A Tree Through the Forest (film)2019
A villanelle whose paired refrains mutate as they return, each repetition escalating, until the form itself enacts what the poem is about.
Twenty poems from a body of ninety-one, written across a decade and a half — in an early notebook, on deployment abroad, and in the long quiet after. Selected for craft: for form answering content, and for endings that are earned. Each carries a note on what the poem does.
A villanelle whose paired refrains mutate as they return, each repetition escalating, until the form itself enacts what the poem is about.
Sustained fourteener couplets, reworking a 2014 original a decade on; the closing lines reverse everything the poem had seemed to be saying.
Sixteen lines carried on two rhyme sounds — a study in phonetic control that never lets the constraint show.
A kyrielle whose refrain holds steady until the final stanza earns the right to change it.
A reversible poem: read top to bottom or bottom to top, both readings complete, each answering the other.
A ladder of interrogative refrains, each question narrowing on the last, resolving at the end to the declarative “I am.”
Envelope quatrains in tight dimeter; the close circles back to the opening, sealing the loop the poem describes.
The collection’s namesake and its thesis — an interrogative lyric asking whether darkness can be a form of light.
A late-period prose poem that moves by chained pivots, each paragraph turning out of the one before it.
A war elegy that refuses commentary and is carried entirely by its images.
A short-lined atmosphere piece — the first growth of the forest imagery the 2019 work returns to.
An eclipse rendered in rolling triple meter, internal rhyme layered beneath the surface of the lines.
A satire in chained rhyme, tightening line by line toward a closing couplet that lands like a verdict.
The collection’s longest sustained dream-vision, and one that lands its narrative rather than dissolving it.
An early prose poem held on a single rhyme — the seed from which The Chair later grew.
Thirteen lines arranged as a chiasmus — the collection’s thesis, delivered in the imperative.
A love elegy built on a trailing-rhyme pivot, each stanza’s last rhyme handing the next its first.
Two poems interleaved line by line — each legible alone, both changed by being read together.
A tonal gamble: bright sonics laid over dark matter, turning exactly when it must.
A mutated sestina: six end-word families drift as the room’s objects lose their homes, then quietly take them back.