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.

Tugging A Loose End

now,
with a quick second to look
back,
he takes the book
from the shelf,
leafs through to the
page she signed,
and re-reads the first paragraph
on the page

which
seems now to be
meaningless (not that
the words have lost
coherence, but that context
having changed their charge
has lessened to being
no more than a tingle) and
he closes the book
quickly,

replaces it
so that only
a drag-trail through
the months-old dust
is there to testify

to this second of
suddenly soured nostalgia.

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Settlement

The storm freed you.

It left the house and car destroyed;
soon enough, you had to leave the job as well.

Then, unexpected as a late love
when you’d abandoned the thought
of such a thing,
came two fat insurance checks
to replace the wreckage,
and a wild idea: sell the lot,
get a decent but cheaper replacement car
and clear out to live on what was left
for as far along the road as you could go,
running over everything wrong
in your life,
pressing the gas pedal
down on its head.

People dream of lottery tickets
and inhertances.  People dream
of lawsuits and windfalls.  You
never bothered to dream,
yet there you were — modestly rich,
clean and clear with nothing
to hold you.  Every bill paid, every string
cut, all as unexpected as a late love —
and like a late love, unlikely to be anything
but a last chance.

The last postcard came six months ago,
from Omaha.  “Thinking of you all
back there,” is all it said.  Back here,
all we think about
is you.

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New Jack City Redux

Watching
“New Jack City”
for the first time
since the first time
I watched it, I’m compelled
to ask why
I felt the need to watch it
again —

then again,
I am watching it again.

Some stories
just feel like
a pistol in your hand
or a knife in your pocket.

You carry them
convinced of their utility
even though it was bad dialogue
that talked you into
picking them up
in the first place. 

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The Walnuts

Since I’ve run out of stories to tell,
I go at last to the cupboard
and pull out the bag of walnuts
and a hammer.

Laid out before me on the floor,
lined up on butcher paper,
points facing away so there will be no
projectile damage from the blows,

they await my creativity.  I raise the tool
and bring it down on the one to the far left,
choosing the order in which I would read
a book if a book required violence of me.

Inside is the whole meat, which predictably
looks to me like a brain.  I see the walnut
as a brain, meaning that my brain
sees itself in the walnut, as we are creatures

of comparison.  Yet I did not think at once
of the whole nuts as skulls, curiously.  Despite
the all-encompassing violence of the process,
there’s a break in the perception.  Perhaps

I can find a source in literature which will illuminate
the source of the dissonance.  I go at once to the bookcase
to seek examples in literature of walnuts being compared
to skulls, and find (of course) many with a brain metaphor

and none with a skull metaphor.  I go back to the nuts
and stare at the next one, trying to see a face, a reflection
of humanity, something to hang a meaning on…nothing.
Nothing at all comes to mind.  Now, I’ve got a dilemma:

should I continue cracking these walnuts
if I have no social, existential, philosophical,
grounds to work from when I observe them?
I’m just a man, after all; how will I know anything

about the walnuts if I can’t see myself in them?

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Exile: Portraits

1.
I like the muscles
in words.  I like
how they move.  I like
how it’s not even work
when they move,
how different work is
from that.

2.
Ripple
in still water: a line
from some old song.

You can buy lines these days
from any songs
you want. 
This one suits me fine:

I’m the ripple sometimes,
the water sometimes;
doesn’t matter,
I always hum along.  I paid
for it, after all.  The moment
can always be made to fit.

3.
Don’t want these
hands or cornfields anymore.
Don’t want
to hold things
or be well-fed.
That would be too American of me.
I’m trying to be a citizen
of the world.

4.
Forever, the blue
and the red
for this white.  Forever
the straining for the anthem’s
penultimate note,
keening as did the heart
torn from the captive’s
chest.

5.
If I still listened
to new songs, or wrote them;
if I needed these hands
for what might be held,
then there might be hope.

6.
I’ve not left this home soil
once in the last twenty years.
I was born here
as were all my genes.
The only time I left
was to go and kill
elsewhere, and all that happened
was that I came home certain
that all the creation stories
my little nation ever believed in
were literally true.  Coyote
brought us fire, the snakes
were postal carriers to the gods.
I was fashioned a warrior,
and someday, the vast occupation
will fall head first into our villages
slain.  It has to be true:
every brown person I killed
told me the same story.

7.
This house is a perfect shade
of rose.  It’s clothed
in vinyl.  It’s air conditioned,
well-heated,
and it smells of mountain spring
in the dead of winter.  It chases me
when I try to flee, and when I tire
and fall, I crawl right in
and fall back to sleep.

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Self-Delusion, My Old Friend

More than once
I’ve mistaken my current self
for a teenager. 
I’ve answered incorrectly
on my official biography. 
I’ve wondered
who the hell that is in the mirror,
on the license,
in others’ eyes.

I’ve ruthlessly cut me as if I were cane,
looking for sweetness.  Cooked myself,
hoping for a square meal.  Woven myself
into doormats.  Welded myself
to juggernauts.  Stapled myself
to manuscripts, glued myself
to the TV thinking I might
be better off inside. 

Ah, division,
myth of the shadow self,
delusion of persona.

In fact
I’m easily explained:
every face I’ve assumed
or been assigned,
any self I’ve come to believe
is hidden under the surface,
has functioned
as a cover
for escaping
what I am:

coward,
liar,
cheat,
lazy fox too smart to be
foxy,
spineless hedgehog rolling into
a futile ball.

It’s a lie when anyone says,
“that’s not the man
I thought I knew.”

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Well-Meaning

Listen,
they say,
it’s OK. 

We know
you couldn’t help
being born this way.

Your color’s
your color, your gender’s
your gender.  That accent’s

a marker, but that’s all
we hear there.  No reason
to believe it matters,

really.  We know
the biology, the genetics,
your body’s opinion

of what your body
should be.  What’s
the hurry?  All’s

forgiven, all’s forgotten
if you will do the same.
It’s not like we need

to name the past, right?
We’re blind to it, we figure
you’ll thank us for

our blindness.  So buck up
and c’mon, don’t be that way —
and so we can

move forward.  Forward,
down that path over there,
we take such pride in.

Just step back a bit,
and let us go first — after all,
we know what we’re doing,

and we’d hate to see you, so tender
and new, get hurt
on the way.

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Open Text For The Elitists

What kind of turtle are you
that you have such a sturdy shell
but won’t stick your neck out at all?
What kind of crab are you, claws out
and scuttling away in every direction at once?

Zoology demands explanations
for such adaptations —

your tossed-back eyes,
your slight but telling
head toss,
your half-raised hand
flicking contrary voices away —
but you have none.  What worked once
doesn’t now.

How will you ever develop
crucial hybrid vigor
this way? Your contempt

is staggering and would be
laughable
if it wasn’t so damnable.

One day,
you’re going to see them
standing over you with
cooking utensils or
cages, and you’ll wonder
how this could have come to pass
on your perfect island —

and they’ll tell you

it was the horizon you never saw
and how it encircled your entire world
that made it so easy to sneak up on you
and leave you nowhere to run.

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Disguises

A single bird
over the church
at the top of our hill.
I can see from his fingered wings
he’s a buzzard, he of
naked head and taste for death,

but from here,
he soars.

It’s going to snow tomorrow
and I have an urge
to cover the daffodils
that are just emerging
from the compacted mulch,

but it passes.
They’ll be fine.

In the dark of the apartment
the fears and concerns of the day
slide around me in bed
like eels — electric or moray
I can’t say, but they come close
and my skin pulls back;

then I sleep,
and they move away.

In waves upon waves
the disguised and dissembling
cover the earth.  From where I stand
there’s nothing out there but
a danger of drowning,

but I bob up to the surface
and see the sky every time.

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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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