modest pink blaze

Tuesday / Wednesday

Tuesday: Happy Face

I trap my shadow.
I pin it by footpad to the concrete.
I crush it.

Last night’s mark,
A happy face not yet faded,
Smiles on the interior of my wrist.

Happiness wanes
At the terminal point
Of the imagined slice.

Wednesday: Fruiting Zen Magnolia

Have you ever seen the effrontery
Of the magnolia fruit?

Before it bursts open, it appears as engorged
Labia pressed shut in a modest pink blaze.

Is it Magnolia acuminata or Magnolia
Zenii whose fruit discomfits me,
On a desultory Wednesday
Morning, in my mourning black shoes?

It unsheathes itself in delirium —

An effulgence of unhooded clitorises!

They burn my face
Engorged with life.

A wild orgiastic sight
In a moment so unsettling,
So thoroughly disorienting,

A tectonic change of mood:
Precise.
Carnal.

Life.

And they sat—as though paralysis preceding death
Had nailed them there. The track bent south.
I saw her pulsing crotch … the lice rooted in that baby’s hair.”

—Louise Glück / “The Chicago Train”

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the hazy processes

trash dash: manhattan ii

polyphonic dream vision
sonorous in plastic tubing
limned transducers and sound scriptures
in a garden of minimal fences

sonic spaces expand
from properties shaped
of bird-like sounds

the genesis of silver clouds
and chance-based tape collages
squall of rainforest insects and birds

these are the hazy processes
at the intersections of evocative
seams and anticausal
textural resonances

helium pillows fuzz
with electronic modifications
titled: variations 1 – 53

“Right now, there are children playing on the shore.
There are children lying in hospital beds.
There are children trusting us.
Who will tell them what we’ve done.”

— Michael Sims / “Who Will Tell Them?”

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loses its tune

trash dash: manhattan iii

behind me a college student tries to convince a young girl to elope

the ritual of the second drink —

demulcent for a moment —

the argument loses its tune

like a good many dinners in so many illegal places

another cold night and the illusion of gin

central park forms endure speeches of electric illumination —

translate a scroll into a new language —

he sits with his arm around her

winks on the gloaming

our ears swathed around music —

plangent notes constrict the frigid night

“And bring back the smell of turf for the burning. Of her. Of me.”

— Fanny Howe / “Margo”

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of particulate love

Trash Dash

Trash dash on a two hour meter
A ham and cheese croissant and pilfer
Your heart which has grown fibrous —
Dry and cleansed of particulate love —
Full of granular lunacy and roiling
Pathic are your howls as I leverage
My full weight on you
Heat hurt hate

“The houses look at one another,
a language of windows.”

— Louis Simpson / “Magritte Shaving”

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after every visit

Distortion Poetics

Distortion principle no. 1: avoid distortion.

Distortion principle no. 2: defenestrate (often).

Distortion principle no. 3: degauss after every visit to either of the poles.

Distortion principle no. 4: cleanse fold and manipulate.

Distortion principle no. 5: literature is overrrated; read only pulp.

Distortion principle no. 6: there are only 5 distortion principles.

“Imagine Milton enrolling in a graduate program for help with Paradise Lost, or Kafka enduring the seminar in which his classmates inform him that, frankly, they just don’t believe the part about the guy waking up one morning to find he’s a giant bug.”

— Francine Prose / Reading Like A Writer

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if you insist

WriteRightRite

If you insist I write at least 100 words everyday in this space, then, here goes: if I started at one hundred and started to count down until I had written another 99 words in this space then it would go something like this.

Somewhere around this point I’d have 50-some-odd words left to finish. Then I’d think hard and deep about concision, and how I’d write something meaningful in the space left to me—always being aware that 100 words is a minimum, and I could always write beyond that.

I’m not limited to 100 word stories, 100 word poems, or 100 word micro-essays—I could elaborate and reel off well beyond 100 words!

And then there’d be the picayune issue of extending the verbiage by writing “one hundred words” v. “100 words” every time I mentioned it—I’d add a word at every mention, further diminishing the pressure (the burden) to get to 100 words. Then, I’d want to know if (parenthetical) words would count against the self-imposed word count.

Then I’d come to my senses, my thumbs getting tired from poking at the gorilla glass (TradeMarked) on my phone’s writing app—and then I’d wonder just how far along am I? And I’d count (and include the parenthetical words) and find I’m at 223 words—more than the RDA calls for—and then I’d come to a dead stop at 240 words.

Here.

“If a plane crashes in the middle of a pandemic,
would the world make a sound?
How do we grieve
one loss among so many?”

— Kimberly Casey / “Golden Hour”

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muted stars reappear

Coda (an homage): An Indian Summer Evening

The dying day teethes
On the tinny taste of bus exhaust.
Eight O’ Eight roars away.
Bayside shadows cast and reel back nothing.
And now the toothy breeze
Seizes the silver weeds
With a violent shake,
And rasps the bayside clear.
Distant machines whir.
The muted stars reappear,
Briefly, in refracted waterlight.
Then, bared, the incisors of the night.

“Ants can carry up to five thousand times their own weight. People are puny in comparison — they can barely lift their own body weight once, let alone the weight of their sorrow.”

— Marieke Lucas Rijneveld / The Discomfort of Evening

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forecasts and promises

trash dash: manhattan iv

overheard in the uzbek restaurant…
wayward talk of chile and ecuador, the prime stops on the silk road, techniques of the boustrophedon, raging poppy fields, too much hash
the one-upmanship sharp…
peripatetic call and response about the tang and other merits of uzbeki beer and uruguayan women, the obscurity of radiohead and the future is billie ellish
the timbre maudlin the umka a perfect puff…
wanderlust in the south, remaking the ruins of venezuela in the image of argentina, death by clear cutting, petrodollars ruin everything, and somehow the talk turns to czars
the plov congeals in its oil…
meandering laments of the rarity of this ritual, forecasts and promises to do it more, something in the voices belies that certainty
the crash of a kazan clanging a death roll in the kitchen…
peregrinations of assiduous maths parsing a $109 bill 3 ways to the tenth of a cent, then a drunken 3 card pile up on a plastic credit rectangle… yes, let’s, more often
while a terminal point chicken is beheaded in the alley…

“Only the violence inside me makes noise. It grows and grows, just like sadness.”

— Marieke Lucas Rijneveld / The Discomfort of Evening

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a skeezy text

A Flying Fiction Fraud / Screening Nonsense from the Snow

I am really obsessed
with the texture of your body

So when elements of my tortured
male narcisism despair

I happily father
a wonderful future
in Hades

I want to write a skeezy text
in the underworld

“It’s not easy to sit down every morning with next-to-nothing and try to make something appear. But we do it because doing it beats not doing it.”

— Austin Kleon / austinkleon.com

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it’s hot oh

a complex of failure

little saints ate beans
and jesus this body
is the whale

you’re inside me
you don’t want to be

it’s an oven
completely shut in
trapped
haunting me
it’s hot
oh my god it’s hot
i’m a hard heart
wheezing

i’m a complex of failure
help

“The sun shone, having no alternative, on nothing new.”

—Samuel Beckett / Murphy

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