Micah Boswell
Writing Twelve poems

Poems

Lima and Dallas, faith, love, and getting older. Twelve poems, each over one of his photographs. Dreams is read in his own voice.

Wipe the glass. Light the sign.

  1. Dreams
  2. Explosions, Gunshots
  3. Simpler in Lima
  4. Miguel Dasso
  5. Growing Apart
  6. Design
  7. Kabala meets 16th Century Spanish
  8. We've Forgotten
  9. One Night
  10. Men's Room Sonata in Tiled Minor
  11. Fog
  12. To be this old
Poem 01 / 12

Dreams

Micah Boswell reads Dreams, 2017

Dreams are born in those momentsWhen the mind opens itselfAnd with the heart as its centerThe imprint of the vision bloomsWith the pedals of thought exposingThe anther of our heartsrevealing sweet pollen of hope and visionDelicate filaments that extend themselves,To the chance exposure of theImprinting instanceWhere we see our callingWhere we fall in loveWhere we see the self completeDreams are carried throughAnd nurtured within the safekeepingOf gardens carved on terracesInside the chasm of the soulIn places we guard zealouslyWith the elastic strength ofLabirynthic walls and delicatelyCrafted masks, constructedTo deflect the passing glimpsesOf occasional lovers andMisplaced passionsDreams are fulfilledIn pieces, much of the timeRevealing themselvesAs fractions, making the wholeSometimes unnoticeableA mysterious constructionThat harvests the ripened bloomsWithin our inner crevicesDeliberately, almost secretlyDreams are sometimes destroyedBy wind whipping through the cavernousCoils of thought and emotionCold wind of disappointmentArctic storms carrying the whispersOf lies, deceit, and carelessly spoken wordsUnderstood by our inner gardens as deep truthsUnderstood as richening soil for dream roses and rhododendronsThat soon after wither and dieSometimes the pedals fall, ashesTo give sustenance to a hybrid dreamWiser, stronger and with thornsSometimes remains of frigid breezesCarry them off to unspoken placesPlaces where denial sinks a landscapeInto dark valleysAnd no seed or remnant escapesDreams are not captive to the ruminationsOf one’s own personal geographyDaily depending on strong soil of good lifecircumstancesTo survive the daysInstead, dreams arise in the strangestOf places, giving birth in numbers to thoseWho are strong enough to open themselvesTo the promise, the beauty of the moment,The imprinting instance of chance and melodyThe meekest, the poorestCan carry the deepest gardensAllowing delicate openingsThe poverty of an anther’s exposure.

Behind the glass: A gorgeous bloom on downtown Montreal rooftop, a photograph by Micah Boswell, 2022. On Unsplash

Poem 02 / 12

Explosions, Gunshots

Explosions, gunshots—the lullabies of my Peruvian dusk,louder than crickets,brighter than lightning bugstrapped in jars I never owned.

Dead bodies sprawled like lost kites,Army trucks like slow, rusted dinosaurs.These were my caution signs,my teenage days whisperedthrough cracked transistor radios.

Wild dunes and beaches:our godless cathedrals of play.Sand was currency,broken shells were shivs,and the tide took our secretswithout apology.

Jesus, his beard neat and sad,stood beside terrorism on the TV,both equally distant,both equally spoken ofwith the reverence reservedfor El Niño or El Comandante.

Prep school uniforms,Gray and white nooses in summer,Deep slums with love and guinea pigsand boys who ran faster than fear.Those were my coordinates.My moral compass spun.

Behind the glass: an untitled photograph, a photograph by Micah Boswell, 2019. On Unsplash

Poem 03 / 12

Simpler in Lima

In Lima, we learned to flinch young.When soldiers passed, we turned our facesto the Pizza Parlor in Miraflores.We focused on Pepperoni and Mushrooms,avoiding eye-contact and spent ammunition.

When they took Luis, we were silent.No one told us to be. We just were.When he came back. He wasn't the same.We understood.

At School, Pedro sighed -graduation postponed, again.Another bomb threat.

When the city of 7 million went black, it wasn’t news.You sat still, like a prayer waiting for its godto forget.

When death threats came,you didn’t tell your friends. You satand watched another movie,eyes fixed on the screen.

Alert, but pretending it was normal.

Ricardo made jokes.It was funny.There was no otherway to see it.

but dark humor cut theinsanity into smaller,more edible chunks.

When we saw the bank blow up,we turned to walk slowly, back towardsSan Isidro.

We were quiet.Avoiding sirens,Hiding from the army trucks.

Closer to home, we laughed.It was a fragile sound,full of anxious release.

Another night in Lima,another night of absurd living.

At twenty-one, in Alabama, the cop pulled me over.My voice cracked like dry maize.I handed him my passport.He laughed. I laughed. It wasn’t funny.Casually, I watched his partner's fingeron the safety.

Old habits die hard.

The shrapnel still in my calf pulsatedAs he said 'Be safe now'and left me alonewithout asking for a bribe.

The gas station pump asked me a questionI didn’t understand. I stared at itlike a wounded manback in Limawaiting for the Senderistas to pass.

At the grocery store, 32 kinds of cereal.Where is the safety in choice?

In Peru, violence had a way of behaving.You suspected who carried the guns.You knew not to speak Englishon the wrong street. You knewwhat silence bought you.

In America, the rules are airless.The violence wears khakisand asks how your day’s going.

The disappearance happens in slow scrolls:in the job interview,in the look on her face when I saidI’d never had a checking account.

I miss the clarity of Lima’s dusk.The barking of dogs before a bombing.The way danger felt honest.

Here, I don't know where the guns are.Or the gods.

No one warns youabout the hidden threatsin America.

One day you wakeand realize no one is missing.

That’s how it starts.The war here is memory.And the time and space to forget, then remember.

Behind the glass: an untitled photograph, a photograph by Micah Boswell, 2019. On Unsplash

Poem 04 / 12

Miguel Dasso

Avenida Miguel Dasso. San Isidro.Beta Video Club.

At the corner of Avenida Miguel Dassowas a restaurant we never entered.Curtains always drawn.A man always standing outside.He didn’t seem to be working.He didn’t seem to be leaving.

Further up the street,on the left side,before the park,the Beta shop.

(They say VHS beat betabecause of porn. I didn'tcare.Betas werebetter.And I was too young toknow how porn helpedvideo tapes.)

No sign.Just a door.Inside, original Beta tapesin their stiff plastic cases.Handwritten titles.Soft-spoken ink.A kind of reverence,even for Blade Runner (Versión original).

We rented two.Always two.Never three.

One would eat itself.One would make sense.That was enough.

The stall was quiet. Small.A wall of betas.Someone in between them and a counter.Then me.

Outside, the street moved:buses, shoe shiners,a woman selling lúcuma ice creamin a metal tray under glass.

Butifarra on wax paperfrom the stall down the block.Jamón del país,onions in lime,bread that disintegrated in your hands.A taste of pork and heaven.

The Baños Turcos Windsoralways fogged, always quiet.Men came out softer than when they entered.Towels tucked like regrets.And then home.

To the den,where the Beta machine groaned to lifeon a low table with missing corners.

On the windowa crooked “United States Marine Corps – Semper Fi” stickerthat had nothing to do with anything.No one ever removed it.We had a suspect.We never spoke of him.

The screen flickered.The tracking drifted.The voices lagged behind the lipsbut still made sense somehow.

And when it ended,the tape sat warm in my lap.The label curling at the edges.

Still legible:Avenida Miguel Dasso. San Isidro.Beta Video Club.

Behind the glass: an untitled photograph, a photograph by Micah Boswell, 2018. On Unsplash

Poem 05 / 12

Growing Apart

We were young once.Not just in age,but in the way we believedthat nights could last foreverif the music kept playing.

“Blue Monday” shook the floor.We didn’t talk much then—just moved,motion like energy exchanged,our bodies fluent in somethingwe didn’t yet know would fade.

Later, “Cuts You Up” came on,and it did.But not the way we thought.Not the drama of heartbreak—just the slow erosionof knowing someone so wellyou stop looking.

Time does that.You wake one dayon opposite shores,waving across a distanceneither of you meant to make.

And still—somewhere in a grocery store,Camouflage’s “That Smiling Face" playson a speaker no one notices.And I pause.Just long enoughto feel the light from back then.Brief.Undeniable.

We do not curse the fading.That’s not the kind of love we had.But we do carrythe ache of the echo.We are the oneswho remember the songafter the room has emptied.

Behind the glass: body of water, a photograph by Micah Boswell, 2019. On Unsplash

Poem 06 / 12

Design

Without being taught to design,I started designing.My designer friend despised my work.Without being taught to write,I started writing.My writer friend hated my work.Later in life, I see the truth.They hate how I made the moneyThey spent for CollegeSeem worthless.

Behind the glass: Analog Slides, a photograph by Micah Boswell, 2018. On Unsplash

Poem 07 / 12

Kabala meets 16th Century Spanish

Keter – The Crown / The Inheritance of Silence

Dijeronme ke la fe sería mi ancla.

Baruj HaShem, dijieron, komo si el peso fuera promesa.

La luz en la frente, el deber en los talones,

una cadena dulcemente envuelta en oración.

Pero aprendí, kon suspiros y sombras sin nombre,

Has ve’Shalom, ke algunas anklas no están echas de hierro,

sino de manos ke parezen karisias,

pero te empujan abaxo kuando el alma empiesa a subir.

Kuando alzas la kara al shamayim,

i sientes la respuesta detrás del velo,

te akusan de romper lo sagrado.

El raḥum veḥanun, yo nunka rompí sus orasiones,

pero no supe yorar kon ellas sin mentirme.

⸻

Tiferet – The Heart / The Refusal to Be Contained

Ay orasyones ke se sienten komo bardas.

Rak sheket… rak sheket…

Ay amores ke demandan silensyo,

ke solo valen si tú no dezis ni una.

Lo aleinu.

Ansí ando yo.

No por estar perdido,

sino porke el aire afuera del relato

es más puro—más emet, más ruaḥ.

Yo no soy el personaje ke pintaron,

ni el hijo ke kayeron en los libros.

Mi neshamá no se firma en el margen.

⸻

Malkhut – The Dust / The Chosen Among the Exiled

I si so eskogido,

chas veShalom, ke no sea por torres ni títulos,

ni por siluetas en vitrales olvidados.

Sino por el kamino de polvo,

kon los exilados i los exkomulgados,

debaxo del silensyo de la atardesida.

A la par de las almas ke florezen

en las fendas del kuento ofisyal.

Amen ve’Amen.

Amen ve’Amen.

Amen… (pause)

ve’Amen.

Behind the glass: Moment of Silence, a photograph by Micah Boswell, 2019. On Unsplash

Poem 08 / 12

We've Forgotten

They bent their backs beneath medieval cathedrals,that never honored their names.Paid in bread crusts and silence,they kissed the hem of priestswho called suffering holy.They didn't question.There was no time.

They walked beside oxen,grew old at twenty-eight.Buried children without names.Worked land they could never own.Gave thanks anyway.

Because faith was allthey were allowed to keep.

And then,boats to a strange land.Names scribbled at port by menwho didn’t care how to spell it.They became Americansby surviving the line.

They made cities out of sweat,lit furnaces, picked tobacco,opened stores that sold nothing but hope.

They built things.With hands. With aching backs.With hymns they translatedinto whatever Englishthey could manage.

We forget them.Because we don’t kneelin the dirt anymore.We forget how a flagonce meant no bishopand no baron.Just breath.

We think freedom is comfort.But it was never that.It was choosing your own hunger.It was standing up in a countrythat didn’t bow to kings or priests.

They loved this placenot because it was perfect,but because it didn’task them to be less.

And we...we've forgottenhow heavy that kind of love is.

Behind the glass: Wood and Screws, a photograph by Micah Boswell, 2018. On Unsplash

Poem 09 / 12

One Night

One night, after wine and Turkish coffee,I asked my immigrant friends why they came here.

They said - - -

We came because silence in our homelandwas not peace, but the echo of boots.Because our names were called last,or never. Because truthwas a locked room,and fear its doorman.

We came from citieswhere your vote bought nothingbut suspicion,where the policeman knew your daughter’s nameand not from kindness.

We came from marketswhere bread cost a week’s sweat,from nights lit by generators,not stars.

Where neighbors disappeared,and no one knocked.We fled uniforms without faces,laws without reason,churches burned for speaking the wrong prayer.

We left behind the kiss of corruptionand the grip of inherited sorrow.

Here, the air tastes different.Here, a stranger might help.Here, you can say the president is wrongand not wake in a cell.

We came not for riches,but for a name on a lease.A birthday cake in a quiet kitchen.A future unmarked by the past.A dog that doesn’t barkat midnight raids.

We came to stand in lineswhere everyone waitsthe same.To work three jobs,and still smileat the sound of our childrenlearning a new word:safe.

This place is not perfect.But it lets us breathewith both lungs.

Lets us lovewithout apology.

And sometimes,when no one’s watching,we weepfor what we lost.And thenfor what we found.

Behind the glass: Coffee and a Book, a photograph by Micah Boswell, 2018. On Unsplash

Poem 10 / 12

Men's Room Sonata in Tiled Minor

The men’s bathroom:

a chapel of porcelain and piss-rules.

Seven urinals.

I take my place...alpha, omega, or the divine center—

leaving sacred gaps for the next

pilgrim of the stream.

I begin.

Soft drizzle. Modest patter.

Then he enters:

Protocol-breacher.

Borderless barbarian.

He chooses the urinal beside me.

He chooses.

And like the Hoover Dam unleashing

all of Manifest Destiny at once,

his stream announces itself,

confident, continental.

While mine

trickles like regret.

I push.

Oh God, I push.

The bladder, it seems,

is also subject to shame.

I finish, wash,

press my palm against the great equalizer:

the moist steel handle of collective hygiene.

There is no foot lever.

No escape.

Only sacrifice.

Later, stall time.

Communion.

A little sanctuary to scroll, to void,

to wonder why the waxy halo of the seat cover

never, not once, behaves.

Its middle tears pre-emptively,

slides off like a jilted lover.

I make do. Sit. Sigh.

Four open stalls.

He comes again.

Sits beside mine.

Speakerphone on.

Wife’s voice bouncing off tile.

He talks of cruise ships while his own departs,

loud, aqueous,

and I, caught mid-tension,

hold back,

fearing to betray the code

by disrupting his lie.

He lies to her.

But I won't lie to the unwritten law of men:

We shit in silence.

The toilet paper roll mocks me.

Engineered to fail,

it taunts with microscopic ply,

ripping like dreams on waking.

I lean, tug, it jerks,

releases with a banshee scream.

Paper sails into the air like ticker-tape

for a championship no one wanted.

He squirms.

I am the noise now.

I am the breach.

I wipe. I rise. I flush.

The water rises too.

Not like redemption.

Like flood.

It keeps rising.

Over porcelain.

Over tile.

Over shoe.

It runs like guilt.

Into his stall.

His cruise ends.

His wife is gone.

He asks, “What the hell?”

I do not answer.

I am already gone.

Shoes squishing out the door.

No hand dryer.

Only memory.

And shame.

Behind the glass: Yellow Leggow, a photograph by Micah Boswell, 2019. On Unsplash

Poem 11 / 12

Fog

This thick fog lays out its gaseous tendrils,and nothing is to be seen clearly,not even yourself.

Wading through such blindnesswears you so thin,you feel the exhaustionin your moist brows,but you continue to search for visionbecause you know it's all you have left.

So you twist and you turn,a silent dance of desperationwith this deafening mist.At least that which embraces youin its thick blanket of nothingnesskeeps you warmwith its wisps of heavy moisture....

Condensation derivedfrom chaos...but it makes sense to you -it stands in your way,it envelopes you in nothingnessit bars you from your own meaning.

Outside, all of it seems so random,so full of nothingbut the fog comes up against you and leaves youfalling, tripping on unseen crevices.In your heart it all seems so contrived...Fate, hiding its consciousness in the mist of circumstance,has pitted its greatest minions against you,and to struggle against this mantle is to create moredelusion through your sweat.

Still you struggle, still you sweat,because you know vision lies outside of circumstance,and to let the mist control you would lead to a walkthat falls upon itself...so you strive for something you know is true,yet you're not sure what this vision will bewhen you find it,but you know the weight of meaningis lighter than theweightlessnessof being lost in the fog.

Behind the glass: an untitled photograph, a photograph by Micah Boswell, 2023. On Unsplash

Poem 12 / 12

To be this old

To be this old, you seeI don't feel it, or at least this is what I tell myselfIn the mornings when my heel crampsIn the noon hour, as I struggle to stay awakeIn the evening, when my back begins to giveTo be this old, you seeI don't think it, or at least this is what I tell myself

When I can remember friends from 50 years agoWhen the song I hear at Costco was my teen 'fuck you' songWhen I find myself alone, with friends having passed onTo be this old, you seeI don't sense it, or at least this is what I tell myself

Straining to see the print on the paper(I turn my iPhone camera on in the elegant restaurant, sheepishly, just to see the sides available tonight)Struggling to ignore how gravity makes itself knownWondering how best to be useful alwaysto avoid being thrown away in a nursing hometo know when to end a beautiful life with dignitybefore it comes to that"Put me in a wheelchair and toss me over the side of an 80's party ship"

To be this old, you seeI don't want it, or at least this is what I tell myselfBut love has not stopped giving me reasons to feel youngWonder still takes my breath awayJoy still catches me at the least expected moments

To be this old, you seeIsn't at all what I thought it would beNeither was loveNeither was wonderNeither was joy

It was all better, brighter...

To be this old, you seeI don't want it, or at least this is what I tell myselfBut, even with the failing body,The mind and heart look back,

To a bottle of tequila, well-spent,To torn clothes in a fit of passion, poetically thrownTo tears of grief and sorrow, given to a woman who I loved lovingTo dancing in a dark place, wrestling the darkness to light

To be this old, you seeMaybe I do want it, because the road I took to get hereHas a fucking awesome view

Behind the glass: This way back down to Texas is full of majestic views, rolling hills and quiet bends, all overlooking the Southernmost part of the Ouachita National Forest. It's another shot of a road, another path traversed, another wonderful part of my life, full of beauty and color. I've removed everything except the color in the yellow lines. Probably painted some years ago, but still holding on to its hue and shade, and still doing its job, a photograph by Micah Boswell, 2018. On Unsplash