Current News

As of April 15, 2015, Saint Julian Press published
my poetry manuscript Variations on a Theme of Desire.

The text exists as a burning collage of memories, segments of self quilted into presence. Geography lies here as well: New Orleans, Louisiana; Saint Louis, Missouri; Cypress, Texas— a myriad collection of voices and circumstances from the past. Divided into three sections, the poems follow an awkward mixed chronology: section one details the current decade, section two falls back to the middle Nineties, and the closing section presents a rushed account of observations from the Twenty-Naughts to the Twenty-Tens.      Read More...

Here’s to Celebrating the Voices in Your Head: an Explanation of Intent

Personal commentaries should read like notebooks— almost honest and out of breath, a partial view of the whole, in a sense capturing the writer’s voice for a brief moment in time. In other words, a stream of consciousness. Or a self portrait composed of a variety of phrases. My journals are like this, little unrealities changing radically from month to month, shifting with conflicting views and personal histories, run-on sentences and fragmented perspectives.

The intentions of my work serves mainly as a definition of myself—as an open portfolio describing who I am, or dissecting the personality in thin layers until the ultimate core is reached —but you see, already these statements are not explaining anything, they only talk at the reader with the expectation that the words would be harvested like fruit into baskets.

My writing styles meander through many artistic influences. Such contemporary writers as: Cyrus Cassells, Mark Doty, Kenny Fries, Susan Mitchell, and Lynda Hull always remain important inspirations. Voices from the modern and historic literary canon are important as well: Allen Ginsberg, Sylvia Plath, Anne Sexton, Walt Whitman, Thom Gunn, Virginia Woolf, et. al.

Obviously, my poems exist as a collection of voices and moods. Or another way of putting it, my work is a collage of impressions and blurred memories. The work explores mystical concepts, like medieval texts or tarot cards. Casual scenes heighten with dream-realities and brash colors, taking a step away from the realities of waking life. In the end, a greater involvement between viewer and image is created, allowing for the creation of private myths and personal interpetations for explanations and clarifications.

Individual work has appeared in various magazines such as: and/or, Assaracus,
The Centrifugal Eye, The Fertile Source, Ganymede-Unfinished, Ginosko Literary Journal, Houston Literary Review, Louisville Review, Mid-American Review, The Meadow, 
Melancholy Hyperbole,  Minetta Review, Modern Words, The Saint Sebastian Review, Slant,
Steel Toe Review, Summerset Review, Qarrtsiluni, Taos Review, and The Write Room.

The Moon Dreams of Cecilia Dreaming of the Moon

The moon watches Cecilia support
a bowl of apples with her knees.

He watches her, how she shuffles a knife
between the small red stars and her fingers,
how she twists her wrists slowly,
slicing the cores.

...                              {1992}

To Admire Blue Horses

“This is the day when members of the nobility who live outside the Palace arrive in the magnificently decorated carriages to admire the blue horses.”
The Pillow Book of Sei Shonagon translated by Ivan Morris

“I have put off my coat; how shall I put it on?”
Song of Solomon 5:3

When I sleep in blind August,
I dream of you holding an unripe apricot
in one hand, the other steadying a child
clinging to your legs, his eyes
as wide as Europe.

...                              {1995}

The Myth of Fear

What I really wanted to write about
was not fear— it was something more complex,
     more detailed,
like the beliefs of a country near India,
where they say the sub-conscious is a dragon coiled
along the spine; it generates your inspirations,
your desires. The countrymen tattoo
serpentine bodies over the skin, their backs:
they wear their desires openly.

...                              {1994}