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We divert rivers for desert fountains
Mine the very souls of mountains
yet we cannot spare the cash to feed the poor

Election hopefuls promise lies
while they look us in the eyes
then line their pockets like any other corporate *****

The treasury of this nation
thrives on fiscal *******
massaging figures til the money is all spent

And while we're all left to drown
some get bailed out to higher ground
as they stand upon the ninety nine percent

Why does the power of human greed
come before helping those in need
or is compassion blind, no longer can she see?

I pray to god I'm not alone
so if you appreciate my tone
come out and Occupy this planet Earth with me
Follow me on Twitter @athomashawkins
http://twitter.com/athomashawkins
In this country
a black man is only legitimate
as
a musician,
a ball player,
or an actor,
or a small-chance
president.

Other than that,
he's nothing.

Worse than that,
he is sore.

Truthfully,
If you saw
me
walking down the street
towards you,
you wouldn't think
poet
first.

I'm that ugly,
angry
and black-looking.

A perpetual scowl
like
a
scar.
It's a cool place to meet.
25 cent wings.
Nice, tiny booths
Lit by tiny electric lamps
In the guise of candles,
That give everything a nice, golden glow.
It's a Corona light,
And Corona-colored light always makes me feel
at ease.

She pulls up in a silver acura.

Gets out of the car and I can
see her ***
from the front of her
as she syrups over.

She’s got on a Black tanktop;
black bra straps showing
against white-pink
puerto rican skin
all while holding up those veritable C's.

Her hips burst against
a
long, beige
d
r
e
s
s,                                                                                
and I'm wanting to slide my hands all the way up her shirt to that black bra, and snap it off.

We have conversations about feeling older than
eighteen
and twenty-one
respectively.

Our lips are saucy
and oily. Tiny chicken scraps
can be felt in our teeth.

"I just started reading Starship Troopers."

"Yea, I love that movie."

I've never seen the movie,
but it endears her to me

that she loves it.

"Do you have any plans?"

"Plans?"

"After college?"

I plan on finishing my wings
before you, then I'm hoping
you'll let me hold your ****.

"Not yet."

"You know I've read some of your poetry."

"What do you think?"

"I like it," She smirks,
uncomfortably.

She ladles a wing in a slick of sauce.

"Truthfully, it was too much for me,
you really shouldn't talk about things like that."

She brings the wing
to her lips
and smacks it down
with a loud ******* noise
of a working, pink tongue.

I’ve wanted to hold her **** ever since I met her.
Now I’m lost.
Because she’s got black eyes
and I’m not even thinking about her **** or her bra.


I start thinking about how white her teeth are,
and how much two people can never know about each other.
I only smoke
when you're around
or when I'm around you,
I don't know which is which
just that a consumption is going on
within me.

You reach down into your pocket book
and pull out a few killing sticks
hopefully,
I'll die of consumption.

That little creature
inside me,
the pink satyr,
jumps
in between my ribs,
whenever you go rummaging
in that golden shimmer of stripper's purse,
and **** out the Marlboros
with a wet-lipped,
wide-arcing
smile.


The creature,
the real me,
plays with his
satyr ****
all day
and bites his nails
and soft cuticles
until the blood runs
and pools in
little
red
pearls.

I am love-starved,

and the satyr is afraid
when he jumps
because that means you're around.

When I'm around you,
or you're around me
something smells,
possibly the iron
of the ******
left-over finger flakes.

The satyr picks up
the soggy,
spit out nails
and shingles
my heart with them.

The satyr shingles my heart
with the fear that you will leave
and that I will have no one
to consume
or be consumed by.


You are my ******
nails and cuticles.

What a ******* emo
you
make me.

I am uncomfortable,
even,
with the notion
that you have an effect
on me.

That's why I dismiss it,
with that whole
"What a ******* emo" title.

And that whole
"What a ******* emo."
last line.
Free concerts
are full of potheads,
they get all in your ear
and start talking about
the land of milk and honey,
DENVER ******* COLORADO.

The beers cost
15 bucks
for pisswater
and barely a pint.

The girls
all wear pink spaghetti straps
sagging acid-wash jeans,
and a smell like
old milk.

The old people
dance.

the old people dance;
there wrinkly
pterodactyl arms
flapping as they swirl the air
with bad knuckles.

The air smells,
like sweat.

Sweat smells like
toilet water.

Free concerts are usually outside,
so hope to ******* Gaia that it doesn't rain,
because you're stuck there,
drunk and yelling
dancing and laughing
******* and falling.

Matt, Dang and Me.

We spent our summer going to free concerts,

because the girls that go to free concerts
think tattoos and finger-******* and toilet humor
is more ****
than money.

The old people dance with you
performing some type of necromancy
in the air
that brings dead things inside of you
back to life.

And the bud,
it's so ******* sticky,
and it causes a hacking
paroxysm of coughing
to the point that you can
taste the blood in your mouth,

because those people from
DENVER ******* COLORADO,
really know their ****.
As long as it doesn't affect me;
as long as it's not immediately relevant
and something I have to immediately worry about;
as long as it doesn't **** up
my credit score
or my
shiny
new
house
then,
**** it.

And
*******,
for bringing it to my attention.

how dare you.

this was promised to me,
it's predestined,
my two-story, three bedroom, two bath; the foreign workmanship and american artifice; the creamy halo of vinyl in the sun; the wrath of windexed windows and their hard missiles of bright, reflected sunlight; the soft lips of my children; my wife's pillowy, warm stomach and scratchy *****; our retriever that eats his own ****, picking apart tiny specks of feces from the sun-pricked tips of our rug of fescue; these are the works of God, this is the land of God. You are marring this flat earth
We pull
the Humboldt
out of the water.

Sometimes
they eat each other,
and we pull
up
shredded hooks
clotted
with white meat.

Sometimes
they
scramble
underneath the surface
and the film of water
separating us
from them
becomes pink and flashing.

We pulled up
a black
saucer
of an eye
one night.

It clung
to a hook
by
pink strings of optic muscle.

Our flashlights
put little continents of light all over its placid, black surface,
and I felt human sadness
some type of animal-human
empathy,
it ****** me up so much
that I threw the line overboard
again,
almost hitting Nestor in the face,
with an un-baited hook.

Our hauls
are getting smaller.

The carnivores
used to jump
into our boats,
slicking
the planks with an excretion
the consistency of placental fluid.

Now,
sometimes dusk burns
as
we yank
seaweed,
seagrass,
and
toilet seats
over the prow;
our bodies tenebrous;
straining with the line
like warriors
stabbing the sea.
rough draft.
She always laid out her paints
right before bed.

The oils nustled up against her thighs.
Some of them,
cradled in tiny white baths of containers,
lay in the open space
of her folded legs.

"Just in case, something hits me in a dream, I want to wake up and run and be ready at the right moment."

The carpet is rough
and stained with the shrapnel of dry paint
that *****
your soles
when you walk through
the living
room
to the
pale kitchen,
while she gurgles and
pops
in her sleep.

All the time,
the paint gets on the floor,
she paints in thrusts.

"You're going to have to pay for this mess, you know,
I'm not paying to have this carpet cleaned,
it's not my ****."

Condescension and guilt
spread through your lips
numbing you
in a fog of arrogance,
that you perceive
as good-natured caution,
while she hurts the canvas
thrusting harder.

She
paints
clowns.

Tall, fat clowns,
with long tentacle fingers,
bellies
out to                             here,
and tiny people
curling in black oily slicks at the corners
under the pressure of the clowns.

"Why the **** do you always paint clowns?"

"Why can't you just let me be?
you don't know anything about art."

The bed
is tiny.

***
is soft,
methodical
and
pre-emptive.

"I'm tired of stepping on your paint at night,
I'm tired of my feet
looking like a rainbow."

One night,
you come home smelling
like grease and fried chicken.

Your button-down
with the slippery gold name-tag
is dabbed
in the chest by leaves of oil
and
shadowed in the armpits
by
strokes of sweat.

Your manager kept talking about:
"You need to improve
your checkout efficiency,
you've been lagging lately."

Dropping the heavy black
flak jacket
with it's flare of orange lining
on the floor,

You see her,

with her arsenal of paints
arrayed at her criss-crossed
limbs
like the implements
of
a war.

She looks up
at you,
black circles
under her eyes,
an easel
holding up
a canvas of almost minsicule drippings of fabric.

"Oh,
I see you're still there,
great."

You walk to the kitchen
and open the fridge,
there's a half-gallon
of 2% left.

An apple
slowly crumpling into itself.

And a bottle
with a swig of orange juice left in it.

***** always leaves a swig.

You take the bottle up to your mouth and swallow down a trickle that you can feel in your bones.

"Don't drink from the bottle."
she says
with a nodded head.

"I can do what I want,
I bought it."

She looks up.

The clowns
she says:
"Are the type of people
that gain power,
the ones ruling the world,
the ones who become *******."

You laugh like an idiot
"People like me."

"No, you're not a clown,
you're one of the tiny ones."

"*******."

You want to wash yourself
of the stink.

Drain it all down into the gutter,
let the stink
sit there.

So you take a shower,
while she stares at the white cartridges
of paint,
and a conflict brewing.
Kind of a rough draft for a short story idea. Usually a story starts out as just a stream-of-consciousness poem for me. So, here it is.
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