в собирающейся тьме
застелила ты постель ненасытности
ночь — оргазм на колёсах
в гирляндах грязи и пионов
она вытащит зубы
сплющит кости твои
художник с той встречи
он меряет время своё
и улетает в долины
мужчины — глина
женщины должны осветить и сжечься
на посуде языки павлинов
(малкольм икс — гей
апогей страха у ворот
вечно запоздалый паром
к велосипедной карусели
к херр кубику мягкому врубик хладной плоти
подниз нижней надстройки
покрывало рвано и смято
в гневе есть марафон
прибывает в город есть
со страницы сирена в рёве
в собирающейся тьме
The men in this town wear an awful lot of denim.
Many have coats and jackets like hunting camouflage.
A man has a tattoo of a girl with pink and round breasts.
He seems the kind of man to turn off the music and
Listen to rumbling engines for a greater truth.
The ferry is laden. It looks as if it might sink.
A priest in a black frock moves to a lower deck,
Averts catastrophe. The diver in the oven mitts
Hangs from the ceiling, and the punk kids in the row in front,
They talk of nothing but witchcraft and power stones.
The people on this boat are all quite good and trusting folk.
The windows on each side, they act like magnifying glass.
Two women kiss and take a photo on the deck.
The whitehaired elders eat their breakfasts with much relish.
The rain gets old—oh, sure—but not the ocean, never.
It is a lovely day. The street is full of birdsong and
The air is filtered through with aromatic smoke. The rain
Taps gentle feet upon the slanted roof. The light,
It falls in place into the smallish room. I'm shrugging
Off my lust, assembling a menagerie of you.
The bedframe rises from the ground on stalky feet,
The spreadsheet notwithstanding, as the trader tells his friend,
"If you don't buy it now, you will have cold feet forever."
The classically schooled mortician taps his baton,
And we're off to the races (but do not hold your breath).
In Kilroy's serif'd eyes, all history's erasèd.
His mind is mush, it makes no sense—not any more than time,
Or chicken feet and cattle bones delivered to the house,
Or all the trees whom S&Ms in lights the woman
Whose profession is to bring in discount frankincense.
The Japanese seismograph does not move an iota.
It has no calibration to detect half-whispered talk
In the darkness, or the talk and footsteps from above,
Or how not to give a fuck (a lesson badly learned).
"YOU PIECE OF SHIT; IT'S NOT ABOUT THE FUCKING TRUCK."
Oh, but it is, when on the day that a small sparrow burred
Into a speeding Ford and ricocheted off—puddle, dead—
I have a nightmare: I receive death threats at work from
A woman spurned by me—here is, again, an offering,
Torn to shreds (perhaps for food), only a foot re—
eventually it gets us all
the gin gods deem it fit and so the light
it sets out to the task of rending us
semiramis stands proudly at the awning
white coffeecup in hand with green bestriped
as from above pours out new water from the morning
wise agamemnon cannot raise odysseus on skype
who like a general of rain is holding council in his truss
watching the water run down windowpanes
across the alleyway stand dawn and dave
they watch the stocks and funds
their merry dance
while buffeted by noises from the overpass
and two doors down the heartbroke poet man
leads a symmetric life in his calamity pants
and in the eating leaves the proofs of puddings
downstairs the flesh is draped and drawn over misshapen bones
a dog is barking or a woman wails
somebody reads a news report about how china's florists starve
to syncopations of pearlescent scales
change is chaos
so I never carry any
these are places I have been
that have been in me
the traces behind the eyes
turn'd to deep blackred brine
a crack in the lunette
a callous rippling on the waves
and all i want is to watch the sun set
and read the atlantic
and drink red wine
speckled with narcissus
the time of light when even smallest pebbles cast
the longest shadows
so the day untuned
what is to be done
is an oar an oar
is a spoon
i am a bundle of nerve endings
piston or pistol-epistle
i am a borrowed tic (talk
i am tired of the poetic backend (pun intended
i assemble things in a state of apartitude frantic
like a hairline trigger on an accent grave
and i wonder "I should put a button here
now what function should it have?
and is all i want to sun the set watch
and read red wine
and drink the atlantic
you cannot be professional in love
or talk about it with a forkèd tongue
(or mince your words in time betwixt
proximal metatarsals call to me
how shall I get me home from iridiscent larmes
to which your hand is now affix'd?
the savages they cook and eat in corner'd maps
still life with oysters or red rocks and foam
a courtesan with downcast eyes she serves me postcards
as an aide-mémoire her ex's shoes are sticking from the loam
a man named shoeshine ironshirt has crippling nymphomania
a maniac has mania in a small house in tasmania
the man with demons in his boots
is climbing down the steps of former suits
t'wards the collective ravelling apart
of lucidness moonlit
before he goes to bed he tries on every pair of pants
none of them fit
last night I had a dream of a machine
that had unspooled onto itself
the innards of a woman
then it became new flesh and gave itself a name
but those around it called it by its own
defending its identity it raged
but no one comprehended
it was a new thing its own thing
and that the being which it had destroyed it was no more
it was like barbed wire twisted
onto a thick flesh pole
it didn't ask to be explained
it didn't make an ounce of sense
it just defiantly lived on
There was once a young girl named Sally,
Whose passion was salto mortale,
She'd twirl in the air her great derrière,
And all would enjoy the finale.
There was once a young man named Kuba,
Who was quite enamoured with scuba,
His quite last remark (while devoured by a shark):
"Well, at least I weren't playing no tuba!"
There was once a girl, Patty Boister,
Who opted to live in a cloister
Her chastity vows she just couldn't rouse,
When the grocery man popped her oyster.