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.

Creed

The original version of this was never posted here, or anywhere…since it was written in 1974, when I was 14.  I found it in my first spiral bound collection of poems that I’ve saved since those teen years.  Most of the poems are typical adolescent dreck with a heaping side of drug references, but I thought the concept behind this one was interesting. The first three couplets are direct quotes from the original poem; after that, the original is pretty flowery and hard to follow, but the images are the same.

I believe in
cheating on my childhood church.

I believe in 
closing my eyes during the scary parts.

I believe in 
the efficacy of crossed fingers.

I believe in
a spirit inside my rabbit’s foot.

I believe in 
a bag of smooth rubbed stones.

I believe
whatever I whisper at an altar will be heard.

I believe
whatever I hear next will be the right response.

I believe
everything, everywhere can be an altar.


The Lives Of Artists

Originally posted 12/02/2010; original title “Lives Of The Artists”

They begin
when an explosion
turns the inside out
like a burst in the night sky
on a holiday, and they 

burn. One day a look around
confirms for each
that what was inside,
what warmed them and fueled them
for years,  has burnt down

to ash.  Then begins the refilling,
or the attempt to refill; so begin
experiments and failures,
now and then comes a slight replica
of those first fireworks,

but it is never the same. Some
say that’s to be expected, some say
it’s the way, some say nothing
and turn away — no matter.
They keep lighting tinder in the dark.

Hear a recording of this piece: The Lives Of Artists


Poem For Chris Branch

Originally posted 11/06/2007.

I met him
on a bus full of poets
in Baltimore

Funny guy — a long
fellow always trying
to stretch out and sleep

in those cramped seats
Cowboy hat pulled down
as low as it would go

Knew him for
five whole days
before the night

we argued about medications
outside a Boston bar
Leaning against the wall

he told me he’d never agree
to take them
if it meant losing his poetry

My bracelet matched his tattoo
Looked better on him so I gave it to him
He hugged me and tugged

a ring of woven silver
from his finger
and set it on mine

It was too big
so I wore it
on my thumb for a while

then later 
put it away
as it did not look good on me

Several years later
while scouring the Web
I came across the news

that he had hanged himself
a few months earlier
I dug out the ring

that now fit my fatter hand
I began to wear it
on the nights

when I went on stage in stage clothes
while feeling a rope
might fit me better

I did not know you well enough, Chris,
to bear your legacy —
just well enough to remember it

but you should know I wore your ring, Chris
on important days until
it vanished in a recent break-in

Weary today from that loss
and so many others
I remember you had a son

One of these days I’ll find him
Tell him the little I knew of his father
Apologize for losing his ring — your ring

I will tell him what I recall of how you wore your hat
How you wore your ring
How you snored for miles and miles

Gentle on stage
Played a wooden flute
Hugged a stranger when it seemed right

I will tell him
of my promise to myself
that I will never learn your final secret, Chris — 

how it feels
to let the man go
and leave the poetry behind


In Passing

Originally posted 3/30/2013.  Original title, “The Blue Whale.”

something passes
through the air behind me
I turn and see only

conventional people and
everyday happenings
but I know something

I have missed for years
has just brushed me
and now I want to weep

but only with someone else
who felt it as well
I cannot weep alone

because one man
weeping alone
is no way to offer praise

to such things
that exist unseen 
but are deeply known


Wisteria

Originally posted 4/10/2010.

she was wisteria, wisteria in its short bloom;
she was warm days and cold nights
in mud season when grass blades
begin to rise from the soil
where they’ve been hiding. 

she was remarkable, and i was lost
as soon as she left me, 
though it was a night
and a day
and a night again before i could cry
for her, a long numb sweep
of hours in succession.

i wept in the privacy of the bedroom
that was newly empty. i emptied myself.
i cried more as the walls inside me melted
and i sweated them out.
i was paper thin after.
light passed through me
and from within i was lit.

this is grief, i said, and it is a cold wind.
this is unseasonable weather.  
the flowers on the early vines shriveling.  
this is her doing, i told myself.  i said,

i have been illuminated by her.  i shine. 
she was more than i had thought to say of her,
some sun of a distant unglimpsed sky
over a world i hadn’t explored, and i cried again,
and i still do. 

she was
wisteria,

forsythia;
the very bones
of spring unedited
by interpretation; 
she was a sun i will not see again;

have entered a twilight of weeping
where i indulge the urge
to create and recreate the moment
when i lost my chance
to stop and listen to her
and let her expand within me
as i should have. 

the moment of loss
is deep weather,
a season of interruption
when the simplest answers go unnoticed. 
i should have been motionless
and perhaps i could have held her here,
or perhaps not. 

she was wisteria,
she had her time,
then was gone.
i remain.
i weep,
i shine with her within me,

though i light nothing around me.


After The Recession He Was A Better Man

Originally posted 10/19/2012.  

Once a rich man. Now, not so much.
Fell over his own feet.  Landed inside a rock.
(How did he fall into the rock, you say?
He lost his money. That made him
porous 
to tragedy. He fell onto the rock assuming
it would pass through, and instead he was absorbed.)
Can’t get out.  Can’t even see how.

So now he’s a poor man stuck in a rock.
He’s not alone 
in there. A lot of people
like him got sucked into rocks like his.
He feels a little trapped
but he’s making do until he dies,
which he has determined
will be his only way out.

He remembers being rich.
It was good but there were horrors too

based on the money
being such a big armor and cushion
that he felt under attack all the time.
No more. He’s in the rock
because of how soft and transparent
the money had made him
but he thinks he’s more rock himself now.

Those who are really rich
didn’t think of him as rich.
He knows that now.
He knows they can’t possibly
understand any of this —
too busy kicking rocks.
Too busy being petrified.
Better he came to this —
poor and stuck in a rock —
than to be like them.
 

He might have become a jerk
if he’d come into money late.
Better to have entered the rock
poor and soft at his age
so being with these people
has become a community.

He won’t die rich
but he’s OK with that now too:
he’s just glad he’s not going
to die alone.  

He’s so happy
he’s pounding the walls of his rock
with his bare hands
as if he was drumming.

 


Songs Against Police Shootings

Originally posted 1/30/2004.

Anyone
could have told you
it was going to happen,
because it always happens —

perhaps they happen,
one could say, because
such things
just happen; just as 

one could say
that the fact that it was 
a brown teenage boy once again
who had crumpled leaking
onto the floor of
the stairwell was irrelevant,
or the way

one could say
the cop’s statement
that he thought he saw
a gun was relevant.

If one could find the CD
the boy was said
to be holding
when he was shot,
one could see
if the subject matter
of said CD
included guns,
or shooting,
and thus was relevant.

One could make up
a simple song
to commemorate the event.
It would have
a short verse and
the chorus would be over
in a heartbeat:

He was alive and
Then he was gone;
Such a smart kid who
Did nothing wrong.

That wasn’t enough.
So he fell down the stairs
With a bullet inside him
While everyone stared.

A gun or a wallet,
A smile or a knife.
What could he have used
To hold on to life?

One could say — in fact,
it is a certainty
that someone believes this,
and will say it —
one could say that 
if we all could just learn
to sing such a song
correctly,
this would be
a different world — 

a world where
Maggie Apple
would never have ended up
lying in the street
with her eggshell nails
and her skinny legs with
the calves that looked
as if they’d been attached
to her bones
as an afterthought;

a world where no one
would never have killed Ronald Wrong
whose house smelled of wine but
looked like a glove full of bees, so that
when they banged down the door
and a host of tiny troubles 
flew out of its ramshackle fingers
they felt like they had to 
shoot him down as if he were
a queen, a danger queen;

a world where any one
of those dead
salty-throated 

boys and girls
weren’t in the wrong place
at the wrong time;

a world where their mothers’ magic 
had never stopped working
and they did not die ahead
of the rest of the pack.

Instead, though, in spite of
all the songs,
there is this – 

the same lights flashing again,
the same crowd gathering again,
a new name pulsing, a new verse
linked forever
to an old refrain.

If he had known
what was going to happen,

he would never have gone up
to the roof at all.

It was just a quick way
to the next building.
It was never meant to be
a final destination.

But anyone 
could have told him
it was going to happen,
because it always happens.

The only thing that changes
is the names,
the names that are customarily changed
to protect the innocent.

One could say it does not appear
to be working.
One could say it is not the innocent
who appear to be protected.


Comets And Blood

Originally posted 2/15/2010.

In denial
of the wet shine
of ice 
on the steps,

I slip before I can
prepare myself for the
hazardous surface underfoot.

When my head
cracks into
the porch floor


there are suddenly midday stars
shining for my eyes only.  Novas
of sick burst in my throat.

I am suddenly myself a universe
born 
of my mistake and my arrogance.
In the dizziness that follows I wonder

if this internal possession
of a galaxy or two of pain
and derangement might 
make me a god?

Nope. I’m just another schmuck, flat on my back
on the stairs, my bleeding head
resting on the floor of my porch,

yet still I fantasize about power and glory,
the constellation of injury
provoking delusions.

Inside, comets and violet
energy. Outside, blood congealing
in the sharp air

of February.
Between them,

a foolish man

trying to shake it off
before freezing
in place.

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Uncle Joe’s Spirit House

Originally posted 10/27/2010.

— dedicated to the music of William Parker and Cooper-Moore

The organ makes a face
broken smile

above upraised chin,
closed eyes, movement
under the lids. Then saxophone,
poking finger
demanding entrance to the reverie,
insisting it’s time
to break one stride, find a new one. 

Everyone sprinting together down a road
in North Carolina late at night
toward a dilapidated church that hides
a still.  There’s a party in the sacred space;
sidekicks, strong and soft-spoken,
drum in telegrams from beyond the fire.
Drift over: there,
just beyond the light of the circle ,
a familiar face.

Eyes open, calm intelligence, comfortable
with a darkness that resists

the incursion of obvious message.

Step back from there,
sit down by the flames 

and listen.

Don’t speak
unless it speaks to you.
Then,
 shout.

 


The Chicken Speaks

Originally posted 12/19/2009.

I crossed the road,
punk,
because it was there.

You bought that rationale
when someone said it
in reference to Everest

and you bought it when
Philippe Petit 
walked between the Towers

so I can only conclude
that it’s because I’m a chicken
and you’re prejudiced

that you keep
cracking wise
about why I did it. 

Lemme tell you something:
enjoy risk
as much as the next bird.

I wasn’t waiting around
to become soup
or Sunday dinner.

I’ll go on my own terms,
and that road held as good a chance
as anything did of killing me.

I made it across, but the attempt
is what counts.
I took a chance.  I will again.

Think of that
next time 
you gnaw
on a drumstick:

you are what you eat.
You can laugh all you want at that.
You’ll still never eat me.


Tiro de Cuerda

Originally posted 5/28/2010.

Tiro de cuerda —

Spanish for
the perfect tension
on a guitar string,
the strain
that frees its song.

Over time, tuning and
retuning to that pitch
will weaken the string,
and I have more than once
seen a player, rock god
or flamenco acolyte,
knowingly or not,

snap one
and keep playing,
finding a new course among those
remaining;

but I have never heard
a recording that included
that sound,
the sound of recovery,
the sound of getting past
certain disaster
without looking back — 

unless of course
I take into account
what it takes for any one
with a vision or song
to achieve their own
tiro de cuerda,
to stretch themselves

to their crying point,

then go one breath
beyond it.


One For The Wake And Bakers

Originally posted 6/23/2011.

Here’s to you,

wake and bakers,
joint over coffee suckers,
hiders of whiskey 
in “World’s Greatest Dad” mugs,
pills at daybreak takers,
Marley rocking pajama stoners,
carpool dodgers passing the buck
in favor of lifting the mood;

here’s to your health
and the health of the children
you didn’t drive to soccer practice
on a Saturday morning
because the clouds were so…cloudy;

here’s to you, 
shower tomorrow people,
maybe tomorrow people,
call it a day before 9:00 AM people;

here’s to you.

May you open the party
and close the bar
before the rest of us even know
you’re wrecked.

May you live long,
your eyes red as sunrise 
flashing back at the dawn;
may you dance clumsily behind the blinds
and tell yourself, again and again,
it’s just this one more time
as you slip into the folds of the comforter
and fall back into a stupor.  

May the sleep you enter be dead
and may the death be temporary.  

May you open your eyes to a new life
where you can take the morning straight.
May you find yourself drunk at last
on nothing but the good light of the good day
you have believed, always,
would someday come
without you having
to coax it into being.

Link to a recording of this poem:  One For The Wake And Bakers


A Traveler’s Guide To Suburbia

Originally posted on 2/17/2011.

At night, one can drive
for hours, listening
to televisions
as they mask 
the weeping.

Here, the people abide 
by
one strict rule of conduct: 
“Do what you like, 
but do not show your work.”

The only media 
allowed for art
are C4 and artificial sweeteners;
the fabric of life is therefore
primarily explosions 
and cloying aftertaste.

Now and then a child grows up
and breaks free.

Most of them 
come back eventually.  
The ones who do not
remain a mystery 
to the inhabitants,

even if they become famous.


Photo

Photo

Just in case you were actually wondering what I look like…Photo credit upon request…


The Facts We Hate

Originally posted 11/24/2013, titled “The Bands We Hate.”

In the Seventies I was
a viciously cool boy
who loved certain bands
and hated others,

who thought music should only be
guitar and Big Noise made

by those who seemed
a lot like me;  certainly

there were exceptions; 
they were old and honored
mostly for not being dead,
unless they were dead.

We argued endlessly about 
what was and what was not 
worth our time, then sneered
endlessly at so much…

it was only later that I dimly understood
the sulfurous truth that likely lay behind
the words “Disco Sucks,” and later
the words “Rap Is Not Music.”

It’s become clear to me
that to rant about the bands we hate
is in fact more likely about 
the fear of losing primacy;

it’s become clear to me
that some of us are so brainless
we can’t hear a thing through
the sheets that hang over our ears.