Poems by Jordan A. Leturgez

In the dim-lit glow of the stage, he stands, 
A figure cloaked in dreams and shifting sands, 
With eyes like windows, deep and wide, 
He wears a thousand lives, each one a guide.

His heart beats to the rhythm of applause, 
A symphony of souls, a silent cause, 
In every line, a story waits to bloom, 
In every gesture, shadows dance and loom.

He slips into the skin of kings and thieves, 
In laughter's echo or the sorrow that cleaves, 
With every role, he sheds his own disguise, 
A chameleon of truth beneath the lies.

Yet when the curtain falls and lights grow dim, 
He walks alone, the laughter turning grim, 
For in the mirror's gaze, he sees the cost-- 
The self he plays at times feels almost lost.

Behind the mask of joy or bitter strife, 
Lies a tender heart that yearns for life, 
To feel the warmth of love, to touch the ground, 
To find a voice that's real, a sound profound.

He dances on the edge of joy and pain, 
A jester's crown, a lover's sweet refrain, 
In every tear that glistens on his cheek, 
A testament to dreams he dares to seek.

So here's to the actor, bold and brave, 
Who walks through shadows, yet still dares to save, 
A piece of truth in every tale he weaves, 
For in his art, the world finds what it needs.

There are moments when the throat becomes a glass--
too thin to hold the shape of a thought,
too clear for the tongue to frame a single syllable.
A silence like winter settles behind the ribs,
and words, like migratory birds, swoon and pass the horizon.

The heart keeps speaking in a language of knocks,
each beat a small drum calling maps into being,
but the mouth is a sealed bay where ships cannot anchor.
Eyes pick up the slack--harvest light, gather the tilt of a smile--
and hands begin to speak in the slow grammar of touch.

Speechless is not empty; it is a room hung with echoes,
a laundry of moments drying on the line of breath.
It holds what cannot be caught by consonants:
the tilt of astonishment, the bruise of grief,
the hush between two people where forever is negotiated.

Sometimes speechlessness is awe--an old tree opening its arms,
a sky so full of color the tongue forgets its work.
Sometimes it is fear, a mouth barricaded by frozen rain.
Sometimes it is love so vast the map of names unravels.

Listen: the silence speaks in the small currencies--
the press of a palm, the tilt of a head, a laugh let loose like birds.
If you learn that language, you will find whole oceans
where the world had promised only deserts.
Speechless, then, becomes a poem that needs no spoken rhyme.

Neon hum, a quarter moon over green--
chalk dust like dry snow on the tip of fingers,
the felt a small country of its own,
pocketed with hungry, round promises.

A glass catches the light: amber, forgiving.
One swallow, and shoulders dissolve,
tongue loosens the little verbs that hold you tight.
Confidence arrives on soft feet,
a borrowed shape of courage that smells like citrus and oak.

You stand over the table and the world rearranges.
Angles grow generous, the cue feels longer,
your elbow unbolts, your breath slows to candlelight.
The cue ball answers like an old friend,
the break sings and for a heartbeat you are brilliant.

Then the second shot comes with tremor.
The world tips. Distances swell like mirrors.
Your eye that once read geometry now reads ghosts.
A straight line becomes a rumor,
a bank shot a superstition--what was sure is suddenly slippery.

Alcohol is a kindly thief and a cruel teacher:
it hands you a mask of fearlessness,
and behind it your hands may forget the lessons
paid for by practice, patience, repetition.
It smooths the edge of doubt and the edge of judgment alike.

Some nights it polishes the ordinary into art;
some nights it muffles the clue-scent of precision.
It can quiet the critic that stops your cue,
but it also quiets the small, precise voice that measures distance.

So ask the table, ask the felt: does it help?
The table answers in clacks and silences,
in the luck of a roll, the mercy of a pocket.
It tells you this--sometimes the drink is a lullaby
that lets skill awake for a while; sometimes it is a fog.

At last the cue lays down. The glass breathes its last.
You tally wins that taste like someone else's name,
and losses that feel like old weather returning.
Better? --for a night, perhaps. For a life at the table, rarely.

Aim, they say, is more than courage: it is steadiness of hand,
the long apprenticeship of counting angles, of falling and rising.
If you must bring a spirit to the game, let it be the spirit of practice,
of patience, clear eyes, and a hand that remembers the geometry of truth.

But when the neon is soft and the pool hall hums,
there is a kind of grace in the first, warm sip--
a temporary truce with your own doubt.
Just be careful which you pocket: the ball, or the bottle.

It cracks the night like glass--an animal, a bell,
a throat unzipping to pour out a sky.
It spills, a red river down the face of the moment,
flashing teeth at the steady, indifferent stars.

NOOOOOOO!!!!! echoes in the ribs of buildings,
boomerangs off distant, sleeping houses,
finds the small room where hope had been folded,
unfolds it roughly, leaves the paper thin and trembling.

It is the sound of a hand pulled from another's,
of a light blown out in mid-sentence,
of a name that will not be buried politely.
It overturns the tea, it topples the faith
you had arranged like trophies on a shelf.

But listen: the scream is not only ruin.
It is also a beacon, raw and incandescent,
a flaring refusal that clears the fog.
In its wake the air tastes new--sharp, honest,
like rain after fire, like breath after being held.

NOOOOOOO!!!!! breaks open the sealed things inside,
lets you see the hands you thought were steady--
trembling. It forces the dress to the floor,
reveals the wound that was meant to be contained.

And from the jagged heart of that sound
a quieter music is born: a no that is a wall,
a no that is a door slammed shut against harm,
a no that makes room for the yes you might not yet know.

So scream it if you must--let it peel the paint,
let the neighbors think the world has ended.
Gather the pieces, count the cost, and choose:
not every NO is loss; some are the very shape
of the life you are still building.

NOOOOOOO!!!!!--a thunder that finally clears the sky.

Every dog has its day,
a small sun rising where the pavement cracks--
a gnawed slipper baptized in morning light,
a tail that learns to count the world.
Some days are thunder: sprinting down alleys,
nose like a compass to the vanished scent of dinner,
others are hush, a bed warmed by remembered hands.

There is the streetwise king with dust for a crown,
who finds a spilled sandwich and is royal for an hour.
There is the champion in the backyard--leaps like a yes,
eyes bright with the grammar of fetch,
who comes back every time with the whole day's praise caught in his mouth.

There is the old dog whose joints keep ledger,
who remembers every door that ever opened,
who dreams of running and wakes to the ache like a bell.
When the child drops a slice of toast, his tail--slow as forgiveness--answers.

There is the small one under the shelter light,
nose pressed to a cool, hopeful window,
who waits through seasons of goodbyes until a hand arrives,
and the world tilts, a plain made new as a bowl of water on a hot day.
For some, the day is loud with applause; for others, it is a single soft hand.

Every dog has its day,
not always the headline, but a holy quiet: a lap, a leash, a laugh,
the warmth of one familiar voice reciting the same silly name.
Sometimes it's a road that ends in a porch where the moon lays its silver paw.
Sometimes it's the simple miracle of being seen.

So let mornings be patient and let sunsets keep their secrets.
Listen for paws like small metronomes on the floor--count them.
Because when that day comes, it will be a bright thing:
brief, ordinary, fierce as joy, and it will make everything else forgiveable.

There is a drum in the chest -- not asking permission,
only keeping time with the slow tilt of the world.
Morning folds itself into the palms of your hands,
coffee cooling like a promise you almost kept;
the city exhales, a map of small fires and small mercies,
and somewhere a child learns the fierce geometry of falling.

The river does not consult the stones before it passes,
it remembers every grief and every name
and carries both like pebbles in bright mouths.
Light finds cracks in the ordinary and pours through,
insistent as forgiveness, as stubborn as a lighthouse
that has no business still calling ships home.

Love is kinetic -- a language of repeated gestures,
notes returned in the margin of a day. Loss is kinetic too:
it arranges itself into the furniture and the silence,
sits in your chair as if it had always lived there,
learns the cadence of your hands at the sink,
keeps visiting at the hour you thought was private.

It never stops: the turning of seasons, the folding of maps
we thought we'd read through. It never stops:
the naming of things, the singeing of hope and the rescue,
the ringing of keys, the making of beds, the letting go,
the beginning and the small remaking after ruin.
We are paper boats on a rain that insists on rising.

Sometimes it is tenderness that will not pause,
a stranger's umbrella given without explanation;
sometimes it is the ache that rehearses itself at night,
a slow metronome beneath the ribs. Both keep time,
both insist on being lived through. We are not finished
with what we are learning to be -- not yet, not ever.

Stand, if you can, with your palms open to the noise:
the endless work of love, the stubborn chorus of sorrow,
the quiet repairs, the sudden laugh that undoes you.
There is a pulse in everything that breathes and breaks,
and even in breaking, something decides to continue.
Listen: it never stops -- and for now, that is a way to live.

Midnight breathes like a softened bell --
a hush of smoke and hopeful glass raised to the sky.
We fold the year into the palm of memory,
watching old mistakes turn to ash that glows
a little warmer than we expected.

Streetlight confetti, socks of laughter,
someone's tired song made bright by strangers' voices.
We count backwards and then forward, a small miracle:
seconds unhooked from regret,
seconds rewired to possibility.

There are pockets of grief we tuck beneath our coats,
buttons sewn over cracks -- not to hide but to keep warm.
Resolutions arrive as quiet visitors,
bearing simple gifts: a promise to be kinder,
a vow to listen to the soft things first.

A child unfurls the future like a paper boat,
and in the steam of hot coffee, futures steam too --
some will sing, some will stumble, some will arrive
with maps of scars that read like constellations.
New cheer is not the absence of pain;
it is the courage to light a match anyway.

So we step across midnight's thin line,
carrying last year's lessons like careful luggage,
and release what refuses to bend.
The sky fills with tiny suns of laughter,
and for a brief, shaking moment we believe
in beginnings as if they were prayers answered.

Hold this cheer like an ember in your palm:
tend it with truth, feed it with small acts.
By morning, the city will be ordinary again,
but something in us will remain brightened --
a single room lit from within,
ready to meet the quieter miracles of the year.

We stoke them like small rebellions -- palms cupped
around sparrows of ember, feeding breath until
the hush refuses to stay. Night bends closer,
curious as a cat, and the first sparks remember
their names: longing, ruin, tenderness.

They do not burn politely. They roar
through the corridors of ordinary days,
igniting the curtains of routine, leaving
maps of light on the floorboards. We walk them
like pilgrims, barefoot on coals that glow
with old maps of what we swore we'd become.

Sometimes the blaze scours us clean -- a bright
surgery that leaves scent of cedar and salt.
Sometimes it devours the furniture of habit,
leaving only ash and a single, stubborn ember
that glows like a promise we forgot to keep.

Love is not a candle: it is a wildfire that learns
to read our faces, to chase the syllables of our laughter,
to tender the bones that feared to be touched.
It feeds on the moon's reflection in your coffee,
on the silence after a storm. It is both anthem and warning.

So we hold each other like flint and tinder,
knowing that to strike is to change forever:
to walk out incandescent, to walk home rebuilt,
to carry, beneath our ribs, a geography of light --
hearts on fire, not to consume us, but to show us what will still burn.

Every other city we go becomes a small religion --
a cathedral built from our suitcases, ticket stubs,
and the way you cup your hands around a steaming cup
like it might confess the route it took to find you.

In Marseille the sea taught us how to argue softly,
blue and salt between our teeth; in the next place
we learned to speak in corners, in leftover bread,
the quiet grammar of two people trying not to leave traces.

Every other city we go keeps a piece of your jacket,
laces knotted into memory, a receipt folded like a prayer.
One city glows with neon and stolen kisses at three a.m.;
the next is a photograph of a bench where we apologized
for the weather and for everything else we could not change.

There are cities where we sleep like travelers in borrowed names,
where strangers offer directions and we are grateful for the past.
There are cities where the lamps throw our shadows long and hopeful,
where we map each other on the backs of postcards and hotel keys.

Every other city we go is a ledger of small miracles:
the street musician who taught us a chorus, the bakery that kept our secret,
the taxi driver who listened and refused to fix our problems.
Between them, in the odd ones, the silence gathers meaning,
a quiet room where we relearn how to be two without decaying.

By the time we learn the language of stoplights and rain,
the orbit of our feet has become a constellation.
We carry cities like coins--some bright, some worn flat--
and when we press them to our palms at night they still hum,
like a promise we are not sure we ever made but keep anyway.

Every other city we go is not a loss but a ledger of living:
an atlas of small departures and the tender ways we return.
When the plane lifts its hands and the skyline thumbnails away,
I count the spaces between us and know: we are always building home
out of the few things we keep--each other, and the names we refuse to forget.

It is not forged in stadium lights alone--
it is hammered in the hush before dawn,
when the city is a slow exhale
and feet find rhythm on an empty road.
It learns the language of early mornings,
the grammar of returning after falling,
each bruise a punctuation in an unfinished sentence.

This heart keeps time like a weathered drum,
beat after beat carved from patience and salt.
It remembers the taste of loss--bitter, sharp--
and turns it into a kind of sugar for motion,
a fuel that burns clean and stubborn.
It knows the weight of waiting, of quiet training,
and the strange tenderness of pain.

A champion's heart is small sometimes, like a fist,
closing to protect a fragile hope,
then opening wide to hold teammates and strangers.
It is a lighthouse that refuses to wink out
when fog presses hard against the shore.
It is all the promises whispered to oneself
in moments when no one else is listening.

Triumph arrives like a thin, surprised rain:
not the purpose, but proof that the weather changed.
Fame may pass through the room like a guest,
but the heart keeps the dishes warm for others,
learns to carry victory with both hands,
and to fold sorrow into the lining of courage.
It hums the same song whether the crowd roars or sleeps.

And when the body tires and medals cool,
the heart keeps counting small, brave things:
the extra mile run in rain, the hand offered,
the return to the mat after being downed.
Champion is not the crown held high alone--
it is the steadiness to stand again,
to keep moving toward the light you can only catch
one breath, one step, one stubborn beat at a time.

So listen: in the quiet between rounds,
there is a drum that will not stop.
Its rhythm is plain and inexorable--
a promise made again and kept.
That is the heart of a champion:
not perfect, not solitary, but unspent,
pushing forward until the world is gentler for its passing.