Category: Uncategorized
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Four Poems – Lisa Simmons
The TowersIWhen had you seen stillness of that measure before?The shadow of the leaves, so distinct,etched onto the wall by sun.When had you seen skies so blue?You had drawn them with finger paint in classbut not without a requisite cloud; cloud as clueto what you were looking at, as blue so uninterruptedmight be confused with the sea.III rode the elevators of a tower with my father once,counting the seconds it took to reach his office,swallowing hard all the way so my ears would not pop.On the deck gazing at everything,water, sun, clouds, and sky,our apartment’s windows, the park, my school –all laid out before us and small.My feet and stomach tingled.I pretended to be a leaf.IIIShe was a cousin on my father’s side,one of countless cousins I had not met.On time for work at the Windows on the World for once,her father told us ruefully, she was trying to turn over a new leaf.My father ten years dead then, would have known her,her smile and face, and not justfrom the pictures in an album,or from the paper, a flyer, TV.IVDust hovers down these sidewalks, shifts in the corners,in the crevices, of which there are more now –dust, the consistency of sugar and flour, pollen, sand.Downtown rescuers search your face, waiting for the smile,the only tender for their works.VWe sat by my father’s bed in the intensive care unitand held his hand. He could not speak.My cousin called her mother that morning,sobbing as there was thick black smoke.All of us then, the hand clutched at the deathbed,calling God’s name in unison, that oath, that prayer.ForgettingYou’ll want some story – a small tale – ears ringing.But this is a forgotten room without a door.No. There is a door but it shuts on every sentence,opens on a new room.Will you recall?The scrap of sky in the corner,an inch you liked best,you have fixed at the edge of your mind.You let it go (gloves left on a subway seat),and now it’s tough to judge when the puzzle is complete,how to view that picture.Orange peels, firecrackers, windmills, bamboo.Pine, smoke, brine, lace.Seed, flame, water, wind.Pages in books, frozen notes, wallets in cabs –half past, forlorn, alone.Whisper of a pot, pressure steamingor whistling from the side. Just before.Leave the door open, the keys have walked.Barefoot on asphalt, sand, grass, and snow.Winter animalsI am the fox, you are the hunter. I am the deer, you are the bear.Deer cross highways.No hunters yet.We wait for snow,summer barely gone.Mute animals stop then leave.When will hibernation be set?Their only shields–a beauty to stun,a stillness to startle,speed to help hide.Wild, yet meek. Raise mercy.I am the deer, you are the wolf. You are the fox, I am the hunter.How does the deer get lured?By appetite, like the bear?Reunions to come before hunger sated.We are the hunter, the bear, the deer, the wolf, the fox.Mournful patience and a lonesome departure.The hunter sometimes is hunted.Regrets onlyPeople gathered as tightly as lemons, limes, and orangespiled into supermarket pyramids.This party could have alteredthe currents of your life but you are absent.An orange trips to the floor, rolls over to the bar, orders Dewars neat.What is the word of the tall, tan man you did not meet who surveyed the edgesof the gathering, plumbed the depths the hostess would goto ensure that talk of the guestsstepped lightly, kindly, measuredly,over the heirloom rug that did not deaden the elephant’s heels?You missed your former rival,the long-forgotten quarrel,the widening of years in your faces.A potential rival pulled on an ear, fingered a nose, smoked a log,curls of white curlicuing a haloof spite and good nature alternately..What did you do instead?Flipped the channel, ate an unsatisfying meal,sat in an emergency room with a friend who collided with a taxi.Accidents are invitations to unmapped roads.They vanish once you pass.You sent no regrets. -
Issue 09: The Poetry Issue
With work by Elaine Equi, Katie Degentesh, Youssef Rakha, K. Eltinaé, Paula Bernett, Leah Umansky, Ace Boggess, Lynne Sachs, Olena Jennings, and Alex Dimitrov.
– Ben Shields
Four Poems by Elaine Equi
Three Poems by Katie Degentesh
Three Poems by Youssef Rakha (translated by Robin Moger)
Five Poems by K. Eltinaé
Five Poems by Paula Bernett
Two Poems by Leah Umansky
Five Poems by Ace Boggess
Five Poems by Lynne Sachs, from her collection Year By Year Poems (Tender Buttons Press)
Five Poems by Olena Jennings
“My Secret,” a poem by Alex Dimitrov
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Four Prose Poems
What If a Little BoneSay that god is out to lunch. What if a wasp settles on the fried chicken. What if god getsa little bone stuck in his throat and coughs up an alternate universe. We’re living in it,aren’t we? What if god forgets how he jury-rigged us in the first place. What if the spineis a ladder and the tongue a rope. Some days you climb the rungs, other days you makethe noose. What if you could send a billion Forever stamps through the mail and get backan authenticated copy of god. You could set it on the shelf and it could watch you eatingsupper. Even so you’re quite alone. What if when you cry for your lost mother, the copygod mutters tick-tock. Where is the border between now and heaven and do you needidentification to cross over and will your spit suffice. What if there’s a wall up there,higher than all the bone ladders on earth stacked end to end. What if the hole to hell isright here in the backyard, just as your kid’s friend said it was. What if children knoweverything that matters, until they forget. There is no salvation from that much ignorance.What if god says he’s sorry for laughing, but sweet jesus, how he needed a laugh.HuntDaily I hunt the silence that endures this city. It’s said to nest under sidewalks, ride thewinter contrails. Many ordinary things are rumored to contain it: ball bearings, silverfish,the disowned shredder on the curb. But I can’t find a trace. This morning on Eighth StreetI thought I felt it feathering the little wind, until the brick cleaner’s pressure washergrowled and bucked its hose. Startled, I stepped on black ice and went ditch-sliding likethat woman’s car in the weather app video. (To her rescuers she kept saying, tearfully, Iwas only trying to calm the baby. And when she stopped talking you could almost seeit—silence opening its throat inside her heart.) Somehow I kept my footing. A passerbyaverted his eyes; who knows what he was hunting. Our skulls functioned perfectly as boxblinds, obscuring whatever bided within. Then a mourning dove called Hey you, you, you,and my mind swung around like a telescope. I looked at myself through its wrong end. Afierce silence rose up inside me, scraping its beak on my spine. See? it said. It was silencethat thought me up in the first place. And makes me still.CasperA milky moon was rising on the Fireman’s Fair when the shelter guy waved me into hisbooth—an old Mister Softee truck lined with wire cages. It was your typical story:somebody’s uncle had died, leaving a passel of cats. Take your time! the shelter guy said.But we were already in the time of breakdown. The workers were chasing off the snot-faces, reeling in the jiggy lights that festooned the fairgrounds. The shelter guy was aholdout. I could smell the sulfur of his righteousness. I passed over all the pretty ones andknelt before a black molly. She was flat-eared, dull as roadkill. The shelter guy said She’sa biter, that one, and I knew she was. But I felt my third eye roll up: Signs point to yes.
I took her home and fed her the finest offal. For a year she never looked at me. If myhand hovered, she clicked her teeth. I named her Casper, after the Mayan king whose realname nobody knows.One day I said her ghost name and she remained visible. She yawned, and I saw thatsomewhere in the back-time she’d lost a fang. When she sank the other, it was for themiracle of blood. I understood that she wanted little from me, only fish heads and achange of dirt. Some nights as I lie in bed she comes to smother me. Her throat makes thesound of locusts. She licks my third eye until it sees a future. Hazy, with biting flies. HowI love her mercy.Errata
Rapture caused the sheet lightning behind p. 11.The women carrying rebar through the gutter spaces should be bull dykes.And is always singular.The narrator, I, has synesthesia, not amnesia. A lowercase i tastes like salt.P. 47: The letter e is not an earplug. (The letter Q can be so configured in a pinch.)The men hosing off the marginalia should be wearing pink camo.But is as naïve as a chicken.The narrator’s sequiturs will be ticketed for code violations.P.227: The flashback is marred by the static of yearning.The kids installing the commas should be orphans.Yet drags its chained foot.The narrator has been detained for lucid dreaming.Because twitches its trigger finger.The narrator regrets nothing. -
Issue 10: Idols & Idolatry
An Aztec emperor’s chambers and the dreary quarters of a worker made ancient by his windowless office: two poems and two universes by Marshall Mallicoat.
At the outset of B.H. James’s “Dale,” we’re in a religious cult whose god is the original Karate Kid film. By the end, we’re in a memoir of marriage counseling, writing, and narrative structure.
In Shani Eichler’s debut story, “The Ties That Bind Us,” a secular Jewish family goes through an identity crisis when their daughter announces her engagement to a non-Jewish young man.
From his recent collections The Sailor and Turncoats of Paradise, Joobin Bekhrad’s six poems are written in a classical style steeped in Iranian mythology.
Dana Schein’s four paintings span from the spontaneity of artistic creation to pressure and melancholic boredom. One image depicts a student excelling in a piano lesson; in another, a man looks on the verge of losing consciousness from lifting the same instrument.
Frank strolls in a vanishing New York in Carl Watson’s novel excerpt, “A streetcorner in limbo.” Aware that nostalgia is just a scarecrow to ward off change, he can’t entirely resist it.
In Mike Corrao’s imagined apartment complex, there’s no reason to stay: landlines are severing, fires igniting, potential meteors dropping—yet no one can bear to leave.
Five poems by Josh Lipson locate his studies of Levantine language and culture as a passageway in which he may declare his allegiance to idle reverie.
The speaker in two poems by Dante Fuoco, calloused by waiting and the wind, runs late and turns the ticking of time into song.
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from After David (a novel)
Logging on the site is like stepping into a candy store. Or walking into a party and waiting for someone to talk to you, some swaggering dude with a joint in one hand and a bottle of beer in the other. Except he is the only one you’re waiting for.
All you have to do is leave your chat window open and the hot pink band will light up, and then they’ll rush in. One of the many amazing surprises of online dating in your sixties is to discover all the twenty-somethings and thirty-somethings who flock to you as the latest taboo to transgress.
Ethanb, 20 – You’re really attractive. It’s my fantasy to be with an older woman.
BMW1976, 37 – I love French women
Desire4Mature, 42 – The dynamic is unmatchable when it’s the right older woman and a younger man
Eljefe86, 27 –I know I am a bit young but I think you should give me a chance…
How could I resist clicking?
***
The first time we met was in Tompkins Square Park, around noon, before he went to his day job at a nearby recording studio. He had contacted me on the dating site a couple of weeks earlier – Hi, I’m Jonah, you seem quite lovely. I liked that word lovely. Almost old school, anachronistic, even. So much more respectful and charming than the raunchy pick-up lines guys on the site tossed like so much hastily knotted baits in the dating river. A touch of old-fashioned gallantry that contrasted with the pictures of this cool guy – sexy as hell, with his scruffy beard, dark curly hair, beat-up Converse, and an electric guitar on his knees, in the heat of the action.
Still, when I saw how young he was – 37 – I hesitated. I was 62. A full generation older. He gently insisted. I gave him my phone number and he called me. His voice was smooth, just a little nasal, relaxed. Social ease. Not pushy. When you meet someone online, you make your decision to go ahead or not based on tiny clues. He worked two blocks away from my place. Why not get together for coffee? It was mid-September, a few days after my birthday (another birthday to ignore, forget, tread lightly over – because what else is there to do with the years that pass?).
The weather was warm, with a trace of cool, the elm trees still glorious, their green just a bit dusty after the hot summer. I waited for him by the dog run and watched a pair of pit-bulls frolic. I had an envelope under my arm, with the bank statements proving that I could cover her rent in Brooklyn in case she came short. I had to have everything photocopied so that Louise could sign the lease. I was nervous about whether I had enough money in my relatively small investment account to qualify as a guarantor. New York landlords require solid cash in the bank. I was still getting royalties from the book I had written about the end of my marriage with David, but they were dwindling, so I was mainly living off my paychecks as a freelance commercial translator, and my teaching. Louise and Juliet were at home, Juliet visiting from Jacksonville with Vivian, her baby, who was now exactly one year old.
I didn’t tell the girls I was going to meet him. I just said I was going to the copy place. I wasn’t dressed for a “date.” Skinny jeans, t-shirt, denim jacket, booties, casual. My usual look. He was a jazz guitarist. No point dressing up. He strolled up to me in his sneakers and bomber jacket, looking straight out of Brooklyn. Laid back. Cool in a kind of nerdy-sexy way. Jewish, I realized later, when I looked him up online (he had told me the name of his quartet). Dark hair curling in his neck and tumbling forward, dark stubble of a beard, sensual mouth, soulful look in his hazel eyes, strong – but not too strong – nose, tallish, but slight. Elegant. Sexy smile. Where had I seen that smile before? These warm, smoldering eyes?
Shall we have coffee? He asked.
I didn’t think of David at that moment, but as we walked side by side across the park, falling into step with each other, he felt familiar, as though we had been lovers in a previous life. But it was the same immediate chemistry that I’d felt with David when he had sat down next to me that first of January at our mutual friends’ apartment, our bodies moving towards each other like magnets before we even said a word. I forgot the envelope under my arm, the financial responsibilities. There was a quality of silence around him that I found relaxing, a mute complicity, as if his presence released in me a long-forgotten insouciance. He was immensely appealing.
We headed to the little coffee shop along the park. He asked me if I had told my daughters I had a date. I said that I hadn’t. Then he asked me if they were his age. I said, no, younger. And we laughed with relief. That was that, at least. And then his smile, head a little to the side, almost shy — as he offered to pay, because I was taking out my own wallet, not sure. Was that even a date?
I told him I had to photocopy some paperwork and he offered to walk me all the way to the copy place (I’ll be a little late for work, but that’s okay). Later I thought he had arranged our date close to the time he had to start work, so that if it turned out we had no chemistry he would have a good excuse to cut the date short. We got out of the café, coffees in hand, and I spilled some on my feet. He squatted to clean up the stain with a napkin and said he liked my boots, and I handed him my cup while I went in.
It’s when I waited for the paperwork to be photocopied that I thought of David and of our move to the neighborhood more than twenty-five years ago – when everyone lived in the Lower East Side instead of Brooklyn. Writing the first short stories, sending them out, applying for grants, selling articles, writing all day long, giving readings and going to readings every night, scrambling for money, the excitement of belonging to a group of young, edgy, emerging writers. I could sense – or guess – that he was holding out for the same dreams. Did he see that in me, too? Or did he only see an older, attractive French woman, with whom he wanted to experience the thrill of the forbidden?
I was surprised that he was dating online. He was in a band. He must have girls fawning all over him.
At this, he laughed.
Actually, the kind of music I play, it’s all guys. It’s not like pop music. I don’t get to meet girls that much. And people are so guarded in New York. If you talk to a girl in the street, they think you’re a creep.
Why did you contact me? I am so much older than you.
I thought you were cute.
I hope it’s not because you’re into older women. I wouldn’t want to be a fetish.
His face didn’t give anything away. He would be a good poker player, I thought.
He had dated a German woman for three years, he said, going back and forth between Berlin and New York, when she finally moved back for good a few months ago, and he stayed in New York for his music.
I understand, I said. I told him I had been in a relationship for six years with a Russian guy who worked for the UN in Geneva. He had asked me to go and live with him. But I didn’t want to uproot my life and my daughter’s life. Besides, Geneva’s deadly. Berlin’s better.
That’s when I asked him the name of his band. He was playing tonight, but way out in Bushwick, (I’m not going to ask you to go that far). Then he pointed to a metal door covered with graffiti in a still grimy block that gentrification hadn’t reached yet.
I work here. It’s a recording studio.
I double-kissed him, French style, and on the way back home I sipped my cappuccino with the kind of lightness and excitement one has after the promise of a new love – or a promising encounter – such an unexpected surprise, tendrils of desire rising in a limpid sky, not a cumulus in sight, thinking no further than the moment, no further than that immediate mutual attraction, that ease we both felt, then joyfully tossed the cup in the trash can at the corner before walking up to my apartment.
He sent me a message two days later. I was in a taxi headed to JFK with Juliet and Vivian. Juliet lived in Jacksonville with her husband who was a jet pilot in the Navy and I was going to spend a few days with them while Scott was away on a detachment.
I am on my way to Florida, I texted back. I glanced at the baby who was wailing while Juliet precipitously unbuttoned her top and pulled out a breast dripping with milk. The driver, who looked Afghan or Uzbek, stole a quick, possibly disapproving look in his rear-view mirror but said nothing.
I only mentioned that I was traveling with my daughter. I didn’t mention the baby. Her existence was off-limits, of course. Unmentionable. Unthinkable.
Let’s get together when you come back, he texted.
***
It wasn’t my first experience with virtual encounters. One day, a couple of lonely years after my breakup with Vadik, Irishactor sent me a direct message on Facebook. On the thumbnail photo a sexy guy in his thirties, with pale blue eyes, cropped hair and a light beard, looked thoughtful. His page was filled with dreamy photos of a farmhouse by the ocean, and shots of a white mare peacefully grazing in the fields, the rocky Irish coast in the background, and of a stone fireplace in front of which a Persian cat slept, its paws folded under its bosom, next to an open laptop.
We started to message every evening – which, for him, being five hours ahead on the West Coast of Ireland – often meant 3 or 4 AM. But he was a night owl. I imagined him in the rugged farmhouse, within hearing distance of the tide, waves crashing menacingly on stormy nights. And me, flying to Dublin and showing up soaked from the diluvian rains while he greeted me, bathtub full of steamy water, fragrant Irish stew (he had given me the recipe) on the stove. The affair lasted two months. I was stunned to feel how powerful the letdown was afterwards, as if we’d literally spent all our nights together, flesh to flesh. I knew that imagination was the most powerful organ of desire, but here was the proof of its power.
After Irishactor, signing up on the dating app was a natural step, like shifting from smoking weed to shooting hard drugs. I had no expectation, really, just a bit of excitement: choosing the photos, writing the profile, and the trepidation of exposing myself publicly, as though I was about to stand half dressed in a skimpy outfit on a street corner, waiting for the first clients to show up.
Justpassingby, 42, Manhattan, PhD in literature from Brown, worked in advertising. No photo. But the picture he sent me on a bucket site was very cute – at least, what I could catch of it before it got swallowed up in cyberspace. Smart and fun and a good flirt. A girlfriend who traveled a lot for her job. Did I mind? I did not. We’d log on in the evenings and I’d take my computer to bed or chat on the app on my iPhone. What are you wearing? Usually a plaid pajama bottom and a tank top, or some evenings, just the tank top because it was May and it was getting warmer, and one thing led to another. We both watched Mad Men and debriefed afterwards from our respective beds. Did you see Megan tonight? I don’t like her. Too big a smile. Tonight it was really dark. Do you think he’ll end up killing himself, throw himself out the window? He was extra cautious. No photo and no personal details on the site, no mobile number, only instant message on the app, and he only gave me his first name. Matt.
One evening, a few weeks after our first contact, he jumped the gun.
Do you want to meet tonight?
He picked a bar in K-town, on the first floor of a hotel. The bar was deserted, with a “Lost in Translation” lounge vibe, a Korean barman wiping glasses behind the counter pretending not to pay attention. He was sitting at the bar, in the corner. I slipped on the stool next to him.
He was good-looking, preppy-cool, short dark hair, blue eyes. Dark jeans. Blue canvas jacket. Would I have been attracted to him if I’d met him cold here in this deserted bar? We were already way past that. We sat on a couch. After a glass of Chardonnay he leaned towards me. Shall we kiss? Thirty minutes later we were breathlessly making out in the cab that was taking us back to my place. I didn’t invite him up.
A week later he booked a room in a hotel in Soho, one late Saturday afternoon in May, and waited for me, reading a novel by Ann Patchett. Bel Canto. Good choice, I said. The room was lovely, elegant, all shades of taupe and gray. I was wearing a long, black summer dress that I had just bought with a pair of flat sandals. He sat next to me on the bed and ran his hands up my naked legs.
Through the sheer curtains the late afternoon sun filtered a soft light. No noise came from the street. A big mirror on the dresser played our reflections, streaked with splashes of slanted sun. It did feel like New York, but a foreign New York we were both visiting for the first time, coming from other, far away countries, and we had just met and booked a room.
We were good together. The chemistry, the fluidity of our moves. A perfect bubble out of time and place.
It was a shock, afterwards, to be back in bustling Soho, warm, sunny. I floated back home, in sex afterglow.
We stayed in contact for a while. And then I didn’t hear from him for a couple of weeks. One night he messaged me and apologized for being out of touch. He wasn’t single anymore. I liked that he had been graceful enough to let me know. One day when I looked for him on the site, I saw that he had deactivated his profile. I knew it would just be a fling, since he had a girlfriend. But I was grateful for what he had given me: the reassurance that I was still desirable, still sexy, still vibrant.
***
Four months later, Hey11211, 37, Brooklyn, jazz guitarist, appeared in the flesh between the Elm trees of Tompkins Square park, having magically slipped off the small window of the dating app, like the genie floating out of Aladdin’s lamp.
Hi, I’m Jonah, he said.
Almost instantly, it felt like love.
I couldn’t say why, exactly. Of course, all the red flags shot up simultaneously, wide age difference, casual online contact, jazz guitarist, laid back attitude, non-date coffee date creating a perfect storm of arousing danger, making my heart beat. But at the same time, this uncanny feeling of complicity, as though we had already slept together, and we could just seamlessly slip into bed without missing a beat or embark on a trip tonight – last-minute tickets to the Maldives, for instance.
I couldn’t remember when I had the dream, whether it was after the first or second time he had come to see me. But I’m pretty sure I hadn’t had it in Jacksonville at Juliet’s, although when I was there I woke up several nights in a row in a sweat, wondering whether I should pursue or not because he was so much younger than me. But when had I ever put the brakes on anything in my life, especially where men were concerned? All the men I had been with since David were younger than me, so what’s an extra few years? Thinking back, I must have had the dream after the first time we had sex, or maybe after he’d asked me about anal sex, online. The word anal blinking dangerously on the little window coiffed by a band of hot pink. I was being pursued by two black wolves, up the stairs of a house I shared with my mother. The wolves had cornered me against the wall. I woke up, drenched in sweat.
He texted me the afternoon I had flown back from Jacksonville. I was doing some errands in the neighborhood and my phone buzzed. I thought maybe it was Louise and fumbled to pull my phone out of my bag. When I saw his name, my breathing accelerated.
Hey Eve. So when are you going to invite me up to your place?
Me: Why don’t we have a drink tomorrow and talk about it?
He: I think you’ve already made up your mind.
I thought of that line from a song that had been a hit all summer: “I know you want it, I know you want it.” My heart beat a little faster. He was right. We had both made up our minds within a few seconds of seeing each other.
He continued: Considering our age difference, it would play out like an affair rather than a romance.
I was walking through the park, phone in hand, close to where we had first met, coming back from depositing a check at the bank (later he would show me how to deposit checks directly on my phone, and I downloaded the app), it was a sunny day, but the light seemed to darken, as though a cloud was passing in front of the sun. I shivered and sat on a bench. So that was his opening gambit. All risk and benefits calculated beforehand. I just want to fuck you. Let’s not waste our time in niceties like dates and candlelight. That’s the deal, take it or leave it. No room for negotiation. I swallowed hard.
Fine I thought. He only wants sex? I can handle that.
I played it coy to hide my agitation: What about seduction?
He: Yes, seduction, of course. Always seduction.
But my legs felt weak when I got up and started to walk back home, as if he had already backed me into a corner and taken control. I didn’t know whether I was disappointed or aroused – the two sensations blending together in an explosive mix.
Later it occurred to me – how could I have not realized it at the moment, how could I have been so blind – that it was no coincidence that I had met Jonah just as Louise was about to move into her first apartment, and just as I was leaving behind the role of mother. That I would try to make him fill a void left by Louise’s moving out, Louise who, herself, had filled the void left by David’s absence.
After the breakup with David, I couldn’t wait to shed the role of wife, like a snake sloughing its skin. The truth was that I was shell-shocked. I couldn’t imagine embarking on a new relationship. With whom? How do you start again meshing your life so intimately with someone after a 22-year long marriage? My body was running way ahead of my emotions. The sudden freedom was intoxicating. All I wanted was lovers. Hot sex. Right away there were a few, in quick succession, fleeting, passing by. And then there was Vadik, who was living far away in Europe and travelled all the time for his UN job. The long-distance didn’t scare me. On the contrary, it allowed me to be a mom for Louise without bringing a man into our home on a daily basis and confuse her. In fact, when he asked me later on to live with him in Geneva, I panicked. I couldn’t see myself taking Louise and moving in with him, in that apartment complex on the outskirts of Geneva, which frighteningly resembled the Soviet-era apartment buildings in Moscow where he had grown up, and be a wife.
And now, just as Louise was about to leave home, I felt a new burst of sexual energy. It was a funny thing, and unexpected, that in my sixties I felt more self-confident than I had been at fifty, when David had left, or even at thirty, when we had met. I knew I looked way younger than my age, like my mother did, slender, toned body and a halo of blond hair, lucky genes, I guess. And I had in me that same fire she had. That fire that I hated, that I was jealous of, when I was a girl, when she lit up a room with her energy, her seduction, sucking up all the attention to herself. My own fire had just been smoldering all these years in the safety of the couple. And I believed that charm, seduction and vitality came from an inner radiance, not, or not only, from youth.
In La Maman et la Putain, (The Mother and the Whore), the Jean Eustache movie, Alexandre (played by Jean-Pierre Léaud) has a live-in girlfriend, Marie, but starts an affair with a hot Polish nurse which threatens his relationship with Marie.
I had grown up with that story, the constant swing between pure wife and naughty lover, the oldest story of romance as told by men in the Western world – and perhaps in the whole history of humanity. My family had embodied that split. In my grandparents’ home, where I grew up, my grandmother played the wife and mother: her role was to keep everyone fed, clothed, educated and controlled. Meanwhile my mother, defiant, pregnant by accident, was the bad girl with the platinum blond hair and the stiletto heels, cigarette dangling between her fingers, whose mysterious life played out off-stage. I navigated between them, the straight-A, straight-laced, good girl, secretly yearning to let my wild side loose as soon as I could.
With men, I was always torn between the two, even way back when David and I had gone down to city hall for a shotgun wedding, one-month old Juliet in her little bassinette at our feet; and even years later, when Louise was born.
***
He texted me the following Monday, mid-morning. I was getting out of the shower, thinking about him.
When will you invite me over?
An hour later he was running up the stairs, his guitar case slung over his shoulder. It was noon. The sun was pouring in. I made him espresso in my stovetop Italian moka pot. Dark, lanky, he watched me with a look of expectation and ironic detachment, perhaps not sure of what I was expecting of him. And I watched him watching me. While the coffee was brewing, he strolled to the baby-grand piano and opened the lid.
Better not, I said. It needs to be tuned. The wood got cracked when it was shipped from France. It was my grandparents’ piano, from the 30’s. I played on it for ten years.
Afterwards, I regretted not having heard him play. I remembered my mother talking about a lover she had had – a Jewish concert pianist – as a “grand tenor,” which I imagined alluded to his male seduction, (or, who knows, perhaps even to his love-making), an expression that seemed appropriate for a musician. Jonah didn’t strike me as a “grand tenor.” Perhaps that was why I was attracted to him.
He leaned against the kitchen counter, sipping his coffee, smiling at me with that dazzling smile, all dark skin and dark beard, like a Middle-Eastern movie star, waiting for me to make the first move. Maybe he was intimidated. David, too, would lean against walls, against doorjambs, against bedposts, and look at me with a half-smile, offering himself to me. Do with me what you wish. Take me. I am yours. I had never wanted a man so much since David. It was that open invitation that was devastating.
I came to him. He put the cup down.
Shall we rip each other’s clothes off? He asked ironically, or rhetorically.
I pressed my body against his. I could feel how big he was though the canvas of his cargo shorts.
I’m hard.
I know.
I took his hand and we went to my bedroom. There was a bookcase outside the door, with all my novels, in English and in translation, stacked on the shelves. He picked up the memoir I had written about the end of my marriage with David, twelve years earlier. It had a big, glamorous photo of me on the cover, black and white. It’s me, I said, although it was obvious. He studied the photo for a moment and read the blurbs, then put the book back without saying anything. His face blank. For a second I wondered if he compared my book cover photo – the one that my agent had qualified as “glamour-puss” – to me now, but I didn’t think I had changed that much, and I let that fleeting thought go. In my bedroom, he looked around, taking it all in, the mirrors, the antique dresser, all the windows. With an air of calm detachment.
The light was too bright for a first time.
In full daylight, the first kiss. Without the help of darkness, soft lighting, conversation to soften the edges. Neat, like a shot of vodka.. His lips, deliciously pulpy. He was skinny, with a slightly hairy chest, narrow shoulders, a soft stomach, not a gym body – but that body felt like fire between my arms.
I collapsed on the bed under him, and he helped me out of my jeans. I was wearing black socks. He put his hand on mine as I was about to peel them off.
No. Keep them.
There was no foreplay, just him inside of me, filling me up so hard I wasn’t sure that I could take him all in, afraid that he would chafe the tender skin inside. And then, as he moved ever so slightly, as his eyes searched mine, something gave way in me, and I dissolved around him.
You’re so wet, he whispered, and his face went soft, his breath came faster.
We were not ripping each other’s clothes off. There was a slow deliberateness to his moves. A shyness, even, as though he was waiting for a signal from me to let loose. There was something elusive about him, withholding, as if he had been detached from his body – his mind floating above us, watching ironically. And the chemistry between us was so intense I could barely abandon myself, my body was trembling, holding back from fear of being consumed. One time, many years ago, I had smoked sinsemilla with David during a trip to the Keys in Florida, and while we drove on one of the bridges headed to Key West, I had hallucinated a higher power, a God watching me from the sky. This felt like a high too, but a high that was more emotional than purely sexual. I came in long, almost silent sighs, just before him. I leaned against his chest and touched him gently where his sex was resting on top of his thighs.
I am not a good rebound guy, he apologized. Not like when I was 25.
I was touched that he worried about not living up to my expectations. I wanted to take him in my arms, to reassure him. Instead, I teased him.
You aren’t so young anymore. 37 is practically middle-aged.
I had forgotten my own age, by then. I was just the right age. Or no age at all. I ran my fingers through the hair that curled on his chest.
Hmmm. So soft.
I put lotion on it, he joked. L’Occitane.
L’Occitane? That’s a French brand. How come you know about it?
Men who live in New York can’t help being metrosexual, he said.
It was funny to be so attracted to a guy who labeled himself metrosexual. Also a jazz guitarist. When I was a teenager, my crushes had been musicians: Liszt, Chopin, Schubert, Beethoven. I played their music on the piano, the same one that was now in my living-room, and I listened to their albums on my little orange turntable. But they were all dead. A few days after Jonah’s visit, while doing research on a book I was working on, I randomly opened one of my earlier novels, and was astonished to discover that the heroine’s boyfriend was a guitarist and that her ex-husband and the father of her daughter was a musician. I had completely forgotten about it. I never re-read my books after they were published. It was as though I had hallucinated them. But these coincidences happened a lot in my life: I’d create a character, and then the real-life counterpart appeared, as if I had manifested them unconsciously years before.
He got up. He couldn’t stay. He had to go to work. Men, always busy, always running from one activity to the next, all action. Buttoning his shirt over his t-shirt. Pulling on his shorts. I had lost all sense of time. I took him to the door and stood in front of him, naked except for the knee-high socks.
I watched him cross the landing, guitar case on his back, in shorts and flip-flops (it was a warm day). In a flash, I remembered David in his flannel shirts and ripped jeans – the very incarnation of the eternal American sexy boy. And then that other flash: David, just back from the red-eye, walking up these same stairs with the bag he had taken to LA to meet his lover. All night I had prepared myself to ask him to leave. All night I had repeated the words: It’s over. You need to leave. You need to leave now. NOW. Furious to have been caught red-handed, he had mashed his hat back on his head, the Fedora he had taken to wearing lately, and bolted for the door, didn’t even put the bag down. He only turned back on the landing for a final goodbye with these cryptic words – you and I are still us. The us of the past, presumably. Because the present us was dissolving at that very moment.
Jonah waved at me from the stairs with a smile that was a bit lopsided, tender, with a dash of smirk, a dollop of irony, erasing the last image of David.
To be continued, he said.
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Issue 11: Voice
A note from Buku Sarkar.
In a new poem by Elizabeth Acevedo, a voice from the record player summons memories and unresolved feelings about the speaker’s father. Introduced by Margarita Engle.
A duet by Andrea Boccelli and Sarah Brightman punctuates assorted events in the life of a refugee family in Faruk Šehić’s “Women’s War.” Introduced by Aleksander Hemon.
Tope Folarin’s “The Goat” concerns a boy in a poverty-stricken family whose insatiable appetite threatens his household’s already precarious stability. Introduced by Helon Habila.
Vamika Sinha’s three poems depict speakers taking in the sensual joys of an open city, breathing air into the open mouths of dolls, and using pens filled with syrup. Introduced by Tishani Doshi.
Tiziano Colibazzi’s “Shoes” cover lots of territory: Italian footwear etiquette, Amsterdam’s Homomonument, and a Berlin pilgrimage. Introduced by Zia Jaffrey.
In two poems by Quenton Baker, nightmares fragment into law, flesh becomes lexical, and the dirt a dialect. Introduced by Ada Limón.
“The warmth that my lover left in my hands turns to ice as soon as they touch the first fish of the day”: unexpected transitions and sensations populate every paragraph of Birgül Oğuz’s “Revol.” Introduced by Victoria Holbrook.
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Frozen Faces, Frozen Light
Amidst the pedestrian layout of Prague, perpendicular to the winding cobblestone footpaths, busts are inlayed into the streetscapes of the city. Out of the building walls, metallic heads of figures from prominent poets and illustrators to scientists and activists protrude onto the sidewalks, introducing frozen avatars of contributors who stand memorialized amongst the fluid mosaic of passersby. Below the slopes of Petřín Park, one subtle facial lieu de memoire of the Malá Strana district alludes to what functioned as an artist’s space encased in a courtyard between several apartment buildings. Affixed to a smooth, rectangular plaque juts a craggy, low-eared, periorally furrowed bust of a late Josef Sudek. The monument to the Czech photographer indicates not only his mortal timespan, but also a place whereby an extant individual could pace a few steps northward and ring a buzzer. A reciprocal buzz welcomes the pushing of a door, the passing over a threshold, and the strolling down a pair of dim corridors before stepping upon the stone-tiled ground of an outdoor enclosure lit relative to whatever level of natural light the firmament permits at that very moment.
Inside the edificial well and behind bounds of shrubs sits a diminutive wooden structure that evokes a single-story cottage: Atelier Josef Sudek, the former darkroom and domicile of the local artist largely known for his depiction of light. Sudek portrayed a Prague in greyscale, arresting the brilliance of rays beaming through naves, the incandescence of street lanterns cutting through fog.
Within the small, twentieth-century pavilion in which he rendered the chiaroscuro effect, the biotic buzzer who commands the interior button circuit is never staffed by the same person, yet she or he programmatically adds the same value upon greeting: “Deset korun.” Ten Czech crowns: the price to pay to view photographic specimens in printed form.
Two Spartan gallery rooms showcase rotating exhibitions: Central Asian rodeo games in action, contemporary pictorial commentary on data collection, overexposed white light obfuscating facial profiles. Sometimes Sudek’s prints furnish his old darkroom’s space from whose steamy windowsill he captured a glass-cum-vase holding a rose triad leaning leftward.
Other Prague places besides the Atelier Josef Sudek pay homage to him and his oeuvre. Across the river Vltava, the Prague House of Photography periodically exhibits his work (not to mention pictures of him at work). One such instance encompassed Sudek’s recordings of WWII destruction circa 1945 in parallel to Timm Rautert’s portraits of Sudek active during the pre-Prague Spring atmosphere of 1967. Rauert, then-student, showed Sudek, one-armed veteran photographer, lugging his large-format camera across the footpaths of Petřín Park’s hills, as well as sitting in his still-functional studio, crammed with lit lamps shedding light on boxes of photo paper lodged in disarray, curios around jarred chemicals and flash bulbs weighing down the shelving’s capacity to maintain its horizontal integrity.
A peculiar mystique had magnetized me to study and stay in Prague for over two years. The hands-on experience familiarized me with the vital personalities of the endemic culture together with how their creative manifestations reflected the charming location and its mysterious layers. Josef Sudek was a permanent fixture in the artistic canon, referenced in university seminars and included in museum bookshops for his spectral, black-and-white images of lonely streets, bare branches, and still lifes.
Monuments and mementos pervade Prague. Although aging and temporality inform the evolution of reality, a certain agelessness of the cityscape’s spirit may be articulated via the language of light.
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Issue 12 Curators of KGB
INTRO: A re-launch featuring current and former curators; intended to stoke inspiration from the past and exhibit commitment to the future of the literary community that’s developed within the walls at 85 East 4th Street. It will be organized by genre then chronological order of each contributor’s timeline in programming.
Non-FictionFound Object – by Rebecca Donner-Former Litmag program coordinatorWhat Everyone Gets Wrong About ‘70s New York – by Mark Jacobson-KGB Bar Radio Hour and Non-Fiction programmingA MAGA Meltdown: How My White Family is Letting me Down in the Age of Trump – by Christian Felix-Co-host of We Don’t Even Know PodcastBefore – Alex Vara-TNS After-hours; The New School MFA Creative Writing Program Monthly ReadingPoetryA Good Week for a Birthday – by David Lehman-Monday Night Poetry co-founderUrinals – by Matthew Yeager-Monday Night Poetry CuratorThe Last Mirror – by Jason Schneiderman-Monday Night Poetry CuratorThree Poems – by John Deming-Monday Night Poetry CuratorWatching “The Color Purple” During Quarantine – by Jada Gordon-Monday Night Poetry CuratorUnraveling – by Olena Jennings-Poets of QueensPoem – by Akeem K. Duncan-Art in the Red Room with Quiet Lunch MagazineIt’s Taxing, isn’t it – by Leah Umansky-Couplet Quarterly Poetry Reading and SocialScience FictionThe Writing’s On the Wall – Matt Kressel-Fantastic FictionFictionThe Cry – by William Electric Black-Theater DevelopmentOvercoat Guy – by Paul Beckman-F Bomb Flash FictionFunhouse– by Shanna McNair-The Writers Hotel, introduction by Rick MoodyWhen the Staleys Came to Visit – by Rachel Aydt-Crystal Radio SessionsThe Frenchman – by Gessy Alvarez-Digging Through The Fat -

An Interview with Eileen Myles
Eileen Myles moves around a lot. We met for an hour because they had more places to be: a reading by some of their students and then their own reading in Ridgewood. I bungled my public transit route and was late to the interview. I received a text saying “What if we meet at 3:45. I will nap. See you then.” The ease through which they move around the city makes it clear that Myles is no recent transplant.
Eileen Myles seems to be in a perpetual state of creation. Their photography show at Bridget Donahue gallery, a collection of curated photos from their Instagram, accompanied the release of their latest book of poetry, Evolution (Grove Press, 2018). They just screened The Trip, a short film they made with filmmaker David Fenster inspired by Jack Kerouac’s spoken score of Robert Frank’s 1958 Pull My Daisy, and Louis Malle’s 1981 My Dinner With Andre, which features Myles and their handmade puppets. The week of this interview they were named a MacDowell fellow, and are relocating out of their signature East Village apartment to a cabin in New Hampshire.
But for now, we meet in the East Village at one of their usual spots, Café Mogador. They tell me they need coffee today, but don’t show it. They assure me that this is not an interview, this is just “a conversation.” The way a memoir is a novel, and an Instagram post is a poem.
Sallie Fullerton: What I first wanted to touch on was your introduction to Evolution, the part where you talk about Shakers and this idea of a “generative scheme” in contrast to a reproduction-oriented society, this idea of keeping something alive outside of the conventional ways of doing so.
Eileen Myles: I feel like I keep having encounters with this thing, and some of it does have to do with things that are related to reproduction, but in a particular way. I was doing my taxes recently. I have an accountant, and so I have this relationship with this guy, and so we always talk about the money part of things, and I was asking him “if I have this money, what should I do with this? Where should I put it?” He said, “ you make a trust. There are two kinds, revocable and irrevocable trust” and I said “so what’s the difference?” and he said well irrevocable is your blood line, it’s the money you want your family to get when you’re gone and revocable trust is money you put someplace but then you take it back.” and I was like “but I don’t have a bloodline.” And I became very excited about that. It just is that family is not important to me. I’ve been in lots of relationships and I have friends, ex-lovers, family members and all that but I am really confronting the fact that family is no kind of organizing principle in my life. And yet, there was this term, “bloodline” and I thought, ‘so what does that mean?” So now it’s become this silly idea. It’s generative.
Like, I was doing a makeup class with my students and we were in this restaurant and I was attempting to pick up the check, and I was like ‘no, but you’re my bloodline!” I tried to explain to them what I was talking about but I think they were a little freaked out by it. Money has all this symbolic power in our culture and it’s a way of expressing futurity, and I suddenly thought that however I choose to invest that becomes an iteration of my bloodline in this completely other way. The most expensive thing in my life right now is therapy, I have a really good therapist, but it’s about getting this right, this existence, not so my kids won’t be fucked up or that I’ll have a good relationship. It’s actually so that I’ll know what I’m doing and where I am.
SF: So you’re talking about the productive versus the reproductive. I think it can be difficult to look outside of reproduction as a means of sustaining something.
EM: Well I think part of being female, whether you’re queer or not, if you start with the female body, you realize that culturally you’re only of value as a duplicating machine. Some part of that seeps into you, whether you like it or not, because you’re immediately “other” in a way.
SF: Right, and it often seems about what you can give.
EM: Yeah! So suddenly it seems so awesome that my “bloodline” is circulating back into me and back into my students and my work and my dog. You know, the other part of my bloodline is my dog.
SF: Yes, I was going to ask about the dog.
EM: It’s also the people that I move to where the dog is to care for her. The dog’s care is my bloodline. [laughs] Once you give any money to animals suddenly your mailbox starts to be full with donkeys, horses and cats. It’s started to be a ritual that I enjoy. It’s very old-fashioned; I’ll sit down with my checkbook and write checks to animals. Like this one, I feel like I made it up, it’s about legal aid for pets, lawyering them up! But all of it feels like expanding one’s vision and thinking beyond progeny.
SF: Do you feel like dogs are your family or occupy a similar place in your life?
EM: Well, one of the biggest things is that we don’t share a language. It’s awesome to have a relationship that isn’t based on language, especially for those of us for whom language is so important that you can kind of forget that you have other things going on. The relationship is so intuitive and sensitive, rich and mammalian. Obviously every dog is different, just like every book is different and every relationship is different. It winds up being something that limits and expands in its own unique way.
[A dog] knows your smell. It’s intense. I think we probably have that relationship with our friends, we definitely have it with our lovers, and your family kind of accepts you on that level, but with animals it’s purely that. In a way, it’s the most intimate relationship.
SF: I see your name on a lot of books. I work at a bookstore now, and there are Eileen Myles blurbs throughout. You blurb a lot of authors.
EM: [laughs] Too many?
SF: Not too many, no. But I know blurbs often happen through connections outside of the book.
EM: Yeah, they’re usually about friendships. It almost always is. It’s usually a friendship with the press, or a friendship with the writer.
SF: It’s a favor, maybe.
EM: Yeah, yeah, and people have helped me lots. I just did one for Rachel Monroe who wrote a book called Savage Appetite (Simon & Schuster, 2019), and it’s about women who are into murder. It’s interesting because what I got is that the whole industry of CSI and cop shows, women are watching it more than anybody. I thought ‘all this stuff about the dead girl, I wonder who the consumer is for that?’ And so that kind of changes it for me. I thought, ‘huh, so maybe it’s not such a bad thing.’ Even as just a way of managing danger or what’s out there. I don’t know, I just thought if it wasn’t all just dudes reading it, maybe it means something.
SF: I have also noticed a network of queer poets who write each other’s blurbs quite a bit.
EM: Oh, yeah. And sometimes it really helps. I think that Andrea Lawlor’s book, Paul Takes The Form of a Mortal Girl (Vintage Books, 2017), is fantastic. And I think the combination of us who blurbed it is what pushed it over to the top.
SF: I think it definitely did. It makes me so happy. It got picked up by Vintage [Books] through you and people like Maggie Nelson’s blurbs.
EM: Yeah, it makes it all worth it. And Andrea and Jordy [Rosenberg] and Maggie all go way back. All these people are related.
SF: I’m reminded in what you’re saying about the concept of “chosen families” which I think can become difficult to differentiate from “networking” – now, especially in New York.
EM: Well, that sort of excludes some people and pulls in other people. I know communities are temporary but it [the term “chosen family”] still has this gated humanity feel. It can exclude the accidental and the temporary. I don’t want to say New York is my “chosen family,” but New York is the supplier of something we’re talking about in a way. Sometimes I feel like I’m purposely spending time here to get a lot of it so that I can go be alone.
SF: Like Vitamin D.
EM: Yeah, like right now it’s Gala season. Every institution that needs money is having a big party and then I’m a “somebody” now so I’ve gotta be at the party and we’re all hugging and it’s like a like a big grope, like an orgy of friendship.
SF: And did it always feel this way in New York?
EM: No! Everything felt that way earlier but now it’s something that is more staged. Even the phenomena of meeting someone for coffee seemed to start about ten or twenty years into my life in New York. It used to be that you’d just go and everybody was there.
SF: When I read about people writing about your work it’s usually about how intensely personal it is, even though you technically write novels and not memoirs. It seems as though people, regardless of how well they know you, have a sense that they really know you, feel like they are almost in your world. I’m wondering how this affects the way that you relate to your own work.
EM: Well I think of the majority of my work as being relatively quiet. Nobody talks about how the pieces get fit together, which is the thing I’m really interested in. I’m interested in time travel. It’s sort of like how the present attaches to other associative times, how you can make something that is like a simulacra of time travel. I was going to say memory, but it isn’t exactly that. It’s more associative. It’s like writing a poem in prose. But there’s not much conversation about that because now I’m doing this other thing.
I just think that a poem is so many different things. Once you get a large form going and you know that it’s a place or a state, it starts to become interesting to see what it can hold that strays from the normal definition of what a poem is. You can simply put down a wish. It’s sort of like to what extent is this an epitaph? Are you writing in the same time-code in the whole book or are some pieces very slow. The space of the page is just so interesting. It’s just pieces of paper.
SF: You’ve been read and talked about so many times and it’s almost like a game of telephone. I’m imagining how this process makes it so you get further and further away from what you’re actually trying to do and more about how others are perceiving or “reading” you.
EM: Well it’s like a copy of a copy of a copy. Often when somebody says something, that becomes the thing people say, they repeat it.
SF: “Badass lesbian poet?”
EM: [laughs] Yes, exactly. Thank you! That’s my least favorite.
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Broken Compass
1.
I prefer to think
I first felt the muse flutter
those immortal nights
when I was young
and even suffering seemed new.
But life is again becoming dull,
where again I find this empty shell
echoes
2.
The second time
I put my foot down,
you landed on my toes,
sliding with a push
softly on the floor.
Then I took off your golden case and had you naked,
slender in my hands.
Tomorrow I will get you replaced.
3.
Blessed to sit on this chair and notice my fingers,
Lucky to see my nails gather in dirt the time,
Privileged to be able to finish every night without pretensions about luck or divine light,
only principles I know to defend and intimations that make life worth living.
4.
I am always in love,
and maybe it’s with me,
with the shadow of pure light
I find in between
the kisses.
5.
like a bird
whose doesn’t know about time,
but still feels the pull
of earth’s magnetic heart,
I walk slowly in the sun, naked to the grass,
a child of ancient myth who let his gods
slowly die
in the blue dominions
of the half-dreamt
open sky.
6.
I’m looking for you amongst the immense, illiterate, consoling angels,
the collapse of foam and liquid sand
I’m trying to resurrect the conjunction of the mind and opposition of the stars,
that taste of transcendence in the night air
here with the budding
ablaze, intoxicated with the rushing, ambrosial tastes,
all the syncopated tremors
echoing in the unbearable
yellow hue.
7.
All I know is that the now is
the ashtray with a painting of Japanese fishes, a book, my phone
intensity and apathy, enlightenment and confusion.
8.
Looking at my hand: is this a hand?
Like the veins of magnolias under the sun and the vastness of the ocean
in the sound of a shell.
I recognize my voice now.
9.
a
vortex roar / black / shavings of mist / tense, jubilant, almost erotic
violence / the ligaments under my skin / the train suddenly halting and
reality thickening / the collective dream briefly shattered / here in
this desperately empty space with the anemic feel10.
through the ennui of night.
I want to remember
not the photographic stillness of your beautiful smile,
but the accidental grace,
the fading gold of your hair.
11.
without ever walking in the wild and wondering why
the overcast afternoon sky is the color of a wolf’s howl,
I would muse naively
as if something in my head
weren’t black eyes with a million sparkling irises of white.
12.
wasn’t that it’s destiny,
to tread the earth?
Now I’m stranded in the space between sense and word
Dark, with penetrating eyes:
A very expressive face and a very expressive voice,
My native language,
ineffable tones,
My only word.
But I know where I come from:
the continent stretching from pole to pole—
Of oneself I sing.
13.
If these fragments are to be found,
let them be found
with a picture of a mountain behind them,
Something ethereal, something blue.
14.
I’m
doing this for beauty… the sheer joy of the wind blowing on my face
when it’s hot, how it becomes the breadth of my existence as I briefly
become aware of my body amidst all the movements of the day… how I
cease to move automatically (like an animal) and pause, making my back
straight to grasp being in the inner flexing of my thighs, the balance
of gravity on my shoulders, presence in the soul of my feet… monstrous
abstractions with wrinkles… wrinkles from laughing, creasing with
taunting, almost sarcastic pleasure… brotherhood, sisterhood, the
shadows of divinity we impart to dogs and the sweet reminder of all
things pure in the smell of bread flooding the city square at seven in
the morning when the world is awake but still not fully conscious, still
hungover with yesterday’s collapse in furious crystal dreams …
mornings of blooming June with the taste of acidically sweet
raspberries…15.
Listening for silence
on the underside of a leaf, cool in shadow,
I’m thinking of an invisible image:
how an angel forms every time
I quiver with light.