Bedsores

flophouse

In the permanent flophouse
Love reigns supreme—
A tried and torn migrant
ready to drop
from chronic fatigue.
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Dirty Dancing in the Dark

walker
   Brooklyn, the Walker Theater, 1987.
   I am twelve and precariously balancing on the shoulders of Fat Brian.
   Come on, you’re not getting any lighter, Fat Brian shouts.
   I reach up and lock my fingers around the bottom rung of the fire escape ladder, then hoist myself up.  I scale the ladder until I reach the landing and there I wait for the others to join me.  The others are Jay and Petey and Danny.  They all climb aboard Fat Brian’s shoulders and scale the ladder to the landing.  Since none of our shoulders are broad and sturdy enough to hold up Fat Brian, he is always the shoulder-man.  Me and Jay and Danny and Petey will sneak through the unlocked side-door leading into the second-floor theater.  We chip in so Fat Brian can buy a ticket from the box office and meet us in the theater.
   We never know what film will be playing in the second floor theater, and we always pray that it isn’t a love story or a movie with a lot of talking.  What we want is blood and violence and action.  Or to have the shit scared out of us.  Yet no matter what film is playing, we’ll stay and watch it.
   We’d rather watch a movie, any movie, then not watch a movie.  We’d rather be in the dark, even if it meant being in the dark with sappy characters that kissed and spoke cheesy lines that upset our stomachs, then to not be in the dark.
   We take our seats in the theater, and five minutes later Fat Brian joins us, holding a large popcorn and large Coke.
   The movie playing is Dirty Dancing.  We bitch and we moan about it, but we watch the film the whole way through.  Afterwards, we briefly talk about the film, wondering if girls would like us more or like us less if we could dance like Patrick Swayze.
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Meaning of the Mob

The Meaning of the Mob.  I say, the Mob, meaning the Definitely Uncertain, Fixed—a liberal form of physics—
or the clotted swarm wallforming brick by brick, a mosaic pattern.      Pick a number, any number, it’s a given.
A given what, you say, a given that, heads together, mindless, will make of a stone’s throw a hard cold pledge—Indivisible, in Mob We Trust.

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Haunt

Fear,
how specters arrive
on stilts, in the shadow
of their presence, you,
diminished, crawl
toward s solitary haunt.
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Harbor

I, on the verge of speaking,
when the old woman laid
her finger on my lips, and said—
Give,
and expect nothing in return,
and even less than nothing.
It is your only chance
of getting off this island.
Then, removing my lips,
she flew away,
a green flash of wind,
and I, bating silence,
began gathering words
at the edge
of a harbor pooling
risk.
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Torch Song

stars
The aureate secrets of silence, stuff stars are made from,
and us, cocooned in gauzy slumbers,
wink and blink and nod
till well-scored we become
cinders in a torch song,
long-since faded.
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Frame-Up

sudek winter
(Written in response to Josef Sudek’s “Winter at the Window of my Atelier”)
 Winter
frame-up of god’s
run-on fingerprints,
evidence of
weary sorrow,
mounting,
unfinished.
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Sunday’s Children

while-the-trucks-on-the-highway-all-howl-48x60-oil-on-canvas
(Written in response to Joe Sorren’s “While the Trucks on the Highway all Howl”)
While the trucks on the highway
all howl, beneath a milk-bottle sky,
Sunday’s children, curious and bulb-headed,
lay vigorous claim to Paradise.
Non-profit architects,
they sit upon the sand-skinned
hand of God, a rough-hewn cradle,
stable and craggy, while their nearest neighbor,
the Sea, produces deep-bellied blues,
fathomless and freighted with
the arias of disenchanted mermaids.

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Hide and Seek

   bresson's boy
   Ready or not, here I come.
   I can still hear my voice calling out, a bright echo in a jagged loop.
   Hide and seek was a game we used to play all the time.
   At my house. Her house. On the block. In the park. Wherever.
   She—whose name has gone from me, though I have superimposed many names over the absence throughout the years—always insisted on being the hider. She refused to seek.

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Fugue

tumblr_n04qc7TkuT1rw3fqbo1_1280

(Written in response to Josef Sudek’s “Sunday Afternoon on Kolin Island”)
The camera’s lucid eye
swaddles them in gauze,
reverse cocoon effect
and causal brakes
of a fugue,
fast-tracking lives
to ashen blanks.
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