Little board sliver slithers soft forked maple fangs into the palm of my hand.
It bit me. This thing I am ripping. Stripping.
Nibbling no more than an eighth an inch a pass.
Rabid dog mahogany.
Cherry red in the tooth.
Creamy peanut butter pine
with rotten streaks of jelly.
I’ve written more numbers on lumber this past week
than words into any story or poem.
I am a confused sort of man.
Walked up on where two paths diverge into the woods
and chose neither one. I’m losing skin from shins
and will be itching for weeks from high stepping
all the wild unwalked life-choked spaces in between.
Footsteps scar the earth. The earth grows thorns
and marks chalk on me. An alphabet of illegible lettering.
One over sixteen with two petite dashes tilted like military berets.
The word heavy.
The word slider.
Rip it longways to five and a quarter and give it another run on the router.
Wipe glossy white wax on each end after you cut them. Born brown faces
squint into the sun off the pool they’re building. Burnt brown faces
have measuring tape like loaded handguns on their hips
clutching little notebooks and a teeth marked pens.
They’re poets too. In their way.
Calling grown men who don’t speak English too stupid to their face
and keep sawing blue stone tiles with circular saws and no masks on.
White dust and the smell of burnt glue fill the air.
Clouds. Clock out. And head on to the home place long before any of us.
Short. Long sleeved men. And knit polo tucked into crisp clean khaki foremen.
Trying to read my scratched black handwriting in this hard dark stubborn Ipe wood.
A man from Brazil told me it was from Brazil. “It is amazing to have such long boards,”
he said, “the Ipe tree, you see, it grows very crooked.” As he read a scrap of it
with more intention than anyone has ever looked at one of my poems.