kireji*: sometimes used as a cutting tool

index finger glides
over large desk, cool to touch
city lake in view

sweet sources soured
numbers jump, fill pocket lines
smiles spot the air

body, slow submerged
embraced well in waters, clear
floats on matter, light

rushing beige column
a spigot regurgitates
splish splash, patted hands

moistened mother’s lids
daughter, barked from water source
lips roughened in fear

pearl drops down hair strands
red scalp rawed, frantic rubbing
neglect scratched on skin

two-hour thumb stuffed ears
baby suckles cracked nipples
beneath a lolled head

whitened, clammy skin
daughter’s hand touch racing chills
largening chocolate stain

steady silence hangs
time-barred child’s sudden screams
fall o’er boiling pot

lead water sits on
politician’s twitching tongue
bulged blue with despair

body, slow submerged,
embraced well in grounds dug deep,
sink in matter, dark

heads bob, dot the sky
numbers jump, fill sidewalk lines
air studded with teeth

city lake in view
beyond large desk, cool to touch,
condemnation hides

*kireji is a part of a haiku that cuts two fragments. Flint is a fragment of minerals that was used as a cutting tool. This is a haiku of haikus. 3 stanzas/7 stanza/3 stanzas.


try to talk about it

This line was forced.
This line, I took through the eyes.
This line, the collected dark patches of 2015, yearns to be recalled.
This line is the relationship that led the tip of my pinky toe over the edge of a ledge.
This line lullabied and leashed my thumb, yanked me back.
This line sobbed,
“I’m sorry I almost lost you.
I’m sorry I almost lost you.
I’m sorry I almost lost you.”
This line almost lost me.

This line is made of tiny repeated mistakes, stuck close together.
This line is dressed in it’s Sunday best shame.
This line is a lying hypocrite and gets saved, anyhow.
This line has no real reason to do any better.

This line tried to swallow itself into non-existence.
This line almost liberated the entirety of its blood for the sake of another’s ascension.
This line is not a martyr.

This line kissed a woman and birthed itself.
This line is phallic and sapphic.
This line wants to forget.
This line wants to forget.
This line only knows how to be forgotten.

This line has sex.
This line can’t have sex.
This line can’t have sex.
This line can’t have sex.
This line can’t have sex.
This line wants to know what this line will be.

Once fast, now with fear of fornication,
this line only knows how to be forgotten.
This line was forced.

even when i didn’t ask, they did it for me

What do we do after we march?”

rub rubble from their eyes, (that’s
actually skin, bombed-blasted empty to seek
salvation beneath 6-year old lids.

actually, a thinly cracked, reddened goodbye
from a mother’s splintered throat,

actually the blackening power of a knuckle
to temple, in temple, tempted to sin by bared skin

actually, hope, chipped off by the slammed
cover of Pandora’s box)

how did humans access
what she never dared let escape?

Hope was an undocumented entity
caught in a box pumped with anti-psychotics,
satiated to stillness by the rhythm of their own tears

hope was not what crawled
out from the base of my spine,
my feet scraped across the veiled-
with-forgetfulness karmic time-warp
begotten by the multifaceted figure
of genocide. lungs raw, i know i’ve
been here before, before i died a man,
arrow to the left lung, before i died a woman,
brown Mary ravaged to rubble to lend passage to
lighter-skinned generations and migrants,
before i died as a boy

who got English crammed into his teeth
until his gums bled and he was called

I am
“woke”, eyes bloodshot and
begs to the sky for mercy (where
are the children?) in the same
tissue-shattering language, i call
for freedom with sounds pregnant
with century long justifications
for murder, gums fully bled.

Still, the crowd behind me echoes.
Still, there are chants and repeats.
Still, they see me not dis-eased.

-Stevie Ambroise



blue butterflies land on my chest

there had been a hiatus, a break/
newly made log rot where insects
searched for and found lodging. some-
times what begets a crack in the skin/
(or the heart)/ begets refuge for another being.

stop time,
blood flow and CO2

blue butterflies land on my chest

you can do what needs to be accomplished
and still sustain scarring: this is the spiritual war,
one that breathes amongst other warriors,
blue butterflies land on my chest
where the blood-letting is a soft wind that
sways branches,
blue butterflies land on my chest
where the blood-letting is sand grabbed by
a timid wave’s crest, passively submerged,
blue butterflies land on my chest
where the blood-letting is dust motes caught
unaware in a column of light, exposed
blue butterflies land on my chest
where the blood-letting is sun-wheeled burns/
on sensitive shoulders
everything is necessary.

blue butterflies land on my chest,
symbiosis and sufferance

-Stevie Ambroise

should i soften my love?

i wonder what tonight means for us,
a race of thunder claps and sharp light
gashes through clouds after wounds
are spoken open –your i’m sorries causes
earthquakes and gas leaks, typhoons
and oxygen bubbles, both the death
of unawares and a cunning lonely fish’s
saving grace

goddess, is this an upset
directed towards me, or does
my narcissism cause me to
always be beneath scars
as scabs are peeled off to let
blood flow, scarlet drops
pitter-pattering my forehead,
why must i always be below
the blood-letting-

from mistress to midwife,
from deliver of orgasms to organic
apologies, to the truth
letting breaths caught in the
crisp air of authenticity, i am not
sorry you are upset, i can’t
keep apologizing for being sunlight
that pushes painful blooms,
i bloom too, i wake early
to my own shine, tears leaking
from brightness, scars burst
to newness, i do it to myself,
i won’t hesitate to meet you
with the same love.

-Stevie Ambroise

what do we name the space between two goodbyes?

did anyone even hear you open the door?

i love the click-quiet fact that you never left,
a halted breath, non-existently still
in the choice to neither stay nor go

(but to be alive is in the dance,
a sacred risk of movement

you want to remain to me this miraculous
transcendence of death
(i can tell you do
because i stopped waiting
for the sorrow to come/

and air split
skirts around you,
stuck in the back of my throat,
an overdressed
under expressed farewell)

i am alive. you are
swallowed by light, pale, sculpted
beautifully still
we stare,

in the liminal,
between a move forward and
a step back.

the end of a thing unfinished

where does this poem go?
jagged unalliterated edge of phrases
with no rhythm/ forces tongues
into offbeat dancers, hollerers
of visual falsehoods from poetry
beneath overly sharpened pencils,
unfinished as potential pregnancy/ uterine
wall without a sperm cell
to house burst into a cave of
cramped forgetfulness and choice.

-Stevie Ambroise

*i literally have no idea what this piece is about.
maybe it’s about myself. i have no idea where i or
this piece is going.