Monthly Archives: March 2011

Two Crazy Kids, An Old Man, And A Host Of Lizards

1.
The Old Man, as we called him because of our lack of imagination, was usually seen smoking a fat tube the same color and size as the ubiquitous local lizards.  We assumed these were cigars, mostly because it seemed unlikely that he possessed the requisite igniter to get a lizard to burn.

2.
We were there because of our lack of imagination.  Our art was escape, not arrival.  We had been on the run so long, place names seemed superfluous. 

3.
The relationship between us, if you can call it that, was superfluous. On the rare occasions we fell into sex in those days, it was usually due to losing our balance versus our having been open to abandon.

4.
As the days wore on, we surrendered to a lack of definition; lost entire weeks in the calendar grid; began to refer to the Old Man as the Lizard Smoker, having forgotten our earlier decision that this could simply not be so.

5.
He taught us that the trick to smoking a lizard is to put the tail end in your mouth and use the dry skin around the eyes as tinder.  Once you’d learned the trick, they were remarkably easy to light. The hardest part was learning to coordinate the biting of the tail end to create a vent for the draw; it had to be timed perfectly with the ignition of the blowtorch, and that first drag was a doozy — all the gut and blood bubbling inside made for a strange if not entirely unpleasant taste, not unlike that recalled from the factory air of our youth, with a trace of bewilderment in the aftertaste.

6.
That were were torturing animals never occurred to us.  We’d been tortured animals ourselves, after all, and casual death seemed natural.  Organic.  Accustomed, in some ways; I’ve already testified to our lack of imagination, after all.

7.
Weeks turned into days.  Instead of marking the passage of time (however poorly we’d done at it) we simply rose, lit up, and passed the day in the company of the Old Man listening to odd stories of bureaucracy and petty intrigues, then fell into bed at dusk to await the next sunrise, the next smoke.  That there were names for the days seemed superfluous.

8.
We awoke one morning to the Old Man’s death rattle.  That one of us might have killed him did not occur to us until we saw the blood, the knife, his blowtorch bubbled skin.  We thought at first it might have been the lizards, but there were none to be found anywhere in the village.

9.
The local constabulary arrested us, charged us with various types of extinction.  There was no trial, and we were incarcerated in the flimsy local jail to await transport to the regional prison to serve life sentences.  Fortunately, the bribes required to get us out of town were small enough for our meager savings.

10.
On the road back to our long-abandoned homes, we realized how long it had been since we’d had to think of schedules, itineraries, names.  We had little imagination, but managed to concoct a story to explain our absence to our loved ones.

11.
We told them a story of exploration and suffering, of the smell of desperation and bewilderment, of the kindly Old Man who’d taken us in and showed us the way of the indigenous culture.  The story was bogus-sounding, but as we came from places where lack of imagination was endemic, it was accepted with little hesitation. At any rate, it was all but true, although we’d left out the lizards  and the mystery of the Old Man’s murder in consideration of the delicate sensibilities of our simple homefolk.

12.
Sitting on a hill outside of town, staring into the curls of autumn smoke above the plain chimneys.  We made love again as we once had, stable and grounded.  This was a temperate climate, after all; no lizard temptations here, and we knew the names of all the old men and women there below us.  It was almost good.

13.
The next day, we left for Los Angeles; bought blowtorches before we left, betting on the possibility of lizards.  The memory of the taste and the bubbling of the blood and fragile skin was so strong…maybe there was a movie to be made of all this.  Something to fire the imagination.  Something not to be seen as superfluous in scant years after it was made.  Something we’d be remembered for.

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Chastisement

talk about walnuts dammit
or bananas or plywood
maybe there’s a door to consider
or typewriters themselves sexy and willing
to be closely observed

talk about bricks dammit
spend an hour staring at one
until you have red dust and pitting down
until the brick’s all mopped up
and ready to be wrung out

here’s the pavement — kiss it
here’s the cobweb — swallow it
here’s a key — stuff it up your nose
brass smells of dirty fingers and ozone
gimme an epic about that scent — start maybe with

first time you noticed it was when your mother died
the keys were in the hand you bunched up to your face
you could smell and taste them mingled
with tears and varnish on the oak table
upon which you laid your head to weep when it happened

or something or other
some incident something or nothing at all
just talk about something real
rage has no flavor and neither does love
but bodies do and so does your blood

which until now you’ve been unwilling to share

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Master Class

Start on the tip of edge and of border.
Air no cushion, just a stall to the drop
from ridge to gully, valley, canyon floor.

Don’t face the fall.  Don’t look down.
You’re going in the hard way.
With luck and magic, you’ll be okay.

Start the backwards march — go toward the ahead,
while facing the left-behind.
You will trip and fall, sky-faced;

just before impact, some force
will flip you — trust us, we’ve been there.
You’ll land on your feet with the cliff before you.

Begin to walk backwards. It will be painful,
but work it till you speak cramp
like a mother tongue, offering a praise chorus

to the pain of gain.  You’ll see
new ground but you’ll know that
only after you pass it.

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Angry Snaky

there is hooping.  hooping it up.
in flashmobs. hooping flashmobs.
poetry slam flashmobs hooping it up.
ghost riding hoops. slamming hoop
flashmobs of ghostriders. protest signs
on hoops at slam flashmobs. tweeting
snakes hooping ghost ridden poetry.
ghost written poetry flashing and slamming
hoops of protest. anti-union angry birds
riding ghost on poetry slammed with tweets.
angry tweeting birds posting videos of flashmobs
hooping it up poetically for the unions.
radioactive seawater soaking into angry birds
oily from spills and poetry. ghost slamming
riders tweeting protest and mobbed up flashing
hoops at rebels. rebels and angry birds
flashing apps and tweeting unions at ghosts.
riders and writers posting birds at anti-union
warmongers slamming hoops upon rebels.
uprisings hooped and angry with birds on fire
and oily radioactive tweets of protest ghosts
riding and slamming poetry in mobs that flash.
war on the angry birds.  flash on ghost unions.
bind the radioactivity in a hoop. slam the mob.
slam the mob.  the hoopers.  the rebels.
the unions. the birds.  oily angry birds
post a video of flashing war.  hoop it up till the birds
flash no more anger.  till the unions
are slammed.  till poetry rides ghosts.
till oil slams down upon the rebel mobs and protests.
till all that is left to us
is angry snaky tweets.

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Understanding Policy

The Policy is a symmetrical beauty.
Each facet is mirror to another. 
Fire’s sprinkled and sparking throughout.
In the center of the Policy, there’s
a violet worm.  It wriggles,
a threaded bait on a holy hook.
We’re born to strike when we see it.
It’s not food, we know.  We know
toxic to the core when we see it,
as we do with peach pits and the like.
But as with those seeds,
there’s the expectation
that it’ll grow into fruit.
That’s why we strike at the worm
in the center of the Lovely Policy.
That’s why they make the Policy
so irresistible.  We long for a fruit tree
to grow inside us and keep us
full and happy.  When the worm twitches,
we tell ourselves, “Oh, it’s coming!
I can feel it growing!  Soon, soon!”
And there’s a war, and a poverty,
and a greed outside but still
we focus on the worm,
saying, “It was so Lovely
when it was in the Policy,
surely we’ll feel the leaves and blossoms
soon, soon!”  It’s not a seed, though;
it’s a worm.  A worm that won’t become
a fruit tree, or even
a butterfly.  When it gnaws through us,
we say “next time, then…” as we fail,
and gutter out, and die.  Soon, soon
enough, the worm is lifted from us into
another Lovely Policy.  See how
it shines.  See its fire.

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Rubbernecking

Red inside,
if light intrudes.
Open the body
or enter the body with
illumination; you’ll see

a blossoming of
hue, new information,
a tug upon reflexive
misery.  Memories
of movies, television,

accidents, war. 
We see ourselves
as we were not meant
to be seen
in these lit, sprung bodies.

At the moment of entry:
change.  We
change.  We long for
blindness, even as we crane
to see.

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Pieces

Which parts
of mine are
in these words?

Heart or gut, eyes
or ears.  How much
of my piece

is in this piece?
Ask instead
what parts of this piece

are my parts.  Ask
how I feel seeing
from blank holes

or poking at the skin
flush now from jawbone
to dome.  As for heart

and lungs, ask me
if I’m still alive.  See
if I spit blood when I speak.

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Negative Energy

She says,

I prefer not to surround myself
with negative people,
with negative energy

as she listens over earbuds to her eclectic
music archive:
Nirvana,
Beethoven,
Miles;

as she browses through the extensive
poetry collection on her Kindle:
Frost,
Sexton,
Plath;

doing this as she sits alone on the sofa
in the coffee house
under the reproduction
of

The Starry Night,

painted by Van Gogh
from a memory of the view
out the window of his sanitarium.

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The Archaeology Did Not Mean To Oppress

The archaeology
did not mean to oppress.

It did what it could
to be fair. When faced
with the buried walls of
palaces, temples obscured
by history, all it had to offer
was interpretation flawed
because it had a starting point
and endgame predetermined,

as did the arts, the nutrition,
the design — all
wrapped in innocence
of their status as
oppressors, they simply
operated. 

The racist
canon,
the sexist couture,
the elitist diet,
the reductive archaeology

did not mean to enslave,
did not intend to erase
truth in favor of
agreement, silenced
wisdom, stunt
voices.  What they were made to do
they did faithfully, dumbly,
and well. 
It was hard for anyone
to imagine
once they were done,
except for those who
slipped through
by chance,
by hard lesson,
or by listening
to the whispers
mortared into those original,
ancient walls.

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Immortals

Immortals
are easy to find:
ask around a local dive
and you’ll be pointed to them
seated with a mug
and a shot of ginger brandy
at a spot on the bar
grooved to match their perpetual
elbows.

Johnny, for instance,
one hundred and sixty if
he’s a day, recalls
how they cut the tree
that made the countertop
where the cash register sits.

Count the rings in the grain, he says,
and I’ll tell you a story for each band.
But before you start,
pour me another
beer and a bump.  Stories
are good but the now-buzz
is better, that’s how
I stay alive.

Maybe if you buy this round
and join him in it,
you’ll end up here too,
telling Johnny-stories
to seekers
a century from now.  Immortality
smells like an old drunk, sharp
with sweat and herbs
and the hoppy scent of sticking around
long after people forget you’re alive.

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Emptyville

Connecticut driving means
crossing many city lines,
passing many signs that say

“Welcome To The City Of (Your Name Here).”
Whatever line you cross,
always one view from the driver’s seat:

a lot of empty mills.
A lot of empty cubicles.
A lot of emptied mills

that were filled for a while with cubicles
and now all are empty again.
Without the signs to correct me

you’d think you were in
Emptyville for
three hours straight,

except for the roads not being empty,
ever.  The whole state
is going somewhere,

downhill, uphill,
rolling over lines and passing those signs
that say “Welcome To Fill In The Blank.”

There’s a networking event
for out of work professionals in every town.
All those “Hello My Name Is…” name tags

on smart blouses
and sharp lapels,
all those resumes that say,

“Seasoned financial services professional with experience
in all aspects of the industry. Driven by results,
solid leader and team player; versatile;

able to hit the ground running.” All those eyes
on the eyes of the people behind the tables,
taking those resumes under consideration.

Later, all those name tags crumpled
on the floors of all those
once-affordable cars

holding just enough expensive gas
for the drive back across
city lines, past city signs —

“Welcome To Once Upon A Time,
Welcome To Just Passing Through.”
Uphill, downhill, north, south,
driving through Connecticut,

past all those refurbished mills
and the echoing cubicle farms
with the department nameplates on the walls:

“Accounts Receivable, Accounts Payable,
Legal,
Human Resources.”

If you find yourself in Connecticut
in an empty office building, it’s perfectly OK
to switch those signs around

if you’re so inclined; it’s not like anyone
who comes here after you
is going to know the difference.

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Gratitude

Thanks for the shrimp
and the butter on my chin.
Thanks for the way they pop
going in.

Thanks for the momentary,
the transient, the true
for a moment.  Thanks for
sharing my ineptitude.

Thanks for the level gaze,
the fingers tip-tapping on my wrist.
Thanks for the falling, the landing,
soft focus, pulse, resist.

No knee to take, no head to bow.
Thanks for the upright posture, your stand
in favor of receiving my difficult offer.
Thanks for open ears, open hand.

Gratitude’s a piece of charred wood
with a core still sound and deep grained.
Thanks for your willingness to burn
when you lifted it from my flame.

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Adam’s Joy (draft)

They were the People. 
The People Who Defined. 
Who took to heart the dictum
that good fences make good neighbors.
Who wanted to be seen as Good Neighbors
and had to reconcile that
with the need to own completely
both what was inside
and what was outside
The Fences. 

So they were The People,
and the others were The Others.  Easy at first
when all that was required was to say
this is a House and that is Not, this
is Our Side Of The Fence and that is Yours
(also defined as Theirs For Now). 

That’s a Rabbit
than can jump freely over, and a Fox
that can follow.  That’s a Stream
which cuts through.  (They call it a Creek
over the Fence.)  That Stone
is the defining Stone.  Any other stone
is measured against that Stone, is found
Wanting.  Easy, easy,
easy…Adam’s Joy,
they called it.

The People ran into trouble
when it came to the abstract: what is Freedom, for instance,
when there’s that Fence plainly creating an exception
to however Freedom would come to be defined?
Take this Poetry, they said,
or this Painting, or this Rhetoric;
this Music.  How to define those things
when there’s another definition over the Fence
and we need to include both if we are to own it all?

Perhaps, said the Wisest Of The People,
we could define by negation to begin? 
So the Others have no Poetry, no Art,
and we can say that what we have Is,
and theirs is Not That, and What We Have is
Not Theirs?

But what if we want That Which They Have,
said some of the People.  And what if we consider
that they may have their own definitions?  Perhaps
Adam’s Joy is cumulative and not exclusive.
Perhaps we may find more Joy over the Fence.

Then we shall redefine enough to hold them
in our Paddocks and Pastures, said the Wisest.
We shall move the Fence, and call their definitions
into question for being Lesser, or Stolen.
Or perhaps,

you are not of the People?
Perhaps we missed something when we fenced you in
with us? 

Whatever, said a painter
and a sculptor and a poet.  Whatever,
said the Free. 
We just do.  We
are the source of definition,
and the Fence is nothing to those
who have no idea of neighborhoods.
Who look over the top
and never look down.

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The Fan

There you are,
resplendent
and undeniably
on the slab, perhaps
prematurely but
still certain of
the oncoming
outpouring of grief
and accolades —
how much did you have to spend
to get this deep into the luxury
of wallowing in your own mortality?

If the ring on your finger
falls off when you decay,
can I have it?  Is it
a poison ring
with a compartment
full of rationale? Or
instead is it a charm,
scarab as saturated
with your obsession
as any Egyptian artifact?
Seems a shame
not to perpetuate
your masterpiece of suffering,
not to allow someone else
the chance to extend
the metaphor
for a few years yet;

let me try it on at least;
let me see what I can do
with what you’ve started.

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Vintage

In pursuit of
an indescribable
quality, hipsters
search for vintage

as if past
holds spice
not easily found
in present.

Without pretending
to be ancient, still
obsessed with
their own youth,

they adorn firm wrists
with patina-dull watches
they will overwind
and deck taut throats

with cameos
as if those permanent
faces could mask
how their own

will soon droop
and vanish
into that same past
they revere

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