DeadphlyPoetry

DeadphlyPoetry
Postmodern Alleycats...

Wednesday, December 28, 2011

He said — She said

He said — She said

Jump over the bridge into the water he said

She said I shouldn’t do it, it would be dangerous

He said don’t listen to her, she doesn’t know

What she is talking about

She said my mom is calling me and I should go home

Before it gets dark

He said dark is good, it keeps people

Guessing and you like when people are guessing,

Right? She said I shouldn’t listen to him

Because he spills chili on his clothes a lot

And people shouldn’t pay attention to bed-wetters

He said it’s only because his mom brought him up

That way, emphasizing that way, shouting it

Into my ear and she said into my other ear

My other ear she said is hers only and they shouldn’t switch

Sides because then it would be confusing

He said he’s going to jettison her from this choo-choo train

She said we’re not on a choo-choo train

We’ve been sitting on this porch for hours

I think he and she should get married.

That’s what I think, I think it would be grand

Because sometimes I am afraid to think

I let them do it for me and then I don’ know

What I’m doing anymore, nor what I’m talking about

Only then am I listening, I am listening only then

To what they are saying, to whom it may concern

I am copying what they are doing, I am replicating

What they are saying, it’s going to be my birthday

Soon, it’s coming up, I’ll blow out candles

Or I’ll do what they tell me to do because they tell me so

He said I should wait until I get home to take a shower

She said I should run home naked

Because it’ll make everyone laugh

He said it’s not funny to have people laugh

At you but with you, with you is a cardinal rule

And I should remember that, he said she said

Don’t listen to him, I should giggle when I want to

Because it shows character and maybe the person

Being laughed at will realize their situation is funny

And I’ll help myself in helping others

And that would be good

He said it doesn’t really matter what you do

The sun will fall anyways

She said I should steal from the neighbors

They have real nice china plates

They’re the only ones in the town

He said I should leave the plates and go after

Something else, something bigger like the snakes

In the zoo because that would be cool and everyone

Loves snakes because they make stronger silk than worms

She says I need to water the garden first

Before I can play and that I should quit talking

To him because he’s annoying and stopping me

From doing what I’m supposed to do and that’s chores

He said someday he’d invent something everybody’ll need

And he’ll be a rich man, a millionaire, the only one

And youngest one and marry the best girl and cutest girl

And the prettiest girl and everybody’ll be jealous for his ideas

And pay him for one, so then he’ll get even richer

He said he’d hire me to steal ideas from others

She said she’d hire me to do the same for more money

Saturday, December 24, 2011

For whom it may concern

you are the american spirit

dead lung grasp for a fallen heart

enchanted sandwich of shame and fleece

your gone-ness has me awake

making my breakfast out of inquisitiveness

one night

we laughed like black galoshes carpal-tunneling through the snow

our swift feet dotting a robust portrait

of our endeavors

and your décolletage

night’s revered grip has consumed me like a fire blanket

but my anatomy is as frank as indifference

the thought of you kills me

Saturday, February 19, 2011

The Writing Process

I could sit in all night wondering whether I should have a woman eating a steak or pasta and it means so much, explains so much, what kind of person she is. Making a person/character three dimensional is the same in reality as it is in fiction. We tend to listen better to those with whom we've shared some sort of intimate history, trust those with whom we've let down the walls of vulnerability and cracked the glass of pain and peevishness. The same is true in literature. I am struggling with my characters because I don't know them; I haven't lived with them as much as I can say I've even lived with myself (how many of us are still searching for ourselves and who we want to be?), but the fact of the matter is, the character and her amalgamations of my experiences, perspectives, and imagination, will never come to life; I can't have dinner with her. That's the truth of it, the crux, that I need to pretend that I am having dinner with Jesse Dresdich, my protagonist, because she wants to get to know me; she won't reveal what I don't ask, for her past is riddled with secrets, trapdoors, and a gallimaufry of polaroid pictures scattered aimlessly like my own (life).

Writing is and has to be an addiction. It has to be the drug you wake up for and wake up to. 300 words, easy, everyday.

So Just to Clarify

Like a virgin, Jesse Dresdich will walk into the girl’s restroom. The door’s handle will feel smoother, cleaner even; the bathroom floor will lightly reflect her black heels and glistening, newly shaved legs, the same way art imitates nature, she thought. Once inside, she will finally be able to enjoy the meticulous scents of vanilla and spiced apple as they dance on the skeleton-thin hairs of her nostrils. I should shave these again, she thought to herself, as her hunky right hand steadily grasped the crystal goblet of French Malbec accompanying her too-al dente pasta. She took two large gulps like a snake swallowing an ostrich egg.

“So, you enjoying your dinner?” she asked. This was her first date. “I Urban Spoon-ed this place. Four stars.”

“The ambience is exquisite.” He adjusted his glasses, and inside the stems she caught a vibrant red glow. The arms of the glasses looked like a skeletal x-ray of ribs brushed wildly with crimson, yet within the lines. She didn’t like how he would manage to turn one question into a thirty-minute interview, but she really admired his appearance — plus, the tattoos. When she saw him enter the restaurant — she had been waiting nervously for about thirty minutes — she noticed he was tall and lanky and while he walked, he ran both hands through his wavy, long, black, greasy hair. I will sleep with him if he asks me too, she thought to herself. He had said — what were the words? — “well, hi” or “well, hello” as he sat down. He looked like he had a valet ticket in his breast pocket, or it could be a condom. That’s definitely a bulge, she thought to herself.

“So, your profile said you work in a record store?” She posed it as a question, but she thought she should have said it more open-ended.

“Actually, I lied. I own a record store. Have you seen the movie High Fidelity? That’s my life.” There was an intoxicating gravity in his manner and speech, and a majesty in his movements, like the way he brought his fork with the perfectly balanced amount of food to his mouth between speech. The three times he did it, a jaunty yet kind of manly whimper rustled the nerves in her throat, and she remembered her mother taught her it was impolite to stare. He could be thirty-three or fifty-three — it didn’t matter.

Maybe I should make him work for it. Yes, the third date, that’s it, she thought. Jesse adjusted her breasts in an instant. I love my new babies, she thought to herself. About a year ago, it was late autumn and the leaves had turned a darker shade of purple when her best friend helped her choose the size. For her, the breast size was a lifestyle choice and showed how altruistic a woman could be for her man. I’m definitely not a runner, she thought to herself inside the plastic surgeon’s room. Either way, I am definitely sleeping with him, she thought to herself inside the restaurant.

I will excuse myself in a little bit — she contemplated. She could not help but notice a gleam reflecting off his fork as it poked his steak au poivre. She wanted to abruptly check herself for any blemishes in the prongs, even if they were just fragments of her self. It did not take much convincing to love how he dipped his sliced asparagus in the cognac sauce.

He had chosen a French restaurant. Ristorante, he called it, over the phone, sounding like one of those rustic, iconic home-shopping network tycoons.

“In downtown, there’s this, what can I say, spectacular patch of boutiques, late night coffee houses and creameries. We’ll go, we’ll eat; there’s this French Ristorante called le Maison de Rendezvous. 8:30?” There was an industrial tone to his voice. The more she listened to him, the more she felt like a girl.

“Can we make it 9:00?” She fancied herself an enabler of sorts, but also kind of a rebel rouser. The best, first conversations are light-hearted, sarcastic, and so-so energetic, she thought to herself. You will not take this too seriously, she said to herself aloud in front of the mirror before her taxi arrived. She loved primping ever since she could remember. As a child, Jesse would put on her mother’s clothes, make-up, and jewelry privately in her bedroom. Her mother would sneak in and snap a gallimaufry of Polaroids with Jesse in various “cute” poses. The photos would fall to the floor dotting the hyper-color t-shirts and nylon shorts scattered throughout her room. When she was fourteen, her mother died of cancer, something she survived with for seven years.

“You know, you look beautiful tonight,” he said amidst another bite. Jesse shuddered. She wondered what this man would look like in lady’s clothes. She liked to look at his fingers with subtlety — but don’t look at them too obsessively, she reminded herself. She pictured Lady Madonna polished on his fingernails and rouge lipstick marks like relics on his slightly faded blue Dockers. His members-only jacket started to unravel in her mind, and the buttons of his shirt were popping off from the beating of her own heart. Ristorante, she said to herself under her breath and giggled.

“I don’t think I’ve ever seen anyone eat pasta that way? With a spoon? And you’re separating the red and yellow cherry tomatoes,” he said.

“I have to. They’re mad at each other,” she lied. It’s healthy to lie in this situation, but never too much in the beginning, she thought to herself.

She noticed a classical version of Madonna’s “Like a Prayer” subtly dripping out of the speakers like a bra strap. How risqué, she thought to herself. Jesse remembered seeing the video for the first time when she was 14 and wanting to kiss a saint and do naughty things in a church. She hated the fact that her father insisted she attend church every Sunday in clothes she hated to wear. If it was left up to her, she would put on purple fishnet stockings and frayed Capri pants, something colorful and outlandish for a blouse and, of course, black eye shadow. Her father always had the same outfit lain on her bed each Sunday morning — a brown leather belt, khaki pants, a navy-blue collared shirt, usually Polo, and black hush puppies. The underwear, he said, was always her choice, as long as people could not see it. And no make-up, he always exclaimed.

“The tomatoes are piecing together a treaty.”

She glanced to her right and in the dim darkness of a candle she noticed a couple in its forties. The man was pulling away the woman’s hand from behind his ear and reaching in his back pocket at the same time. I hope that’s doesn’t become me, she thought to herself. “Happily married” man and wife will drive their luxurious Lexus to their beautiful 5-bedroom home, pay the copybook cheerleader/babysitter, and kiss their three children — ages 4, 6, and 11 — goodnight. The two youngest ones will ask for a bedtime story and the husband will stay behind to reveal far-off lands where fairies teleport through microwaves from house to house to protect children from the sock-stealing ogres. The wife will carry on a fake smile from the doorway.

In her opinion, she only had her father’s eyes, and that was enough. But she had her mother’s hair, a vibrant and rebellious red. She remembered, a few years later, when she was still freckled, one night she awoke frightened. She turned on the lamplight beside her bed and, glancing wide-eyed at the swept wooden floor, she saw a deluge of off-brown ants swarming one of her socks she had earlier masturbated in.

She wanted to go home with him.

“By the way, I used to be a man,” she said.

“By the way, I’m married,” he responded, and excused himself

Lipstick on my Window (The Waltz of the Nameless)

the rouge line outlines the white

white, white clouds in the photograph. what is

the material? what is the inspiration?


each wavy line sneering, laughing, frown-

ing to its own music. the narrow rustic pipes

claw their way up the brick wall proving

once again that that which is

stagnant is impossible. motion

in every red stroke, every contour,

until you realize, in a series of four


each vivid photograph

dances the diabolical tango, commemorating

the languishing effects of hyper-stimulation

& instead, instead, instead,

focusing like a war rifle

on the steady decline of avidness.

wafers, water salad, and wretched men

Wafers, water salad, & wretched men.

Wake up you over-placid zealots!

Laughter works and perniciousness doesn’t.


Swallow your tongues, political octopi,

and delete your chafed files from

the computers of acronyms.


Google any type of fear and you

will be found, hounded & sprawled

blindfolded, for future aim

on the frigid backdrop of firing


Your wails are what lemmings

evoke upon their self-reliance for

suicide.

the tyburn jig guitar poem

I

wrote

a poem

about that guitar

in the shape

of that guitar

with only six key words

repeating themselves

like the six strings of that guitar

but the 6 critics of that poem

sitting around a table

in the shape

of that guitar

didn't like it

because

they couldn't wrap their heads

around if the words

burden

point

slide

finger

praise

wrench

were either verbs or nouns

artemis

tabby, tabby, tabby, — one word

for each time i forgot to feed you.

you didn’t meow like the other one;

your method of saying hello

came through waves of licking.


how awfully dry that was,

the pink sandpaper of your mouth

edging my fingernails,

going and halting by some

some unimaginable force


you held a kangaroo’s pouch

for a paunch — the furry, meaty

wad jiggling like baby fat (when you prance)

or a bowler’s triceps after a strike.

tabby, tabby, tabby.


when you fell sick with a virus,

you were as lame as when i found you.

i nurtured you like a child;

for some reason, I nicknamed you,

kitty-dumpling, and when you rallied

the name forever stuck.


when you died, (i’m so sorry)

tabby, tabby, tabby,

i wept like the mother of a soldier.

under the lemon tree i buried you,

a refuge from oncoming traffic

of my own car.

Mother to Child (read with care, may be disturbing)

not delicately defused, my blind bête noire,

not resistant to water yet lavishly gluttonous

and carried by monied pupils, flounders around

the tin can rain of yesterday’s roof, laughingly

unforgiven, seething, and blue.


misguided trance-like squid, why do you spill

your guts quietly like earthquakes on mute? fill

this vacant quandary with something akin to

dead bodies, at least, so I,

your prosecutor,

your defense,

your judge,

and your child,


feel some sense of remorse for what you have done

and what I soon will do.

In Response to Naming a Beetle After Hitler

little, creative, american tommy awoke with fright,

in the suburbs of his own security,

hearing the tiniest of prickly noises

like an insect cracking its knuckles,

he looked, found a maroon beetle under his bed,

named it after hitler, thereupon deciding

any conjunctions all capitalizations

would be extinct, vacuumed, dusted.

red-headed, freckled, american tommy awoke with fright,

protected in the white picket, alarmed and ready,

glancing wide-eyed at the swept wooden floor,

saw off-brown ants moving in a line

towards one of his socks, feeding off his alter-ego,

swarming the circumference,

he noted this would change his opinion

of his mother.

you can buy a name, name a meteor,

an underwater chilean anemone, name

a throat that hasn’t coughed yet, spiders

with unordinary apple stems for legs, all

becoming you immortalized like god.

Tuesday, March 30, 2010

Ode to Megan Gibbs

not your average “she,” more the far-end tail of a lizard,

resolute, machiavellian, sometimes spiky and coy

she could dance like a magnifying glass in the sun, burning up

a bright, bright, floral red…

her pumpkin carving could have been a college level graduate course

and she would have taught, wearing some kind of Costello glasses

not needing to demand your attention… (because she already had it, of course)

she would have been strict but fair,

“estricto pero justo!” se dice

her voice could knock you out with one punch

the coup de grace viva voce

she could make the lilliputian feel significantly larger

simply by talking about it, for her voice could carve air

into words… she was a cowgirl without a ranch, she could,

after all, beat you at poker before the cards were even dealt

she made peeking at the infinitesimal

feel welcoming, a shower of love for all those who, too, were willing

to view like she did.

she could stand on her toes like a ballerina, no, just the big toe

exactly like a ballerina; she could and would cast anything aside

simply for a moment of purity, stripping away all the (bacon?)

nonsense for that one, tiny, seemingly trivial, moment.

Monday, February 22, 2010

Ode to the Dictionary Dot Com

You were right, Pablo. Poetry is the insightful evocation of words with a dictionary nearby. It is the "the luxury / of one bee" and the "splinter / of your ancient wood perfumed" muddled by our minds and expressed by our tongues, or vice versa.
Nowadays, kids write poetry on computers, so what a long strange trip it has been, but like many other foot-washing poets, I, too, believe that poetry cannot be written on the computer screen, jaded by the pallid glimmer of artificial light.

You declare: "I receive / my words / in a loud, clear voice / directly from Mt. Sinai. / I shall convert / forms to alchemy. / I am the Magus."

How bold to say that great inspiration does not lie in some invisible or abysmal mount gluttoned by Olympians, but rather in the scruffy, viscous pages of a lexicon. Students do not learn nowadays to write with the dictionary or thesaurus nearby because of the advent of the hyper-information basket, bearing immediate knowledge at one's fingertips. I think of Neftali saw our children today, he would deliver an unforgettable glare straight into their eyes and piercing their souls, and seeking or rather requesting, one last time, that someone in this lost crowd of word-swiftness will turn around, marble looking-glass in hand, and say, "I'll take on the new role as leader of the poetic gait, whittler of the momentous absurd."

That'll be something. Such is the danger in velocity, shaken up, stirred, and offered in a martini glass with broken promises and passé poesy. People do not understand rhythm anymore. Rhyme, when dragged on a leash and placed under your nose, still caries no smell; mood is what they want. Feelings! Revelations!

Take your time with it! Send it on vacation for a while.

Sunday, February 14, 2010

The House

Dear Pablo Neruda,

When you wrote "The House," were you being facetious or maudlin? I read it and I don't know whether I should run away or emote some kind of dilapidated depressive countenance; either way, I'll be on the move from myself. "My house, the walls whose fresh, recently cut wood still smells... sullen scars, men without money, the mineral claw of poverty." I would say you are being scooped up into this world you do not understand yet. You are too young, too innocent, the kid in his pajamas who sits by the balcony on the stairs listening attentively and giggling to every adult word slurped during a dinner party. I, too, yearned for the sweaty brow, the pleated pants, and the G & T.

"Later I loved the smell of coal in smoke, oils, axles of frozen precision, and the solemn train crossing winter stretched over the earth, like a proud caterpillar." I get it; I take in every single, solitary coffee drop of wisdom you fling to the world with pen and ink. You longed for the passing of time, but time is like a caterpillar, proud and obstinate, and also very inscrutable. You did not make "time" any other living thing, for it could not be a cat, or a sparrow, or even a gorilla, each entity representing some element and movement of time perceived by the human eye, but in this case, in this poem, it is a caterpillar.

I love the sound of "caterpillar" when it escapes from the mouth. It makes the tongue twist and jive, only to shoot towards the teeth at the penultimate syllable and then suddenly disappear into the depths of your maw.

Saturday, January 30, 2010

Neftalí Ricardo Reyes Basoalto

When someone adopts a name in order to avoid family disapproval, it is like cleaning grime out from under the fingernails of a bulldog, the going is messy, and the end result looks just the same as the beginning. How can a person see accomplishment if he can't feel it or vice versa?
Pablo Neruda is a muse. He writes: "My soul is an empty carousel at sunset." I, too, feel his pain, his longing for the buzz of everyday life, the people, the city.
From this point on, I will read a Pablo Neruda poem everyday. I will write of my incidents, be they unscrupulous or shabby, full of euphoria or full of the other stuff we step in. I will not try to wander aimlessly; however, I haven't really decided on a goal either.
How is this going to work with me working? The form of this blog will follow the function which is to be determined.
What form does Neruda follow? He speaks of the body parts of people the same way he speaks of nature. For the poet, there is no dividing line between the Chilean hills surrounding the city of Santiago and the hills of a woman, lying on her back and waiting for rapture. He loves to make love to it all.
Yet, this is what I am afraid of. I worry this attempt at some form of constant in my life will turn into an array of negligible and trite moments, that I am trying too hard to squeeze every last drop of the air we breathe into something meaningful.
Well, I will read a poem a day by the fluid Chilean bard and let my mind wander.

Jan. 30, 2010

Thursday, January 21, 2010

i write to you

from here boldness doesn’t seem so brave; rather frigid

like haughty pranksters frolicking naked and backwards

in december, laughing at me with the sultriness of their smirks

and metastasizing my ambition for more or less the pace of living

my own life freely. i, too, breathe spontaneity, or simply imply

the paucity of green in winter to be breathtaking and mundane.

my fingers are transgressions when they’re not around

your corpse, a mastery of delightful Xerox copying, paper

breasts and two dimensional ecstasy.

Wednesday, January 20, 2010

Bicycles

While there are many different kinds of bicycles in the world, the universal two-wheeled transportation device is a manifestation of man’s compassion for a world with clean air. How hilarious yet environmentally safe would it be to see steel workers, hard hats bobbing up and down like floating Styrofoam, pedaling their way to work on a tricycle.

The getting on and off of a bicycle is an intimate act. Pre-driving teenagers gallop and leap onto their red speedsters while in motion because an urge for Taco Bell just usurped their appetite for destruction. Heading toward the lottery ticket kiosk, a polite grandmother with coffee (in a casket) in her right hand motions through the streets of Buenos Aires. She has great trouble lifting that left leg over the middle bar but makes up for it with the industrial-strength padded cushion she has for a seat. The New York businessman exits his 32-speed mountain bike in terrible fashion, tripping over the curb, smashing his priceless nose, and forgetting to lock the bike up. He wishes his ironed pants not to be soiled, but ungodliness of the trousers is inevitable. Of course, the eccentricities of getting on and off a bicycle are directly proportional to a person’s age.

A bike is a sacred possession. It carries you from Point A to Point B. An earth-ship with spokes, this mystic thing de-oils the streets with its ability to cut corners and fit through closet alleyways and holes in fences. It will not bang into others for fear of crumbling like a cheesecake on a sunny day. Plus, it doesn’t leave too much of a mess.

There are many kinds of bikes. West Coast cyclists have transformed the structure of a bike into an urban art form. High and lengthy handlebars, chrome wheels, a gold-plaited frame, and a low-riding seat are the chemical makeup of a West Coast Cycle. Mountaineers of one time zone east of California take their bikes on rugged terrain and very loose gravel. These bikes are made for spills, where the mess is principally made on the person and not the bike. These bikes require accessories that save your life. The circus has monkeys, dogs, or squirrels pawing around in circles on little yellow and red tricycles. These machines pull laughter from the audience in elephantine quantities but very little delight is delivered to those Animal Rights Activists.

The bicycle is a sacred thing. Being only one simple a thing of this gigantic world, it can easily be forgotten. However, once viewed as a tool that can save this planet from immediate pollution, and your wallet from becoming empty for purchasing petroleum, the bicycle becomes more than just a thing. The bicycle will breathe new life into the dying world of automobiles.

A Blank Disc

The inserting and ejecting of a blank disc is a sacred act. After entering the portal of a computer, everything changes. I’ve known blank discs that haven’t come out alive.

The act of inserting a blank disc is indeed the holy sanctification of creating and moving from nothingness, la tabula rasa, to the absolute inscription of the will. We choose what goes and what stays on a blank disc. I cannot fit Pink Floyd’s “Another Brick in the Wall pt. 2” because its last few seconds hinge on the eighty minute regulation of the disc. I must conform to what the disk asks of me, but I am also free to author its soul. Like a confession or a prayer, a blank disc demands an answer. How many of us have inserted a blank disk only to find that its contents were not satisfying enough?

There are many kinds of blank discs. Some take the exact shape and color of old LP’s; they have fake concentric circles reflecting the days of vinyl. These are typical of the nostalgic music lovers, who proclaim that vinyl “sounds” better because of the rustic and scratchy contact the needle makes with the product. I cannot imagine a Little Bow Wow laying down the needle of a phonograph. Then there are the colorful blank discs that businessmen use to organize their files or teenagers use because they stand out. The shelf of burnable disks at Best Buy or Wal-Mart contains DVD disks, Data disks, Disks packaged with a tall ring or individually wrapped ones. The indifferent and unconfident people who stand before this shelf will stay there for a long time because they are too wrapped up in looks. Nobody remembers the days of blank tapes. However, the importance of the blank disk is its quality of being blank. A burnt disk will be loved but eventually encounters its half-life in the maybe-I’ll-listen-to-you-later library. How rare it is to make the perfect mix! I’ve done it once.

There are various ways of inserting and ejecting a blank disc. There is the violent insertion of finger and hand with which the hopeless romantic shoves in the mix CD because he must burn it now. If he doesn’t burn it now, it will be too late. There is the gentle and unknowing nudge of a disk for those who don’t quite understand yet what will become of the CD in the end. On the other hand, the ejecting of a disk can be quite sad and depressing. Sometimes the burning doesn’t go well, and a defunct disk forces itself upon the madness of our desk. I can assume that everyone has felt the agony of a disk gone awry.

The blank disk is a symbol of man’s free will. It is our expression placed firmly on a round piece of spinning funk. Anything and everything virtual can be placed on the disk if the disk warrants room. The inserting of a blank disk and the ejecting of a burnt one proves that we are what we make, even if it’s a mistake. Of course, when we introduce a blank disc into a computer, we expect the outcome to be great.

Saturday, November 28, 2009

Celebrating Purgatory from the 47th Piso

1

She encircles the magic carpet. It is the beginning of spring,

the initial irrational forays under the moon. She

may now open her mouth as if it were a crystal cascade

and feel no obligation towards the locked cabinet,

the armario, the grandfather clock; they are all becoming her face,

a dispersed portrait, a multicolored Sahara. She is smirking,

only a mere meter away the water is blue, the carpet

she views is water; and people play hide-and-go-seek

there en las sombras, quietly laughing and syncopated.

The moon has left her close-minded and alone, starving naked

for rain, the one-night-stand, the dagger. “Spirits, spirits,

spirits!” she motions, and mirrors fill the priceless living room.

She can, after all, weave through time. The ceiling is chandeliered

cynically. For what? for an ephemeral feeling,

for a revamping of the next uprising. She fathoms if,

when the music is done, she should curl up the satin curtains,

package the carpet, and join her peers out there

in the city, right here in the lights!

“O sources of compassion!” and they will greet

her with white gloves, mink coats and ivory belts hechos de mano!

Disregarding the phone call that was mistaken and ended quickly,

The weary carpenter of Buenos Aires, disregarding his own special

Innocence and the dismembered madness of the public, she’ll try!

2

Now, slouching in the maroon leather chair,

she prepares a delicacy for her peers. So!

the vapors wafting from the stucco kitchen

boil up aspirations of NYC, the city

the spring; these will begin any moment,

these are further than her invitados, the aged-

to-perfection Tabasco sauce and the peyote;

such is the coaster for catatonic

small talk and cocktails. As the peyote

simmers her undulating breasts she lets

the main course burn, her mouth opens with

pollen, like a storming floral inquisition, and

the city and the mirrors. She steps into

the mirror, absconding behind her discordant self,

and her guests perceive the cracked glass.

3

She must send a fax from her private mud-colored mansion,

but she realizes the city people don’t read:

“If I am ever to pass neon signs in rest,

I then must ask you for your hand. For now, mine

reach out with worn-out fingers into a surreal sky,

and the flowers look like mourners dirtied

over with lágrimas. Should I sob now or wait?

Here, only a ghost could drift along

in this massive space, static, stubborn, esoteric, herself

blooming fast in her withered lilied mouth.” Sincerely Rita.

Poem Inspired by 4 Photographs

Lipstick on my Window

The Waltz of the Nameless

the rouge line outlines the white

white, white clouds in the photograph. what is

the material? what is the inspiration?

each wavy line sneering, laughing, frown-

ing to its own music. the narrow rustic pipes

claw their way up the brick wall proving

once again that that which is

stagnant is impossible. motion

in every red stroke, every contour

until you realize, in a series of four

each vivid photograph

dances the diabolical tango, commemorating

the languishing effects of hyper-stimulation

& instead, instead, instead,

focusing like a war rifle

on the steady decline of avidness.

How To Poem

How to get run over by a dune-buggy and die on the sands of Newport Beach

dig in your unclipped toenails,

unclipped for over a month! and stretched

about your body, a hyphen among beige—

lazuli and sky and ocean, a bleached towel

embedded to your flat prone exposé, where

suffer the grains, onyx and maroon,

stuck in a stalemate until fluid poses

an honest threat. you should not be anxious

for a cleansing, or for a fresh revamping

of last summer’s paleness, for what matters

is punctuality. Quick! with face down

browse the numerous feelings the sand gives

you: pouring caramel on sidewalk frost,

the incipient first yelps of a chick,

polaroids scattered all over the room—

these reveries will not last very long.

a multicolored archipelago

peoples the arena, but solace seeks

you in solitary corners, signing

you to yourself, apt, and yourself alone.

Now wait! I haven’t mentioned the best part:

a rambunctious fucker comes careening

through, trampolining at marvelous speeds,

heaped on high Sunday’s meaningless habit,

unaware of your stretched décolletage.

you are doing well in doing nothing.

Bravo! apply pressure to nothingness,

you and the buggy will soon be close friends

with death on the sands of the blood-stained dune.