THE IMPERIAL GARDEN

THE IMPERIAL GARDEN

I walk the Imperial Garden of Abstract Thoughts
where the hedges are theorems
and the fountains run on doubt.

The roses are syllogisms—
each petal a premise,
each thorn a conclusion
that bleeds.

A statue of the Self
stands in the center,
headless, holding a mirror
that reflects the gardener.

The gardener is me.

The moon is a period
at the end of a sentence
nobody finished.

I walk the paths
the way a word walks
through a poem
it did not choose.

At the gate,
a sign reads:

EXIT ONLY

in a language
I have not yet learned.
I stay anyway.

The garden is mine
the way a scar is mine—
not chosen,
but carried,
and somehow
still beautiful.


THE WATCH AT GREYMARSH

The fen-light fails. The heron lifts.
A horn speaks once from the blackened ridge.
Who rides the causeway with unlit eyes?

Who bears the token the dead still keep?
Queen of the threshing floor, stand.
Your wheat is ash. Your barn is a mouth.

The reeve has sold the river’s name.
The mill-wheel turns on a stranger’s oath.

Bring out the bronze that never learned mercy.

Bring out the cloth cut under a comet.
The marsh remembers every boot.
The reeds lean west and will not lie.

Prince of the unlatched gate, turn back.
Your banner drinks. It will not drink you.
A child has counted the horses twice.

The second count was only wind.
They come with lanterns sewn in their coats.
They come with laws that smell of tin.

The old stone cross has shut its face.
The well will not give up its coin.
Wait for the drum that is not a drum —

the bittern’s knock on the ribs of night.
Wait for the woman who names no king.
She keeps the spark in a hollow key.

If the ring of water should break its vow,
if the last red fox should cross the road,
then open the chest the monks forswore
and give the field what the field is owed.

The battle is older than either host.
It wears our hands. It wears our breath.

Let the pipers walk the drowned mile.
Let no one claim the morning yet.

:: rev,98,2026, ::


ECSTASIES OF THE REPULSIVE

A womb, borrowed.

The worm’s whisper pays the rent.
We too cradle strangers—
cities swollen with children
whose names we rehearse
and do not know.

Marrow tunes its teeth.
Hunger keeps the violins.
A promise, gnawed to white thread.
A vow, set on the table
beside the bone it came from.

At the banquet of thought
we eat our own gestures.
Yesterday’s embrace
is tomorrow’s hand,
still warm,
already portioned.

Soup of breath
slurped from the husk—
is this not prayer?

The lung keeps a ghost
only long enough to spend it.

Someone, elsewhere,
inhales our leaving
and calls the air clean.

Silver gulls tip yesterday
into open beaks.

Salt. Storm.

The unfinished child.
The beak does not ask
whose water.

A lullaby snags
on the singer’s tongue.
What soothes
is the swallow.
We sleep
where the mouth closes.

:: 10.04.2026 ::


A FISH SLEEPS IN THE CLOCKTOWER

A fish sleeps in the clocktower
and dreams of teeth made of clouds.

The bells forget to ring.
The hours forget to pass.

You asked me,
“What color is silence?”

I said, “The one no eye can hold.”

It lives in the space between two heartbeats,
where the world goes quiet enough
to hear itself think.

We buried a ghost in a book of feathers—
each word a spine,
each sigh a storm.

The pages turned themselves at night,
searching for the body they lost.

I found your voice
pressed like a fossil in my ribs,
and the stars stitched your name
into my lungs with moon-thread.

Every breath I take
is a small resurrection.

The sky remembers our names
when even we forget them.

It keeps them in the dark,
between the stars,
where nothing is lost
and everything is waiting.

:: 09.19.2026 ::


THE RASPBERRY’S SAVAGE THROAT

the elephant courts the millimeter
as if distance itself had grown a trunk
and learned to blush in fractions

the snail dreams the moon has already lost
and keeps the defeat folded in its shell
like a letter never mailed
his shoes are blanched and emptied
the color of a gelatin rifle
issued to a soldier who has not yet been born –

the eagle possesses the grammar of an inner vacancy
the way a mind owns the space it refuses to fill
his water is flecked with small arriving lights
the lion wears a clean and restless gothic mustache
his skin remains unhurried

he laughs the way an encore stains the air after the last note has already left
the crayfish holds the raspberry’s savage throat
the apple’s quiet calculation
the prune’s slow mercy
the pumpkin’s unashamed heat
the cow walks the parchment road
last animal in a ledger of meat
where every hair is weighted like a stone that remembers being alive
the snake leaps and pricks and pricks
circling the basin of love

where hearts hang pierced and still dripping
the butterfly, buttered in straw, becomes the butterfly the straw was always waiting to become
the same butterfly, buttered in straw, grows large
and is smothered, fathered, and put to bed inside the straw
the nightingale draws heart-stomachs out of gut-brains
which is only another way of saying
it lifts the lilies that roses hid
from the carnations that lilacs never admitted they were
the thumb keeps its right foot tucked behind its left ear
its left hand locked inside its right
standing on the left leg
while it vaults, again and again, over its own right ear
somewhere the millimeter is still listening
and the elephant has not yet decided whether love is a unit of measure
or the thing that refuses to be measured at all

— E.P. Robles


THE OCCUPIED ROOM

She walks through the rooms of my sleep
and leaves her footprints in the walls.

She is the weight of my silence,
the climate of my throat,
the door I open without knowing
what I am letting in.

Her absence is a room I keep furnished.

She does not knock. She does not need to.

In the dark she is the dark,
and in the light she is the reason
the light keeps failing.

I have no name for what she is.
I only know that when she is gone,
I am the one who is missing.

:: 09.09.2026 ::


WE ARE THE MONSTER

we are the monster eating
repressive governments
we wake with metal on the tongue
and still we care
the Soul knows

we rise from the dirt they called peace
i am the throat they closed
at three in the morning
the guard’s face would not look at me
now roaring through the streets
the Soul remembers the names under tar

i am the monster tearing
the chain they named protection
the lock still warm from their hands
i am the memory they buried
face-down in the yard
the fire they swore was dead
the Soul will not forget

we stand when they demand the knee
we are the storm they summoned
by starving every dream
the Soul knows the cost

we are the monster now
no flag, no throne, no master
we eat the lie down to the bone
we keep what they could not kill
and we will not go quietly

the Soul knows.
and still it burns.

:: 09.05.2026 ::


OVERSHADOWED

Night.

Shadows lean in.

Cold fingers find the keys.
The moon cuts the room in half
with a single pale edge.

One note, then another—
tears running the length of the glass.

Inside the wood,
laughter that once lived here
is still trying to get out.

One candle left.
It does not go out.

The night stays.
A black page

No one will finish.
Dust in the first light.

For three measures
the right hand forgets
the left.

A laugh dies
between the teeth.

|| 08.25.2026 ||


STRANGE LANGUAGE

The most alien language would not be “foreign.” It would be structurally incompatible with the way human minds make meaning.

Here are the deeper strata, ordered from merely strange to nearly unthinkable:

  1. Language without reference
    Words that never point at anything. They do not name, describe, or evoke. They only rearrange the reader’s nervous system. Meaning, if it occurs, is a side-effect the language itself does not recognize. Closest human approximations: certain strains of glossolalia, asemic writing, or the most extreme late Beckett, but even those still lean on the ghost of reference.
  2. Language without sequence
    No before and after. A sentence that is simultaneously its own beginning, middle, and erasure. Reading it does not move forward; it opens a space in which time is optional. The text can be entered at any point and still be complete, yet never finished.
  3. Language that requires non-human embodiment
    A system whose grammar is based on phenomena humans cannot directly perceive: gravitational gradients, quantum entanglement patterns, magnetic field topologies, or chemical concentration gradients across a body the size of a moon. The “words” are not sounds or marks but states. A human can only encounter translations, and every translation is a betrayal.
  4. Self-devouring language
    Every utterance rewrites the rules by which the previous utterance can be understood. The language is not stable long enough to be learned. To “speak” it is to abolish the conditions that made the speaking possible. It leaves no archive, only the after-image of a system that has already moved on.
  5. Language of pure negation that still generates presence
    Not ordinary negative theology (“God is not this, not that”). A language in which the act of denying something creates a denser form of the thing denied, until denial itself becomes the densest substance. At the limit, the language can only be “spoken” by ceasing to speak.
  6. The far edge: language that does not admit a speaker
    No subject position exists inside it. There is no “I,” no “we,” no vantage from which the language is produced. It is not spoken by anything; it is the event in which the distinction between speaker, speech, and world fails to arise. This is the closest linguistic analogue to what the earlier poem gestured toward: past the Throne, past existence, past space. A language that could only be native to whatever remains when even the category of “what remains” has been withdrawn.

The strangest writing would therefore not look exotic or ornate. It would look almost empty, or wrong, or broken in ways that cannot be repaired by better translation. It would leave the reader with the precise sensation that their own mind is the wrong instrument for the task.

That is the territory beyond archaic language. Archaic is still human memory. This is the refusal of the conditions that make memory possible.

:: 08.20.2026 ::


BEAUTY WITHOUT REGRETS

You said Let’s Dance
And I went after

My Steps were Awkward
You moved my Feet

I feared the Fools
I sought in vain the Words
To make your Life make sense

To Me

You lied my Sister
You broke the Heart
I think You know
Mistakes Never

I listened You spoke
I understood not well
The Beautiful Lady
Without Regrets

I wept You laughed
I sang You cried
You sowed the Seeds
Of a Wrong Oak

My Wheat took Wing
You had Enough
I waited always
My Cries were Deaf

You lied my Sister
You broke the Heart
I think You know
Mistakes are Never

I listened You spoke
I understood not well
The Beautiful Lady
Without Regrets

:: 08.13.2026 ::


TRANSLATION of a DeAD writing

Oh lonely tongue,
i have been drawn
as poet and artist!
i have no muscles
to move — n3v3r to
complain___________
to see your face
to hear your advice
—–< suffice _?)

so be it. >

:: 08.05.2026 ::