DeadphlyPoetry

DeadphlyPoetry
Postmodern Alleycats...

Saturday, February 19, 2011

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 bĂȘte 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.