Author Archives: Tony Brown

About Tony Brown

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A poet with a history in slam, lots of publications; my personal poetry and a little bit of daily life and opinions. Read the page called "About..." for the details.

Machismo

Whenever that type of wrong
can happen, it seems to happen.
Bombs or words or bodily
weaponry, whatever’s at hand

gets used when molecular,
falsified, ingrained pride
surges up and kills
any care within. Then

blooms a corpse-floral
fever, more often than 
occasionally, more obviously
than rarely, more normal

than exotic. It stinks
a cancered manhood song. It stinks
a dangled sadness and falling rage
that too often is used and then given

a pass to unpunished commonplace.
To draw it down is a job
and a calling.  To draw it down
is to slice it free of its tethered feeds

and let it sink wildly, flailing its power
at first, then slipping into something 
more feeble, then becoming still.
It is unknown yet what comes after that.


After Fire, Flood, And Love

Originally posted 3/10/2012.

After
fire there’s ash. Warmth
underneath, pale wisp-paper
above, easily dispersed, easily blown around.

After
flood comes muck.  Damp
goes all the way through.
Deep and sucking, holds fast.

After
love — what?   
What should we call that hot bog
that draws us down and won’t let us go?

After
love — let’s not call it.
Let’s not even name it.  Let’s say:
first fire and flood, then ash and mud;

then, after love, nothing.
Nothing comes after love.


Burying The Needle In Massachusetts

Originally posted 2/21/2009.

twenty five, coked out, driving away from my life
with my skewed eyes stuck on the needle
buried at 120 on state road 140  — the snakepath
from the cape to the stubby hills north of Worcester

south of the basalt shadows of New Hampshire
that are full of whatever Lovecraft adored
I strand the Firebird on a leafmold bank
and get out

there’s a puritan darkness under the trees
that still hasn’t lifted
the inbred imp in charge of hating difference
still sits on the bones of the old farm walls

once you get past the liberal mask
and the self-congratulation inside 128
where the Cabots and the Lodges used to play at benevolence
this state’s as redneck as any media slander against the South

there’s a quote from 2 Jeremiah
hanging outside the house across from where I’ve landed
“…your own sword hath devoured your prophets,
like a destroying lion”

some lay ministry of warning
carved with a router into brown stained wood
just like all the
bed and breakfast signs around here

this state looks pretty as hell
in October from inside a minivan
or even from inside a muscle car
at 120 miles an hour

people come and gawk from buses
stay over, buy trinkets and maple sap
go back home to sigh and say
“we love New England in the fall”

but now it’s high summer
and all those not-yet-red leaves
are barely rustling under the moonless sky
shading God and his devil and ancient blood in the soil

where the colonists beheaded algonquin children
brown people still keep to themselves in fear
and when a boy grows up looking like he wants to break away
or maybe wants to deny how good and right the kingdom is

when he gets to a certain age they start to whisper
he’s gonna end up bad
he’s not gonna make it
often he falls from the prophecies

sometimes he gets older
and can’t escape the feeling that he’s lived too long
goes looking for the sword in the trees
offers himself to lions long after he should have settled down

calling out I’m your boy, simba
your snowfaced speeding bullet
stumbling into your face full of misery
give me your sharp tooth and set me free

not too far from where I’ve stalled
is redemption rock
the natives once gave a hostage back there
and got themselves killed for their trouble

who am I tonight?
hostage or hostage taker?
colonist or colonized?
prophecy or prophet?

I bleed at the very thought of me
I bet Lovecraft is thinking
of changing his name from beyond the grave
because I love him

I’m on the side of the road
the car’s idling rough
I kneel in the gravel on the pavement’s fringe
listen as hard as I can for the lion’s roar

bury a needle deep in these woods
and the local ghosts will use it to sew your shroud
you’ll join them in being
just another sword to wave at unbelievers

now I don’t wanna wreck this car
but if there was any light out here tonight
maybe I’d take the snakepath of least resistance
and plant it on a tree

but turning my head back toward where I started
reminds me that every vehicle has a steering wheel
the way out might be in no place you ever imagined
and what the hell — I’ve got a fast car

so I get back in and turn around
thought I saw a sign somewhere back there
for a highway going somewhere not here
somewhere not in massachusetts

I’m gonna bury that needle once again
send horror ravening back into its den
let the rpm scream and turn the high beams on
drive as fast as I can toward bright lights big city anywhere but here

I’ll be up for a while yet and
there’s always two directions
to any road so let’s pick one and ride
let’s see what this baby can do


Crime Scene With Mayo

I’m hungry
and the cat
wants something
both of us can enjoy.
I’m about ready.
Let’s share across the species,
shall we? I’ll open a can of tuna
and she can lick the sides 
when I’m done.
Never mind dolphins, 
sea turtles, anything else caught 
among the tuna haul: the cat and I
are dining together tonight
as only we unnaturally can
in a house miles and miles 
from the sea,
her waiting impatiently 
for my casual appetite
to lead her into 
anti-ecological temptation
and I can’t help feeling guilty
for turning her into 
an unwitting accomplice
to the murder of the world.


Questioning Oz

We focus on the Man behind the Curtain 
no matter how often we say 
we should not pay attention to him.  

 

Let’s talk instead 
about the Machine he’s running
when the curtain is pulled back.

 

That’s a hell of a piece of technology back there.
Smoke and projection. End result, a terrifying Head
offering favor and demanding sacrifice.

 

Let’s talk about that Curtain too —
the most important piece of fabric
in all of Oz. It looks pretty plain —

 

the same color as almost everything else
in that city.  Made to be
nondescript.  To blend in.

 

Can you recall anything about it 
other than the request
to ignore it? 

 

Who’s the real wizard here — 
the bumbling Man
or the Head howling imperiously? Or

 

are the people
who hung the Curtain
more powerful than either of them?

 

If you buy the Man’s story
all of Emerald City knew he was behind it
all along. Do you buy

 

the Man’s story?  Did he build
or inherit or improve upon
the Machine? Who’s in charge here?

 

What do you think we should call the Machine?

Should we call it magic, or Magick?
Should we call it “green supremacy?”

 

What do we call the Curtain? Should we call it
“greenness?” Should we note that it is the color

of the default setting? What does it say

 

that the people of Emerald City
did not seem sad to see the Wizard go
as long as someone, anyone, 

 

was left in charge to maintain the status quo?

It likely took those three less than a week 

after Dorothy left

 

to step behind the Curtain
and fire the Machine up again — and this time,
no black dog appeared to pull back that veil.


Middles

I sit up late thinking
about beginnings and endings,
howI honor them
and snatch them

and spin about
seeking them.

Decide to focus
from here to the next here
on middles, middle ways,
in media res.

I’m halfway down
a glass of water.

Is it half empty?
Am I at the point
of refilling
and starting over?

Is it half full 
as in I can’t quite see
the end coming?

I will drink from it
no matter its level.
Cold and quenching,
or lukewarm and adequate;

whatever it is
in this central moment
is enough.


Call Center Incident

Originally posted 11/27/2009.

The first words
out of her mouth are,
“why are you working on Thanksgiving?”

I hold my tongue
instead of saying,
“why are you shopping on Thanksgiving?”

Later in the call (which is far longer
than our four minute standard
and I’ll probably get written up for it)

she tells me her son’s
moved out of state
to be with his girlfriend,

who has a huge chest. For Christmas
she’s buying her
our Fairy Fantasy Sweatshirt;

do I think the XL
or the 1X 
would be a better fit? 

I say I would go
with the 1X
based on her description.

She says she also has a huge chest
and both her sons were always
“tit clutchers”

and she’s had long talks
with the girlfriend
about that.

OK, I say,
and by the way,
we’re running a special today,

as a thank you you can have
another one or two items
at 15% off.

She declines at first
but then
goes silent.

I can hear the pages flipping,
she’s looking
for something else to buy — 

a perfect gift for someone.
She mentions that her other son
doesn’t talk to her at all.

I take another bite
of the cold apple pie
the company’s so thoughtfully provided

and I’ll be damned
if I hurry her
along.


Tales Of A Tarot Deck

Originally posted as “Stories From The Deck,” 12/29/2011.

1.
I read the cards myself
but not often these days,
and no longer for anyone else.  

I have to be “in the mood,” and
I’m only in that mood
when I am utterly alone.

2.
You ask, are they parlor trick
or font of wisdom?
Fool, who says one thing can’t be both?

If you hold them one way
they shine, another way
they blind.

The map is not the territory
but now and then the map is where
you have to make camp.

3.
I was taught to read the cards
by a woman who could not read the cards.
It took me one spread to learn this:

staring into the pattern I felt
a mansion rising on the table before me,
my best possibility dwelling within it,

even as my mentor droned on about
paths not taken, choices to be made,
a trip over water I should not take.

4.
It wasn’t long before I was sitting in bars
cold reading for strangers
in exchange for drinks;

sitting in living rooms
cold reading for strangers
in exchange for cash;

sitting in a strange kitchens
hot reading for a stranger,
hoping for sex;

sitting in bedrooms
reading for myself,
imagining myself as a stranger.

5.
If you think, they fail you.
Just go with the story
that comes to you

and follow it
no matter where
it goes. That’s why I’m here.

6.
Nowadays when I play with cards
it’s more often penny-ante poker
in a basement.

I surely miss
the Hermit, the Star,
and the Sun.

When the Jack Of Hearts
shows up in my hand,
I remember how good he used to look.

He used to call himself 
the Knight Of Cups. I remember how good 
it used to feel to see him in my hand.

7.
I’ve been over water a few times in my life.
Once upon a time in a Venice bookstore
I almost bought a new deck

just for old times’s sake, but the woman
muttered something 
and shook her head

when I pointed,
so I walked out before
anything odd could happen,

but I’ve lived
happily ever after anyway,
I guess.

8.
They tell you
your first deck
should be a gift.

Mine was.  I still have it.
All the others were my own choices,
and they’re all gone.

9.
I should end, I suppose, with predictions. So:
two countries will go to war
and one will win.

Two lovers will meet, part, spend their days
recasting what happened
until in retrospect they can say

the signs were clear. An old man
will die, and so will a young one,
and a child and a dog and a tree.

Someone’s going to act a Fool
while being utterly certain and alone
on a path they devote themselves to walking,

and a deck of ratty cards
will be picked up
and rewrapped in silk 

while congratulations
and mystic chatter
echo all around. 

 


Kid Fishing Versus The World

Kid fishing was the one thing
I had, back when I had
so little.

My awkwardness
with the girls I liked drove me
to the pond in the woods
to be alone. I’d stuff my pain
down in my rucksack with the pad
I was starting to carry everywhere
even then. I’d thread a worm onto
a snelled hook and cast out beyond
the drainpipe into the cove
and almost always bring up
a scrappy perch to be tossed back
like a bad pickup line, over and over,
all afternoon, every afternoon,
all summer long.  
I wasn’t happy
but I was less sad.

Adult fishing? Now
that’s different, softer,
less serious. I don’t go often
and when I do I mostly drink, 
cast a line now and then
for the sake of the art, never
catch a thing, and
write down stories about
what got away,
even though I’ve no idea 
of what lives here.

Still awkward?
Not so much. 
The most awkward
I feel when I fish these days 

is when
I dip into 
the so-cold-it’s-hot stream

to pull up beer and brandy
from where I stash it
in the deeper pool behind
Lion’s Head Rock, just out of
the main current, and I drop 
the bottles, sometimes
even breaking one — that’s

a bad day adult fishing,
which is still better
than a good day
doing almost anything else I can name

with the exception of kid fishing,
which I can never do again,
which (when I was a kid)
I never thought of as happy,
though it is all I can ever think of
when I’m asked for a happy memory.


Talking To My Children About The Night

Originally published in 2002 in my chapbook, “In Here Is Out There.”
Original title, “Talking To My Son About The Night.”

I have been thinking:
what do I tell my children
about the night?

Something wicked these days
stirs in the night,
and I cannot lie to them
and say shh, be still,
all is well and safe.

I will tell them the night
contains both darkness
and light.

What shall I say to them
of darkness?

Darkness is a young man
holding a knife to a lamp.
He adores how it separates 
skin from flesh,
sinew from bone.
He knows that when it is sharp enough
he can see the body’s coherence
fleeing before its edge.

Darkness is a woman
leaning out of her window on her elbows.
She sees something she does not favor.
She slips out the back door
to carry her gossip to the slaughterhouse.
Someone there will take the news
to the mechanics who will adjust the wheels
of the juggernaut for maximum kill.
On her way home
she will wipe her face with a stolen liver.
Behind her
she will leave a trail
of rumors and cartilage.

Darkness is a gaggle of children
trapped in a dream
where they are made to suckle straws
filled with their own blood.
They purse their pale lips,
draw the red up, columns red rising,
red cresting in their mouths,
falling red into their stomachs,
such sharp nourishment,
such a simple lesson:
living through the night
requires such a meal, 
a simple meal for a simple terror.
They have learned
to devour themselves.

We stink of rich meats, phobias, fires,
restless pride, secrecy. 
We inhabit our stereotypes,
slowed to the speed of custom,
houses crawling with indignation,
ferocity unbridled by logic,
atomic proverbs to live by —
a man decides to force himself
on the next random passer-by,
a boy slits an ancestor’s throat;
we shake our heads, we cry out
for the light, we get the darkness,
violent, clean cut, simple, fast:

darkness is thinking
that we can live forever
by living this way.

And after that?
After that, what can I possibly say

of the light?

I will say to them:
children, it is slander
to speak of the night
and only note the darkness.

I will say to them:
children, my children,
look at the stars.

I will say to them:
children, my children,
whenever you despair
of this world,
lie back 
and look at the stars.

I will say yes,
there is horror afoot in the night,
but always, always,
we have the stars.
I will say that one star
may singly pierce the darkness
but that one star
cannot cut through
the darkness alone.

I will say that there is
a forever beyond the darkness.

Then I will say,

children, my children,
if ever you despair,
look up at those hints

of the hoped-for forever
behind the darkness
waiting to be torn,

and tell yourself:

I am a star, 
and I do not
shine alone.


Fragile

Wednesday morning, 6 AM.

Long low whistle outside.
Not a bird I’ve heard before.

Open a window to clarify:
there it is, a rich trill,
tones descending,
in near distance.

In full view
fat sparrow, fence-mounted, fluffs herself.
Cat whines softly and I step aside
to let her leap up, settle, 
stare.

There’s that whistle again. Clearly
not made by this sparrow or any other.  
Something’s out there  
I don’t know —

squirrel scolds as usual, sparrow
fluffs out as usual, cat stares as usual,
I have to take out trash as usual.
It’s bagged and I’m ready

but I hesitate, fearing I might
break something 
simply by stepping into 
this.


Howler

Sometimes the only wind I can feel
is a howler churning inside me.

I lean to the left, then the right,
fall flattened to the floor.

It seems impossible
that nothing in this room

has been moved
by such a storm but it’s true.

It’s as still as a ghost
in here. Meanwhile I’m shaking, 

shattering within.  Every nerve
waving like grass, 

blood white-capped and frothing, 
so loud I can’t think,

can’t pull a single word out of my lungs,
yet you sit there and mouth the usual,

that one must suffer for art,
that this will be material

for me. All I can do
is breathe 
and try to lie low enough 

to let the twister pass,
and you’re saying this. Believe me

when I say I don’t want the poem
that’s in here with me, friend;

I don’t want this poem
at all.


Nothing Worked

Seeking peace,
absolution,
redemption,

I slept for hours.

It did not work. 

I awoke unchanged.
I lay down again
in the still-dark 
of the post-dawn
bedroom; lay dreaming,
wishing myself  
toward some penance
to excuse myself,
some vision
to explain myself, 
some pain to serve
as sacrifice
and re-admission fee;

nothing worked.  

I was not released though
I flew, long flights
over grand countries
where I could not touch down,
cities and forests
full of safety below;

nothing worked.

What works?  
I ask the sky and 
all the soil, I ask
all the waters.

If I have to sleep
longer, I will. If I have to 
wake into fire, I will.
If peace is only to be found
in a crash
and my own ashes,

I will burn,

for I have been flying 
in my sleep seeking
what works 
all my life
and half into

the next
and I do not think
I can believe 
in a safe landing
anymore.


Sparrow

The God says,
I am so sick of people!  

The Human responds,
I am equally sick of the God.

A sparrow, small-hopping,
picking in the mulch for food.

Leaving after a few seconds
to follow a better path.

As healthy as can be,
oblivious to the chattering.


Big Joe Turner

Originally posted 6/13/2012.

Big Joe Turner 
could palm a jump blues
like an egg, handle it rough 
without breaking it.
The proof is right there —
find him on old vinyl,
open up that piano ripple 
on “Shake Rattle And Roll,” 
let Big Joe, long dead,
smite you with
the soft club of his voice.

I think I sound good,
as good
as Big Joe. 
The shell fragments
and the sticky yolk on my hands
say no.

The heart of me says no.

People are starting
to forget Big Joe.
Forgetting how he rolled
those notes across the room
with his bare hands 
on ivory — 

No.  This stained,
sticky heart

says no.  Forget that
wild noise, that man’s hands
and what they did?  How the world
was remade after that? How my world
was remade?

No.