Tango

Summer,
how butterflies tango
in upward-moving flux
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Minuet

Almost dusk. Young
unbridled lovers, hands bonded,
fingers chaste in a minuet,
lying on their backs
in the sunspiked grass
of the graveyard.
The boy whispers something
into the girl’s ear, the girl giggles
at that something, and then silence,
in which the epitaph marking love’s tender passage,
is being written for future reference.
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Brooklyn Spleen

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   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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Van Gogh, Wheat Field

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It is what you might call
omen-brushed yellow, a virulent
scare, its quotient graded just
below dark, and subtly so.
A sky raining crows,
like a scandal of mustaches,
or handlebar dissent.
Yellow crosses
daring a blight,
or braving a mouthless ebb,
Agony and Ecstasy, yes,
but a forced marriage
or hospitable togetherness?
Hard to say
when Harmony,
harvesting its own voice,
is reaped by the scythe
of Dissonance, a sermon’s
last lips annointing Treason
its warden
and glory.
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Banana: Love, Andy

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A religious protuberance, a monkey’s Marxist
gag. To be eaten, to be peddled,
to be inserted or diagnosed,
a digestible comic device,
precursor to aerial pies
and throwaway wives.
Banana.
As a word, it teases and amuses,
does not take itself too seriously.
Ba-na-na. Bah. Nah. Naa.
As pop art,
it flirts and models
assumed vanity:
skin of siren-yellow, a husky viscera,
negligeed in black tatters, zealous tip
hinting at its decorous appeal, implying
an androgynous grip on cinema
and Eden.
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Hamlet Responding to Ophelia’s Proposal, a Haiku Film

Natalie
(Hamlet, played by Christopher Walken
Ophelia, played by Natalie Wood
Setting, a boat)
To be or not to
be together forever!?
I feel like a swim. You?
BLACKOUT
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Flicker

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(In response to Josef Sudek’s “Morning Viaducts”)

Can you hear, the cobbled morning streets
gathering in thick coarse hands
the staccato clang of hooves
and thin gray voices
arising from the ghosts
of people
caught in a sudden sonata?
Can you not hear,
the distance of bones,
calling upon light
in an unremembered flicker?
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Red Herrings, Chinese Whispers

 

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Excerpt from my new novel Raking the Dust:
Over the next couple of hours we compressed our lives into annotated and selective biographies that we laid on the table, right next to our drinks.
That’s how D.J. came to know that I was: Thirty-three, recently divorced, father of a five-year-old daughter, presently unemployed, and had moved to Taos from New York seven years earlier.
And how I came to know that D.J. was: Twenty-five, born in Lafayette, Louisiana, had moved from Baton Rouge to Taos six months ago—was French, Haitian and Antiguan on her mother’s side; Welsh and English on her father’s—and had two jobs: one as a cashier at a gas station, the other as a personal care attendant.
Yet what I found most intriguing were not the facts themselves that constituted DJ’s stories, but the manner in which she had presented them.  Her tone remained breezy and off-hand no matter what she was revealing: My favorite color is blue, my father shot and killed my mother when I was seven, I love to sing but have terrible stage fright.
I knew this sort of detachment well, and the illegitimate things to which it can give birth:  An illusion of intimacy, without genuine feeling. A candor engineered to hide more then it revealed. Red herrings and Chinese whispers.
What I also knew: I was a sucker for other people’s absences.  The less of D.J. there was, the deeper I could fall into her.  And I sensed lots of falling-in room.
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Girl in Yellow Raincoat, and Dog

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The rain, like gospel acid,
dissolves and revives in equal measures.
Parts of girl and dog, melted,
weeping off the shallow cliff
of curbside. The girl’s features
have been washed away by the storm,
yet the embryonic portrait of her new face
already fated to emerge.
Her umbrella, a bulimic bruise
or snailshell dome, consorts with the rain,
scars and slashes of silver mucus
blown through Heaven’s sundered veil,
as God sneezes grief upon all the
brave raincoated girls and small brown dogs
of the world.
Notice the forget-me-not
leash between the girl’s hand
and dog’s neck, a gentle query
or supple bond.
Notice the silver lining.
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O’ Keefe, Yellow Flower

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The sex of yellow, its pealed strife
and resin. Or how a specter, a sensual crumple
and crepe, butter-tongued, makes time
with a pair of honeyed tonsils, coercing
a holler, a yodel, aria raging blonde
over brood, the Belle’s Seduction,
tolled in the secret opera
through which the flower
praises and blooms.
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