Spleen

   We didn’t talk about it, but we knew we’d never amount to anything, no matter what we did.
   No matter how celebrated the accomplishment, no matter how big the lie and the audience buying it, nothing could ever fill those holes inside us, bruised clefts hidden from eyes, though we’d never relent, shooting gophers and planting strange crops.
   Fear of climate, and tangles of root, would keep us busy, our hands forever at the mercy of hidden forecasts.
   We were, as my friend Joey once called us—The Dirtbags of the Universe.
   I’m not sure what prompted him to say it, probably just one of those caustic blurts that we, kids from Bensonhurst, specialized in—and after he said it, I looked at him, said nothing, maybe smiled, but the term immediately burrowed in one of those holes inside me; became an echo, gathering dark, before it splintered and sharpened into an insight.
   Joey was right. We were the Dirtbags of the Universe, even if we were not.
   We felt ourselves to be so, which amounted to more than truth—collectively, we possessed the character of a single raindrop, skidding toward an open sewer, just because.
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About John Biscello

Originally from Brooklyn, NY, writer, poet, performer, and playwright, John Biscello, has lived in the high-desert grunge-wonderland of Taos, New Mexico since 2001. He is the author of four novels, Broken Land, a Brooklyn Tale, Raking the Dust, Nocturne Variations, and No Man’s Brooklyn; a collection of stories, Freeze Tag, two poetry collections, Arclight and Moonglow on Mercy Street; and a fable, The Jackdaw and the Doll, illustrated by Izumi Yokoyama. He also adapted classic fables, which were paired with the vintage illustrations of artist, Paul Bransom, for the collection: Once Upon a Time, Classic Fables Reimagined. His produced, full-length plays include: LOBSTERS ON ICE, ADAGIO FOR STRAYS, THE BEST MEDICINE, ZEITGEIST, U.S.A., and WEREWOLVES DON’T WALTZ.
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