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.

Fade

It’s past time
for the fade
to begin:

watch us
pretending the lines are stark
and obvious still, that answers
and decisions are clear
and unambiguous.  We can’t
live as we have, we can’t even be
as simple as we’d like to claim:
black, white, left, right,
right, wrong…simple boxes
that won’t hold our outcroppings
and amorphous truths.

Truth is they never did well
by us, forced us to compress
and cut and try to stuff ourselves
into plain cubes,
but we did what we could
and denied our ornery natures
so we could fit;
now that the boxes themselves
are shown to be fragile and breakable
we’re at a loss to explain
ourselves.

If there are no
boxes that fit us, how will we
get along in such a demanding world?

The answer is that we will fade,
let our deceitful edges
disappear into the general,
let ourselves get lost in the Big
and accept that unique
and easily definable shape is a myth
made for containment.

But we’re not ready
just yet, and we’ll remain solid
and square looking for our square holes
while everything around us gets rounder
and larger and nothing stays in one place
for long.

We long for days
that never existed
except by agreement,
and now that the agreement’s broken,
we have to learn to fade,
become obvious ghosts
who will not refuse
to acknowledge the freedom
of the death of category,
even as we deny
the new joy available to us:

the tingle of pleasure
as we pass
through all those walls…

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The Hatred

the hatred felt
by those of a certain ilk
is understandable
if you step back
and think of a world
where everything was promised
to all of a certain ilk
and some had it delivered
while others kept chasing it
but all believed in it

the hatred felt
by those of a certain ilk
is understandable
when you step back and see
that what they were promised
were stolen goods
and they never knew that or
chose to ignore it
so when those who were robbed
finally got a chance to point out
what was taken
it is understandable that those
in unlawful possession
might be pissed

the hatred felt
by those of a certain ilk
is understandable
if you step back
and see how that anger
is misdirected by the original thieves
away from themselves
and toward those now demanding
some consideration for their losses

those of a certain ilk
hate for a cause
written on gauze
a bandage over the thin skin
of deep wounds
whose source they will not imagine
because of the horror
they will be forced to own
if they do

the hatred felt
by those of a certain ilk
is understandable
even pitiable
forgivable to a nearby point
but not excusable
when it is maintained
by willful ignorance
and a stubborn love
of apparently useful
myth

if you want to hate
the haters
be sure of them
before you begin
for if you see only
the front
you will miss
those of a certain ilk
standing behind them
smiling at you
all knowing
and certain of the power
that derives
from hate

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Wednesday Night Dinner

Chickpea curry, homemade lassi
and good spicy rice.
A Wednesday night dinner,
perfectly timed, laid out
before you and companions
full of talk and gentle opinion.
Can you imagine a better life
than this?  Of course you can…

but it’s not something
you feel like doing,
really, not a thing you feel like doing
at all tonight.

Burn one, drink one, and move into the flow
of talk and ease for once,
for once not caring for anything
but this feeling
of being pleasantly full.

— with thanks to Lea, Victor, and Mike

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How The West Was Won

“The Real Old West” on
the History Channel.
Blued barrels
hanging off leather belts
as always,

but the rotgut
was mixed with fruit juice,
if these historians
are to be believed
over mythologists
who sell the idea of whiskey
burning neat all the way down.

I trust this.
It’s more like who we are
today —

always thinking we’re tough
old cowboys,
but too scared of pain
to actually toss the poison
straight,
no chaser.

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What Godwin Missed

Your opinion seemed right to you
and then
shit started. Soon,
it happened:

Nazi,
says the anonymous poster,
you’re a
Nazi
for suggesting such a thing.

By now, you’ve forgotten what you actually said.

Nazi,
you respond,
you’re the
Nazi
for bringing
Nazis
into this.  Trying to scare me
into shutting up by invoking
Nazis,
that’s a
Nazi
thing to do.

Nazi Nazi!
chimes in a
supporter of your enemy
(and what was this about again?)

Nazi! Nazi Nazi Nazi!
NAZI!

Damn, but it feels good
to bring them up in connection
with anything at all —
baseball card futures, Area 51,
that Palin woman, hairstyles,
the latest incarnation of garage rock.

Damn, it feels good
to hear that marching
in the world outside.
Almost like your blood
demands it from you.
Almost like it doesn’t matter
where you were headed
as long as you eventually
get to a point

where that word can roll off your outstretched fingers.

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Dumb From Winter

Dawn hasn’t warmed us
for months.  It might as well
have stayed dark all winter
for all the credit we gave the sun
for coming up, for if there’s no warmth
in sunlight, why have it?  That’s been
the prevailing opinion this year,
as it is every year.  Even as the days
have gotten longer,
we have continued to complain.

The hyacinths
know better, as always,
and have been employing
that incremental heat
for their own ends
for quite a while now,
trusting in
the inevitability of what was to come. 
Today, or yesterday, they broke through
beside the walk.

Their sudden arrival tells us
that it’s time for spring at last,
and all at once mornings feel downright
balmy.  We’re stupid this way,
forgetting every winter
that spring will come,
and that we’ll be surprised
when it happens.

Thank God
for the hyacinths giving us a heads up,
or we’d look even dumber
with our mouths hanging open
a few weeks from now
when, as always,
everything else pops.

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Wordplay

You create a new word
right after dinner
and send it out to play.
It begins with a “C”
and starts out strong
but soon trips over its own round foot
and falls down the stairs
in a heap.  You bend to pick it up
and cradle it to your bosom,
rocking it while it weeps. Chagrined,
you change its name
to something that begins with “E”
and suddenly, it has survived the fall
unscathed.  Now, transpose
its central letters and what happens
to its story?  Nothing has happened
at all,  it never fell.
Isn’t this fun?
Creating new words
that mean nothing
until you give them voice?
You can’t even pronounce
these things but they’re alive
because you breathed them.
It’s a nice power to have.

You can do this as well, you know,
with those you claim to love —
say their names as if you were in charge,
remove everything that has hurt them
from those sounds, even change the names
themselves if they carry too much weight;
and if that’s too much, if the only safety
you can offer is to give them new names
in a language you can’t speak, you learn it
as fast as you can, practicing
the words where no one can hear you,
because love is always a language
invented in secret and held there
until you have strength to let it out.

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Left And Left And Right

Left at the top of the stairs and then another left and then a right
takes you into the blue room I lived in for years,
the room I drywalled and painted for myself with my father’s help.
I went up to see the room the last time I was by and it’s still blue.
It seems very small.  It is very small.

I chose the color and the embarrassing blue shag rug.
Blue was my favorite color
and still is. I laid the oak floors here, the ones that underlie
the blue shag carpet.
Nailing through the tongues of the narrow planks, fitting the grooves to them,
the beautiful wood I covered with the blue shag carpet.
I chose the red and blue plaid curtains in the windows.
It hasn’t changed much, the curtains are dirty and still there.

I used to smoke dope out the window with a pipe I made from a radiator valve.
I used to sit there and pretend I could make it out there.
I had an FM radio and listened to freeform programming
that taught me how to hear Mickey and Sylvia
after Rashaan Roland Kirk
and stop thinking the world was rigid and orderly.

No one’s vacuumed since I left.
I found a cannabis seed in the shag carpet.

One time I dropped acid here and decided to stare at myself
in the mirror for a long time.
Afterward I took a piece of notebook paper
and wrote a whole story that sounded pretty much like this one.

If I lived here now I’d tear up this rug and see how the oak planks have held up
and if it they were still good I’d stain them and polish them
and that would be the floor.
I’d change the curtains and I’d certainly have to paint,
not blue this time, or a different blue.
Then when I was done I’d play the radio and smoke a big joint
right out in plain view of the windows,
sit there and think about Rashaan Roland Kirk
and having the blues and one working arm and no sight,
follow up by singing “Love Will Make You Fail In School”
like I haven’t in years.

It’s still true, I can vouch for that.
I wrote about it once, long ago, with a blue pen
on a piece of notebook paper that wouldn’t lie still.

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Breath Mints

Everywhere I go
I carry two tinfoil wrappers
twisted shut,

each one the size of
a pack of gum,
each one holding part of

a collection
rendered in miniature,
a collection of all my friends.

The dead ones
in the right hand pocket,
the live ones in my left.  The dead ones

on my favored side,
the live ones carried offhand
as a backup.

When I need
to say something deep
I take a packet out

and open it, pop one,
freshen my speech
with another voice.

When I’m done,
I carefully pull that friend
from my tongue

and rewrap
for future use.  None of them
have ever complained

so I have to believe
it’s ok with them
that I use them this way.

The dead ones
have more time free of the pocket.
I think it’s good for them

to get out and be heard
even if their flavor
often darkens my words.

They at least
make me feel good.  The live ones
don’t come out as often

as they are frequently
unruly and crack my voice
a bit.  We can speak for ourselves

and be known that way,
they grumble. Therefore
I sometimes

take them all out at once,
put them all in my mouth
and shut up while they

talk to me from within.  I’m
kept informed that way, and so
think to honor them

by giving my full, sour attention
to their tastes.  I still prefer to
let the dead ones work for me while running

my tongue over my teeth
and recalling
what the live ones have taught me,

what they continue to teach me.
But I will not shift them
to the right hand pocket —

too risky.
The dead ones arm me better
with their settled opinions

that are sharper for having had
greater use.  It’s been suggested that
I mix the two, but I don’t know what

my reliably dead friends
who adore me would say
if they were to hear from those who know me now.

I don’t even know you, they might say.
I’m not sure I ever did.  And I’d hate that.
So I keep them tightly wrapped

and close at hand, the known quantity
always in easy,
subconscious reach.

Dead friends in the right hand pocket —
quick to come to my rescue
and make my words clean and fresh

with their voices frozen and cool
as breath mints.
Live ones in my left —

astringents, bitter favors
to be taken sparingly
for fear I might have to speak the truth.

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High Noon

he’s gunning
for anything that reminds him
of where he came from. 
let one word escape your lips
that feels familiar and he’ll
begin. the first stone is his altar
and the sound
of your own windows breaking
is his favorite hymn. 
your angry response
will be his excuse to feel
superior as he shows off something
he picked up along his way here,
twirling it in his hand.  he’s
threatening you, then himself,
depending on which way the barrel’s
facing at any given moment.  who will fall
when the trigger’s pulled is anyone’s guess,
but assume the worst happens —

who do you see on the ground?

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The New Cabaret

The laughter
of those who enter
a new cabaret
begins to change it.
Something in the air shivers,
like thin metal being shaken.
The space contracts
and expands. Soon, one voice rises
above the others, singing its way
into the woodwork, pushing the ceiling
up another story.  Applause,
and the heart of the room reaches out
for an embrace.
Everyone goes home
and the room is left
to slowly fall back into itself.

In the meantime, it swells and
shrinks with memory.  Perhaps
someone in attendance
brushed a corner molding
and left fabric behind,
or perhaps someone
moved by a word or a note
bit their lip and bled a small drop
into the floor. 

The room is not
the space it was. The people
who were there are not the people
they were. Only the actual moment of song
holds the distinction of remaining
static, by virtue of having passed
into history, no trace of it
in the framing and walls and paint.
Perfect, permanently free
of the burden of needing to be
refreshed when the club closes,
six months later,
for renovation
into another kind of space —
a boutique, a dry cleaner, a bistro.

This is the nature of such things:
they come and go, rooms hold
a little trace of their passing,
the rooms pass and change,
the people pass and change,
and only the music remains
in a place no one can move,
remodel, or demolish. 

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The Breakdown

when the hose fails
and leaking antifreeze
pours greasy green
onto the snowy roadside

when the cold crunches
inside your nose
as you wait for the tow
that is forty -five minutes off

when you try to calculate
how much damage this will do
to your rent still in arrears
but your fingers are too numb to count

when you’d cry if you could
but you’re cried out
when you’re alone and cold
and there’s no art in your thoughts

except for the simple art
of fixing a hose in the dark with no tape
or replacement coolant
the art you’d wished you had learned

and prepared for in advance
but it’s too late and you’re stuck
awaiting the mercy of a better artist
when he comes and shows you mastery

this is no time for you to slink
into a blank book and create a world
where things like this don’t happen
to anyone particularly like you

but there are people out here
who will lay down money to bet
that this is exactly what you will do
that you will make something precious of it

if you ever get out of here
without frostbite or breakdown
and return to your insulated life
full of what ifs and should haves

and that it will happen again
and more than once
because you only ever learn enough
to arm your self against aftermath

never enough to prevent the disaster
never enough to stop the leaks
from occurring
never enough to be anything but useless

for any practical life

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No Drumbeat, No Jesus; Know Drumbeat, Know Jesus

My still-shrinking remnant
of leftover Christian influence is
an irritant
I’d like to banish.

It beats on me
like the memory
of a tiny, annoying drum
lingering from childhood:

no rhythm,
no insistence to it,
it’s not catchy or appealing,
but there anyway,

like a car alarm
in the distance
that signals
nothing at all.

I’m neither formal Pagan
nor informal Buddhist, no armchair Taoist,
not even a smug atheist
reveling in his intelligent

and narrow solitude;
I’m certain of something greater than I
and honor its presence,
even as it serenely disdains

to identify itself with my
desires and needs — perhaps
that is the point; its ignorance
of my fate and existence

keeps me humble but sure
of some order I stumble through
daily, and it needs no ritual attendance
of mine to hold it safe; I am

assuredly unimportant, and it
comforts me as I fear my own
decisions and missteps, marvel
at its certainty, its perfection forged

from the sum of all flaws and fanfares.
But to imagine it as personal, as concerned
with me as it is with the spin of galaxies,
cheapens it.  I am no special angel,

no spectral devil, no potential
prophet or seer — no.  I live and sweat
as all do, and my sins or triumphs
amount to nothing in the dark matter

between suns.  Like a drum, the Christ
seems to me to keep a human beat, not a divine one,
and lovely though it is at times, it’s still
bounded and tied to human song

of want and fear and love and joy
as defined by humans for humans.  It’s
a powerful tattoo that plays on my ego’s craving
for surcease and assurance that yes, it is

immortal and salvageable.
But what is there
to salvage here
that is not endlessly replaceable,

totally unoriginal, totally
interchangeable with the all the rest
of the works and days of those who
have ever lived or breathed?  I’m

a mote, a happy one, but still a mote,
and relieved to be one.  I need no Savior
to save this.  There’s nothing unique
in this small annoyed atom.

So I strive to cancel, little by little,
the insistent relic message that I matter enough
or that this spacious world cares
to save me for something greater.  I am greater

without the limits of myself,
someday to be part of the giant Whole
of Everything That Is.
That’s plenty grand enough

for me, and it’s mine without the need
to cling onto someone’s robe
and bow to someone’s specific crown.
I’m learning to let go, dance, be free, and stop being Me.

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Scraps Of Marley

Scraps
of Marley in my ears,
not enough to change me
or the way I play, but present
nonetheless.

I don’t want ganja
right now, or even justice
for the oppressed;
right now, it would be enough
to fall into the easy rhythm
of this, something my fingers
are resisting.

If even my nailbeds
can’t understand this,
what chance is there for this Western heart
to feel good with it — to move
beyond the bounce of it, the jaunty
erotic pulse of it?  I struggle
with the punching bag
beat; keep wanting to syncopate
and make it more complex
than it already is.

Bob smiles from the CD cover.
He’s not even looking at me —
past me perhaps, into homes
I don’t know and never will
where the rocksteady works wonders
to keep the people sane, hopeful
in the middle of the grind.  I’m
a tourist here, the guitar
no better than a simple camera
looking for snapshots on vacation.

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Old Poem, reposted by request…

NOTE:  This is a very old piece that’s been published in at least a couple of anthologies over the years.  I’m reposting it by request of Mike McGee, who has linked to it on his blog here:  http://www.mikemcgee.net/mike-mcgee-ideas-projects/when-is-art-unnecessary-23/

Thanks to Mike for his kind words there, his friendship, and his always thoughtful blog.

~~~~~~~~~~~~~~~~~~~


POLITICAL ART

a print of “Guernica” hangs on the foyer wall
above the drink table
here are the famous horse and the upraised human face
they’re screaming as the hors d’oeuvres are passed

and on the facing wall
behind the buffet
hang two photographs
carefully chosen for tonight

in this one is a girl we have seen before
running and burning on a road in Vietnam years and years ago
back then she was trying to fly to safety
on the innocent strength rising along her fiery arms

in this one is a man we’ve also seen before
and despite his death in 1890 he also keeps trying
but he’s frozen awkward and insolent in his attempt
to rise from the snow at Wounded Knee

we are making small talk tonight
clicking our tongues at all these pictures
making crestfallen small talk
because we know we should

handing over money
to save Afghani statues from the guns of rapists
handing over fistfuls of green guilt
for the anesthetic of aesthetics

buying permission to posture unflinching
before those who have fallen
permission to shelter in these picturesque memorials
in the hope of receiving from them some kind of prophylactic grace

as we stare at the burning girl
as we sadly regret Wounded Knee and genocide
as we admire the abstraction of that burning Spanish town
we will click our tongues

while marking the skill of the artist at having those faces
seem so stark in their angled black and white
seem so shot through and through
with an undertone of subconscious red

it’s from this we’ve learned how to watch the news
the news that gives us each day our daily dread
a new crop of victims to be cropped and photoshopped
and we know just what to do when we see the faces

we observe
we regret
we remark
we move on

tonight there’s a gallery fundraiser
tomorrow there will be another
we’ll see the burning girl and the rising corpse again
and we’ll make another print of “Guernica”

why
do we need
all these prints
of “Guernica”?

someday we’ll see
that if we had been changed by all this art
at the first hint of genocide we would smash our cameras
hang our paintbrushes back on the wall

stick our checkbooks back in our pockets
lift the paintings from their frames
and carry them through the streets
to the places of power calling why

why

if the people inside our work could speak
they would tell us that if witness alone could change the world
the world would be changed by now
and we would have no need to learn

that this picture
of that girl
is not
beautiful

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