erasure might be made of the second section to reveal the original poem), and then the first poet makes a 'white out' erasure section of the second, expanded section.
