Melancholia

The woman on the moon is being forced to the earth

she's brought with her, cheese curds in her breasts

her milky breasts dripping tears of her temper --

Gentle Ophelia, she of crazy hormones.

Why not end a world with a cosmic bang

why not go down with a stymied prince

a secret assassination first, R and G, the stab

through the arras, you, he, and a whole world, boom.

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The Leader H

Some have vision, architectural features caught

by the student lens

of an eye.  Walking the streets of a major place

like Chicago or Vienna.

A quick sketch of 'urban outdoors'

taking in a grassy knoll

a spot where grand things happen

and the spirit of history.

Like you or me, not needing the cachet

of a bohemian

of a prole let loose with grudges

letting the flick

letting the point of a pencil

mark the edges

of hard stone onto portfolio pad

just change a world

seen bitterly wrong because it angers you

subvocalizing first

building it all in short, sharp phrases

a voice of vinegar and piss.

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Convenience Store

A living man, a cunning man

whose curiosity, dispassion --

the putative crime of gawking

surreptitiously from the aisle of plastic knives --

I wondered whether she,

clearly from Africa, was dragging her leg

because of a question put strongly

because of an impatience about something at stake.

You know, in the old days -- harried from the shtetl,

railed forth from formal schooling at Berlin -- 

they stood footsore in the camp dust, soon barbered

of their long locks afforded for the dolls of lucky girls.

And cunning men, tired of their passion

in the afterhours of exquisite music and talk

of the freeing-up of humankind,

connived efficiencies unthought-of regarding skin.

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The Fascist Cut

Who cares about who cares

writing it down is an act of arrogance is a virtue

someone must think, and it's me, and I'm quick and others follow

the scars of experience on a face called text

the whole point is action and the hell with them.

Like a poem about a dog, a cloud, an egg, and a she

one must shoot the dog, eat the egg, fly through a cloud of fucking her

and go high on a sunny place to head a regime.

You see, choice is for the weak.  We're here, just straight-off verbs.

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Problem Solver

It's like being buried in sand up to the neck,

sometimes, waking in a hot room with snow showers bulleting the outside baffles on the a.m. window after what could not be otherwise than a dream where you're choking

at the grip of a Brownshirt.

Who somebody let in in order to throw out

the bum and clean up the scum and erase the nugatory values, go back to the founded ones trying to be based on what we think ourselves in our blood we are.

Or is it an elegant Blackshirt, nicely shaved, as he, with humor, shuts the air.

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The Internationale

Taking the words of the Japanese girl

who saw the 'lain fawring' --

Off a fine Kolinsky sable brush the noon drizzles

Pacific Washington

Studio glass walls and overhead brighten so that from its wool

all sky's created equal.

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A Garden Of Allah

An unanchored woman is far more precious than rubies, and

we awoke him from a deep bed sleep after making-out

propitiatory hand-over-fistful of money

to see the divorcée freshened by her love of travel

and the whiskey of his anecdotes about power avalanched us

putting our allegiance on 'On' by feel alone, charisma,

so she would dig for him, work hard for the victory his,

since everyone, all interested in November votes, looks to

this kind of sodality, this almost blood-brethrenship.

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Primary

Money's only paper and coin, smelling like hands,

lying inert on a sheet, not scampering like bed bugs

sometimes with a fan running why do people do favors

because they're people and they want to lie

down next to a thing that pretends to be better than

people and that's the lesson of a leader.

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Burglary

Tingling inside the entry hall, left of the foyer stairs

where guests have glanced in worry, hot, up at her shrine.

She's not here and this is a strange, after-hours tour

any room to be cooked by flashlight, meat smells in the air.

What was that song heard coming, coming in, about gone love?

Booties forensic with quietude and task

padding up to the second floor, toes outstretching like beast noses

toward one room and crack of the next for discriminate sniff

so when it comes to choice, one follows the wits, the point of it all

as if it were a jungle night, one can't be heard,

to her mumbled voice on tape by a bedside jug

garbling her text, her very own whisper that it's all okay, he's here

the country, it's in good hands, watch:  the last act's simple comedy --

and the world goes wet, spit pearls like the ones at her neck

making it a new day in the dark, turning it upside down.

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My Main Man

One of us was a sour apple

and then there was none

It's always dwindling, I'm

someone, with bird vision,

ear on the tracks

doing the head count

ready with the barber blade

an accountant cutting costs

taking a big bite out of life

that's how this show is going

to be run, or my name isn't

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Hegemony

 Who set this up that we're walking in the radiance of a Fall day

we, talking about it only in whispers, and then only when we're sure

they're in a good mood, catching a ballgame, eating a frank

 
or if we cuddle close to them to be unseen as not unlike,

some of us boutiquing at the shops, the same couture as them

the spitting junior image, same talk, same walk boulevardiers.

 

and why is it these same Mysterians came down came in

and made us slave to their digestion, our intestine -- just

relaxing fragmentarily to look clearly at ourselves, your eyes,

when busily a man in a camp and woman wide spread --

what's their intrigue, how did they get inside me, you, 

conspiring us to go along, play ball, play dead

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The Process

Entering a room with a closet on a hushed late morning with rain heavy at times

only with the thought of keeping madness within bounds,

legislating reason into it, into the cross words merged with physicality,

hedging with restrictive clauses the feral urges.

Taking a test vote to register in public and hide a subcommittee fire -- 

who governs shall lead each for each into a dark called light,

bills getting passed as countries pass away,

then going into the kitchen and pretending nothing happened but nature.

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The Five

One normal way. In yellows and greys, in cheek-pinks and corneas moderated to a Carolina blue,the spirited hope of warm day time, loin love and the occasional aged whiskey -- 

that if it were just a matter of being alone, just a matter of self-solace -- this tenderness -- one would manage it like a watercolor, a paper sheet done within the breeze of half-an-hour, sun slapping the hand with its burn.

But then there's night to think of and the second self, impatient, ready for the baton of blood, 

the impetus to purge, to frizz the hair, dance around in nakedness, slap-happy deeds, to the i-don't-care, to the fuck-you, and its dualistic song of oh, oh, oh.

Why, my love, the birth of it!  That other, sequent life, das Kind, 

the leprechaun of a piece of yourself which calls your name in a cat yowl closing on a suckle, burping thrice before dozing into a body-warm swaddle.

Don't we gather here, my friends, open-hearted enough in our success to embarrass the look on each other's face, 

that there's a fraternity to acknowledge at the offramp where cold breath meets cardboard sign and one reaches for the limp bill stuffed in a pocket -- 

avoiding those central places where American men line-up and the bold and crazy women chart a circle of repugnance and you just cast them four odd coins that you scramble-for as you break into run to miss a witch's curse.

The other us, the fifth, we bring to that table, that table of one's own version of kosher, 

what's filled the heart like leftover canteen water, a secret, the slosh of worrying that it's just luck after all, 

that the salt taste is actually one of one's own tear-grieving and we bring in the chairs, vindicate the emptiness by inviting-in the whole world.

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Weather Man

Aren't all cities built on a terrace of carnage, shifted layers of earth between the pottery and dead language of a first and next

embers cooled and dusted over, pocked by the shepherd staves, pig-shit-on, and trammeled by the wolf packs

whole periods of neighborhood, of relatives by marriage, of bedsharers,

of work life vulnerable to forgetting, to being forgotten, to have been.

Straw beach hats found in a trunk: such are opportunities.  And thinking of them in this city, figments of snap memories, things that might have happened if they did,

several of the friends I've had would remark on this casual reverie, the sitting here at the fresh front staring with a caffeine blank, no doubt to passers-by

puncturing any thought -- if they were inclined to let it breathe -- that here's where the work gets done, where worlds are reimagined

the old transmitting sharpness to the young in the breach, at just the right point, time's beauty mark.

Well here's something, the drunk espresso fine enough for it, clean, and my mood is forward with the ships,

the boats conveying the visitor, idler, the family with a hand-held happy child,

espresso fine enough with a cinnamon dash and unintrusive jazz --

tentative about this, but try it:

On a day of surprise, on the first day of an injustice,

a perpetrator jerks into action, musters his 'crazy' and acts on the unthinkable, and a whole Rube Goldberg of a process sets off -- no hitch -- on its way

and what happens to us, in this City On The Hill, enraptured --

I say to you, do this:  amo amas, you know, catch the U.S. in a swoon, get caught-up in the hurricane, the unconditional love, hoping for the wind to veer.

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Dead Ducks

Some statements elevate a man.

For instance, Kung Fu, circa years ago, 

prescribed that rules must play like music --

and the notes on Yeshua watch him urge

(in a throw-off line) to be like babes.

William Tecumseh Sherman,

man to fight all war, pronounced that war is all hell.

And there's Qoheleth's 'all turn to dust again',

and then, and then, there's Nietzsche,

or S. Freud, or even Groucho Marx.

J.P. Sartre, in fictional despair,

saw the omens present, the encroachment

on the eve of World War Two

of the throb -- if you heed -- that causes the heart

to burst its dam, to flood it all.

Some prophet, just to be one up,

to get the last word in, from his webcast shouts

Give me a match to strike and I'll fire the world

and the crowds somewhere, with butane near the stage,

flare-up the hall, bring the curtain down.

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The Enabler

 

Night after night she loops through the nausea of word games

the drunken, petty moments in which the politics of speech

sounds like theirs, standing as a cluster of dry bushes, once

cherished tomatoes gone to seed withering in the first frost.

There's this too, the guarantee of garbled fear she slurs

making one think of the disappearance of all things

which amounts to saying goodbye to yourself, icy

and motionless, plunged in a horrible ecstasy, the other you.

To drive with her, this America, this lover,

pushes across the state-line edges around the clock,

just flight and risk, until the only sleep a neck-crick,

back-creak -- roadside sleep, refuge under a hunter's moon.

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In Two

I followed the news and cried or came close.

Airplanes and buildings made me sick.

I prayed the witness of peace in a book --

but I thrilled at video Gunga Din.

I wrote to a Quaker church:

The silent god, inside me, wanted out -- 

yet I thought I could enlist and man a desk,

and stood when the players sang to my flag.

I shut out all the hate talk,

cringed at the jingo Friday night carhonks --

yet I didn't read the church replies;

my parents lay in a Navy grave.

I swim this purposeful, blind wave,

where I crest with Mohandas Gandhi

and curl with G.I. Joe:  we're one -- but

we're too distant to clasp hands.

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We, The Living

Impatience is in all of us in the business of hope, tugging her kit closer.

I thought, Don't go, but she'd ramped, the plane lifted-off for an ill-at-ease, long airflight to a land less comfortable yet

filled with -- pick one -- deep and ancient blood feud, dengue, rice blight, bird flu, tyranny

You say good morning to the Colonel and they strike you silly

at what used to be Vocation.  But it's unsure, pretty surely not, a voice that's calling you

You call yourself, you're facing yourself, you've faced yourself

And I turn past the tourist toys and scanners, the Starbucks, escalators, skybridge, out through Departures into the concrete lot, unlock my Toyota with a beep, watch out for cars, and wend my way to home.

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Style-Blind

A teacher once said that satire can't just wallow in its subject; it needs to follow it with a keen, but quietly judgmental eye.  

Over the past 30 years, America's puritanical heritage has resurfaced in its politics, and much of that can be attributed to fear that what we see in P.T. Anderson's Boogie Nights was 'real', that it represents what was a 'mainstream deviance that corrupted our children'.  Even people who 'experimented' may wrongly believe that this movie shows 'what it was like'.

Actually, Anderson gets wonderfully comic performances out of these actors, some of whom have become fixtures, either as major names or solid supports.  They all play deluded people of average talent and intelligence, maybe a bit less, who focus on their American Dream which -- given the Southern California milieu -- means using the lens of a porno industry camera.

You don't watch Boogie Nights for sex or for music, though both suffuse the movie . . . uh . . . top to bottom.  You watch it to find the true nature of your pity.  How much human outreach do you have?  How would you -- if this were real -- how would you counsel any of these people?  You gladden when the ones who don't sink from their actions don't sink.

Most of the movie is simply fun, despite the awareness that  those dumb-headed actions happening recklessly at the edge of one behavioral cliff or another presage downfall.  For some of the characters, disaster comes.  For others, life plods on in very common ways.  

It's not real, but as you watch, you see how it could have been real.

Watching and seeing are retrospective skills.  That's what art is for.

Living is for mistakes.

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