Pilgrimage of the I

A hatless pilgrim,

roving this way and that,

a man embodying the virtues of scat

(in every sense of the word),

wandering through starched cardstock fields

in search of an impossible flower

and its stingy nettles—

proud, pistil-engraved,

the flower’s gullet braised

by rivets of sungold—

(this, how the man warms himself within,

how he sounds out his vision, word by word,

merciless in his measure),

this man has given himself many names—

Murphy, Molloy, Malone, Mercier, Camier, Watt, Krapp—

nomenclatures in a fishless glass bowl of myth and metaphor

(some may say madness),

the hatless pilgrim

wandering forlornly around placeless terrain,

picking up a soiled metaphor here,

putting down a scratched symbol or curlicue there,

basically, a scavenger versed in vaudeville metaphysics,

a master of zero sum

instigating a fool’s mission through algebraic ruins.

We pause. End of Act I.

Act II: We open with the man

needing to redress his scarred self

in the clothes of a new name.

I ask him what it will be.

It’s already been Watt, he snides acidly.

Mum’s the word. Mum’s the metaphor too.

It seems Mum covers a lot.

We rejoin the mummified pilgrim

already in progress as he enters a tavern

sits his wind-wearied haunches down

on a rickety stool

orders a pint of Guiness

and allows his hawk-eyes to do their ravening:

men everywhere, soiled, tired, flatulent, fatherless

(or father-struck, or father-hunted),

Mum’s the word as these men gather

to groan and toll haunted bells

and tell sorted tales akin to coals

raked over dying fires.

He absorbs them as mollusks would seawater.

Glug glug glug.

Guiness done.

He asks for music.

Not aloud, in his head, music please,

he hears the faint strains of a Viennese waltz,

and he is with her again,

twenty-toed and entwined,

they whirl somatically

while making static love

to each other with slug-set eyes.

Disgust ejects him from the music-memory.

Back at the tavern

he orders another pint

glup glup glup

done—

the men remain

a time-doped and disordered

quadrant of jittery constellations,

where the hell are the meteors,

he slams his hand down upon

the counter of his mind,

Ouch, he winces, orders another pint,

glug glug glug

the night goes on like this

matching whittled silence

to countless confessional

days on end.

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Samuel Beckett

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Beckett’s Sonata

A hatless pilgrim, roving this way and that,

a man embodying scat

(in every sense of the word),

wandering through starched cardstock fields

in search of a stingy flower,

proud, pistil-engraved,

the flower’s gullet scorched

by streaks of sungold

(this, how he warms himself within,

how he sounds it out, word by word,

merciless in his measure),

this man has given himself many names—

Murphy, Molloy, Malone, Mercier, Camier, Watt, Krapp—

nomenclatures in a fishless glass bowl of myth and metaphor

(some may say madness), the hatless pilgrim

wandering around placeless terrain,

picking up a soiled metaphor here,

putting down a bruised symbol or curlicue there,

basically, a scavenger versed in vaudeville metaphysics,

a master of zero sum

instigating a fool’s romp through algebraic ruins.

We pause. End of Act I.

Act II: It’s time for the man to redress

his scarred self in the clothes of a new name.

I ask him what it will be.

It’s already been Watt, he snides acidly.

Mum’s the word. Mum’s the metaphor too.

It seems Mum covers a lot.

We rejoin the mummified pilgrim

already in progress as he enters a tavern

sits down on a rickety stool

orders a pint of Guiness

and allows his hawk-eyes to do their ravening:

men everywhere, soiled, tired, flatulent, fatherless

(or father-struck, or father-hunted).

Mum’s the word as these men gather

to groan and toll haunted bells

and tell sorted tales akin to coals raked over dying fires.

He absorbs them as mollusks would seawater.

Glug glug glug.

Guiness done.

He asks for music.

Not aloud, in his head, music please,

and he hears a Viennese waltz,

and he is with her again,

as they whirl somatically

while making mad porridgey love

to each other with slug-set eyes.

Disgust ejects him from the music-memory,

back at the tavern

he orders another pint

glup glup glup

done–

the men remain

a time-doped and disordered quadrant

of jittery constellations,

where the hell are the meteors,

he slams his hand down upon the counter of his mind,

ouch, he winces, orders another pint,

glug glug glug

the night goes on like this

for countless confessional

days on end.

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Sphinx

Convicted sphinx to beguiling raptures,

and time-spanned sync-holes,

literary enigma, Clarice Lispector,

understood keenly the tolling of ruptures

within,

sowing breath’s metered

and fasting threads

to the fractional seethe of holy

and lent.

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In Praise of Patti Smith

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Because the Night

In lyrical, abetted praise

of Patti Smith,

white witch torchbearer

of punk mettle

and lightning bones—

She, wildly grown

and gutter-starred,

remains in love and swelling thrall

to the Romantic timbre

and clash of Rimbaud’s

unrelenting wake,

or Plath’s penning of dateless verses—

In this respect,

vision, and visionaries,

never grow old or fade,

bur rather stand proof-tested

against Time’s scalpel and ruins,

exacting the plated wisdom of Novalis—

all philosophy is homesickness,

and so it goes, generationally engraved,

the song and the singer

forever mating to heed the marvels

of voice to calling.

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Bolano and Me

Last night I dreamed of Roberto Bolaño.

Or he of me.

We were sitting at a dimly lit café,

a subterranean plot of a café,

and Bolaño was drinking chamomile tea.

In the latter stages of his life

chamomile tea had become his drink of choice

as he permanently disfigured the literary landscape

with a pair of scratched glasses and acetylene torch.

Bolaño’s liver had gone to rot

and would not be making a comeback.

His father had been an amateur heavyweight boxing champion.

I wondered what he would think about his son drinking chamomile tea.

My father had been an amateur boxer, too,

but not a heavyweight, and not a champ.

I figured this was something Bolaño and I had in common.

That, and writing.

But I was too scared to bring up writing.

I knew of Bolaño’s legendary penchant for eviscerating other writers,

ones he thought lowered the bar, and I wanted to stack up,

make the cut, and I cursed out this bilious prick Bolaño

without saying a word to him.

I stared at the man, hunched over,

looking somewhat docile and resigned

as he sipped his chamomile tea

in slow and measured sips.

There was nothing to fear,

I was projecting, creating late night cinema

to keep myself on edge.

Then, a mistake.

I asked Bolaño what he was drinking

(having slipped my mind that I had already asked this)

and he said, without raising his eyes—Chamomile tea, stupid.

Stupid?

I felt my triggers flush and activate.

Fireworks went off in my head: Listen,

you scrawny, green-livered motherfucker,

just because you wrote some novels and poems

and denounced the literary establishment

with a holier-than-thou pedigree

and acidic smugness, just because…

My fireworks fizzled out.

I stared at Bolaño who was contemplating his tea,

a Buddha with a middle finger for a tongue.

Both of our fathers had been boxers,

but whereas his father had taught him how to box,

my father hadn’t taught me.

In that respect, I was at a clear disadvantage

if I decided to physically confront Bolano.

Then again, his liver was bad,

and as far as I knew my liver was functioning fine.

So who wins?

A writer with boxing skills and a bad liver,

or a writing with no boxing skills and a good liver?

I’d bet on Writer A.

I was Writer B.

I wanted out of this nightmare café,

out of this dream.

It represented too blunt of a mirroring system.

I rose to leave.

Bolaño’s eyes tracked me.

You should stay, he said. We can talk about writing.

Wait, Bolaño knew I was a writer

and he wanted to talk to me about writing?

All my venom dissipated.

Bolaño and I were on good terms.

I liked this proud, passionate, self-possessed

tea-drinking writer, whose father had been a boxer.

Just like my father.

There was that, and the writing.

We could potentially talk all night.

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Seal

Visionaries

elope with themselves.

Time-lapses

of a shotgun wedding

in a placeless tent

ministered by the migrating wind

and its sideshow cabal of voices—

In the company of echoes,

you kneel, and grow favorably intimate

with unheard of distances

closing on your lips.

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Outlaw Country

“Outlaw Country,” an excerpt from my novel, None So Distant, published in Spare Parts Literary Magazine as part of their From the Desk series:

Reports of fringy lore on lost highways. Point-counterpoint in a twangy battle of wills. Stay tuned.

       I am not going anywhere. There is nowhere to go. Someone took a picture of me, once, whenever, just like this—A girl standing on the highway, packed suitcase, waiting, hoping, or, not waiting, not hoping … pictures lie in ten thousand different ways.

       In that scene, I will always be there, here, the side of the highway, and every person that lays eyes on me will superimpose a story, I am imagination’s text and frozen asset, I am the photo that makes you want to believe in eternity as an irregular verb.

       I am not going anywhere, yet if you are not going anywhere eternally, is that the trip? Is that the action? The motion? The odyssey? Eternity, even as an irregular verb, is subject to context.

Read full piece here.
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Won’t You Be My Neighbor?

And on the eighth day, unseasonably warm,

the hounds basking in hell,

modeling balmy, crotch-rot bikinis in Gilead,

called out—

Please, God, let our leader

mirror starkly our deepest fears and shadows,

let him be as I, for I

am the candle’s guttering, green light,

advancing the dark to

restore the carcinogenic appetite

and capital cause of cannibalism—

P.S. If you see your mother’s severed limb

in my mouth, please forgive my

obscene eating habits.

Zombies are raised,

and not born,

as I’m sure you already know.

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