For what it's worth I've come to find that people and things ****** over make like lead pockets. Old business is just old business and yet the mouth stays sour, curdles at its ends like milk left out. I wash my hair and wash it again.

How do you **** a city? Not a short-change of ideas or institutions. A city. People, granite columns. Street lamps. Long lines of wooden benches. Car horns.

Bags and bags of bug-out gear: drop point knife; feather-stuffed bedroll; one dozen pouches, depositories. The **** is the escape.

The drop point.

Some thing in all of us wants a way out. It aches for freedom. Messy, nasty freedom, sweet as it is.

We sully women who think,
unbowed and without corsets
to prop or hide whatever fuddle
we've told them exists.

We need not be told, all
of us. No is not an abstract
concept, it rides no waves
of uncertainty, no great barriers
or walls need of climbing.

Verily he told her she must
cover for not to be mistaken for
impious. Shell-shocked and
sullied she bides her time between
bites to plot her spiritual escape.

Set sun set
on this tired day
which is yet to
yield quick promise
of new light

Light seeps into
my window in
mornings like an
intruder wearing
steel-toed boots

I can't quite crack
my eyes from their
shutters shuttered
tight as fingers curled
in death grip

Gripping my sheets
I shake the sleep
off my bones to
find a new me
an old me

Barely breathing
of my own volition
until I am reminded
that I must indeed
breathe

Breath of Adam
and Eve or something
in-between it *****
and shivers like
shutters slammed shut

This is nothing new
as the sun will rise
and fall as it has before
and always will or
maybe it will break

Patterns are the
death of will
dying lilies of
too much sun or
too little

Set sun set
on this tired day
of bang and repeat
and give reprieve to
those of us

Left upright

14
Every song or sonnet
singular in its intricacy,
in time it becomes something
other, hyper-personal and resonant.
14 things may burst into millions.

13
Three times I've felt alone
this minute. I should stop tallying
hours in my schedule, messy
rubric.

12
11-years old and jumping off
mud-mounds, playing King of the
Hill. The strongest rises to the top.
The cleverest usurps.

11
One thing for certain:
we are human. We are
not human.

10
Six times in school I got
detention. It was often due
to my willingness to be a
follower, silly sheep to a
slaughter.

9
Five languages of love we are
sure of, no more so far.

8
10 tally marks looks a lot
like less. Some things, like
people, refuse to show their
face.

7
13 is supposedly an unlucky
number. At this age I uncovered
a part of myself I did not know
before. Discovery. This is luck.

6
A dozen is meant to represent 12
because it is simpler, same syllables
only one less letter, a convenience.

5
If you flip an eight on its side
you can see forever.

4
Seven times I've thought this poem
gimmicky.

3
[redacted for time constraints
and continuity]

2
The artist places her pen to
paper and borrows, not stealing
so much as salvaging, wrapping
old presents in neat new bows,
satin or silk or rough twine.
Nine variations on the same
subject.

1
Four lids harbor two eyes,
a galaxy, universe,
each hiding half a heaven
from view.

There lies a picture on the mantle
of my grandfather, my step-father's
father, clad in U.S. Navy fatigues
and grinning slightly, almost a
smirk. The year is 1960-something
as he enlists for Vietnam and is
shipped overseas on the USS
Corral Sea to load sidewinders
into fighter planes that ignite and
****. It happens so fast.

It happened so fast. Two months
of time reduced to blinks and
minute-long visits. This house could
be cold as Mt. Meru's peak and I
would hardly notice. The brain has
ways of placing things on autopilot.

His life has come to pass and I am
left to wonder. I am not sure I ever
truly knew the man. I heard stories,
his helicopter shot down in Vietnam,
his E&E; north of the ** Chi Minh and
how he owned a gun shop on Main
St. in the town I came to call home
before it was my home. I cannot hear
his whispering, small wind of existence
sidewinding away from me and my
youthfulness. In small time I've come
to find life is meaningful if you take time
to make it so.

The day of his funeral is beautiful,
sunny and mild and full of breeze.
The gas tank of my mother's car is
close to empty and I am worried of
worldly things, will we make it and
when can we fill up again. 21 guns
gives my heart a needed beating.

The subtle act of meeting
old friends with lines on my
face, pock and blemish
dominating the right side of
my face, left to them. Swing
left if you've an inclining.

How many times have you
reached out to a friend, tiny
gestures or grand statements
that state the grandeur of
relationships, twos and threes
and dates and early mornings.

Left to myself in bed I sleep
and toss and dream of friends
I remember and forgot about,
not but a text message away
from a rekindling, idling in
neutral and there's a hill ahead.

I didn't think it was
that bad. Just the way
she was talking, she
felt chilled, okay and/
or something like it.

My friends say she
becomes the people
she hangs out with,
maybe gets a tad bit
obsessive in spurts.

People pity weakness
in the same way they
pity ignorance. They
don't know what's right
and it may **** them.

Time wasted neck-deep in
idolatry, pretty bottles of
pretty liquids, light gold,
amber, charred oak brown
soaking vanillin and wood
which warms the tongue
perfectly.

I pop my pinky finger in
funny ways, relegating
flow of blood to necessary
extremities only, thumbs
or forefingers or whiny
joints screaming loudly for
sustenance.

There are days in my past
I wish I had skipped,
accidentally sleeping past
my alarms and the sirens
and noises of cars passing
past my window in whichever
home I find myself to wake.

There are days more recently
I have skipped, my mind
spending hours drunkenly
slipping from action to act,
poor me and my problems,
always worthy of an award,
a statuette of broken glass.

I am guilty of overthinking
a sunrise, some certain
moment of minuscule
collaboration between brain
and dirt, ***** truth of it
being I am unable to think
past my own two eyes
but able to fathom a sun
setting and not fretting
whether or not it is to rise
when I wake.

When I was five (and this I barely remember mind you, I was five or so—maybe younger, who's a boy of five to say—and all memory is as cloudy as Seattle in copyrighted images or Tom Hanks movies I've never seen or something) I carried a dead squirrel into my small white boyhood home by it's bushy tail. I presented the creature to my mother as a gift, like a dog with a dead rabbit between it's jowls, limp and nubile. I guess it could also be a rabbit.

I was proud. In elementary I took upon myself to own the blacktop playground for what it was; a mound of black something to step and pound on and run and scrape knees and kick things, forms of kickballs or tetherballs, always red. I remember standing in line at Sunny Vale Elementary and promising the girl behind I was not cutting but not quite knowing how to say it.

The summer after we moved. I don't remember school after that, not until third grade, but it was different. My attention felt divided. I was a boy in two, interest piqued by different sectors of memory, such a selective doll. I remember reading with my father and having fun with my mother. I remember my father's beer and my mother's youthful smile. She will be forty-three years this year. My attention is divided. I am a half-man in two.

How sad must I make myself?
When petty annoyance turns to
dust, a swirl of caster oil on my
tongue, need I stab in infinite
direction for something to grasp
onto?

When does blood end and choice
begin? How much *** must I smoke
to stop paying attention? Do you want
to be here?

The answer is assuredly No.
I know because I know you.

You will numb yourself until the
little tiny hairs of your forearm
rise and prickle and beckon for
sunlight, escape from dark room
of blanket piles and ***** clothes.

Do you want to be here?
The answer is in the How.
Should I keep projecting or
wear my insecurities on my sleeve
like a good boy, feelings and
resolve and dedication to family?

Where did my poem go?
Does it want to be here?
Should I pull it up from the
ether, all hot ember and critique,
or might I let it flounder and
drown, all not together and
scatterbrain, best left on edit table
in drunken somberness and
existential envy, slow motion.

Do you want to be here?
I am asking for a friend.

The day he locked himself out is not specific, a
Monday or a Thursday, some square on some calendar
I tossed in the trash years ago.

We lived in a small white house yards off a small suburban street. I dubbed it The White House. I cannot remember how many of my holidays passed inside. It's all stuck in fog.

Some time later my mother and brother and myself moved not a quarter mile from The White House; a trailer park, owned by Aunt Charlene and her callousness. She cares deeply for my mother. I still pass The White House as I drive to my great-grandma's home, years later. It is hidden from the street, all branch and leaf and overgrowth, flora hiding its face from the cars and their people, the birds, sunlight, illumination.

My great-grandmother's eyes are thick with a knowledge I am fortunate to not possess. Great-grandma. My father's grandma. Mother told me he began to drink when Grandpa Jesse died and never managed to shelf it. I meditate on my genes. My great-grandma is 84-years on this earth. I have trouble bringing myself to talk to her.

It is so much. So fast. I am a man now—not grown, hardly seasoned, no hint of gray—of 21-years. I have not seen my father since I started smoking. I wonder, now, following all these years of silence what, exactly, we might have to say to one another. He may ask about my girlfriend: I may ask of his. Years apart, a ridged gap, and yet still a kinship, some foreign hurt deeply threading the vein.

The malignancy of feelings.

I bury my anger and let it age, whiskey soaking in the oak, cultivating a taste, a character, an identity. I cannot change this. It is my blood. I will always bear his name. He may die before me. I will always bear his name.

Think of mole rats,
spiders, mites even,
crawling underneath your
feet without knowledge
or care that you may be
thinking of them.

Think of you, conscious
animal fretting your
mid-twenties or a mortgage
and think of your family,
all blood and genome and
thicker than ******* molasses.

Think of the microscopic
living things which coexist to
make you, animal accident, a
living thing. Bacteria boiling
your stomach, microbes bailing
from your bottom lip. Kiss.

Think of love, in all its
devices, tedium—conquest even.
The smallness of our thoughts,
little whispers skimming the
surface of the pond. Do you
think of what comes after?

What it must
be to be a
poet with
clarity of
thought

bully the knot
in my head
unwound and
***** and
bounding straight
for daylight

God slips from
tongue as phlegm
from lung post-
cigarette

back to back
reel to reel
sitting *** to heel
palm to palm

praying

I've spent paychecks
laying pavement
into bedsheets
bearing teeth

biting holes into
free time
me time
with myself

waiting

twenty one years
stacking unread
newspaper new with
news not bothering
with digestion

to treat the text
as words on paper

*******
transfiguration

sight unseen the
sight of me in
chapel pacing through
Peter as though
for penance

God is meant
a friend to
comfort but
recently its
felt dishonest

a masquerade
a malformation

Crimson red beset
on body and brainmatter,
be it blood or ***.

Some things reek of
sameness. Winter rain
for instance

driving wind whipping
at light poles, chilling
other thoughtless things.

Christmas coming around
in a few weeks, money tight
with bone-cold breeze.

Five people shot in Oregon.
Happy holidays, please remember
to duck and cover.

Write in stanzas. Think in stanzas.
Speak in stanzas. **** your routine.
Sleep less. Go to work drunk.
Yell at inanimate objects. Yell with
inanimate objects. Fly your mother to
San Francisco (coach) and watch the
house for her, the dogs, the child, the
drunk. She is your mother.

You do not like your job. Spend
your days beneath an apple tree and
spend your workdays eating apples
in any given weather. Lie on the floor
of your bedroom belly-flat and smell
the carpet beneath you, all dead flakes
of skin and dog fur, sinew strand of
hair, black dots—tar or shoe-gum or
something other.

Think on your place. Reach to the left,
your side table with glass of water and
lampshade. Feel the hilt, small knife for
your pocket, small pocket. Free the blade,
feel the grooves, gold and blacked-brushed
blade you bought with a flask, a set, two
tiny commodities that may serve you well
in the wild or a shopping mall, what ever
little evils exist away from your bedroom
with its television and soft blankets, slow
mortal shuffle and modicum.

Stop and breathe. Feel the heart in its
always-patter. Know it will stop.
Not fret, no, only knowing.

I have not changed in years (it seems),
     physically I am constant,
six feet and lopping sack of
     bone and skin, buck-forty
on my best, wettest day.

These months have flown as
     leaves in fall.
November is come and soon
     will escape with the wind
as well and I am solidly planted
     at a desk in an office with a
floor too hard to deepen the reach
     of my roots.

I am like to wither and rot,
     left rootless in snow and
ice; ash of autumn, flowerless.
     The trees will die—grounded,
yes, and utterly passionless.

Almost everything is okay as the leaves are changing.
I am seeing the season take shape and not
neck-deep in ironic rambling of how
this happens every year.
It does, but it is never the same.

Autumn is the briefest season.
My car has broken down and I will not
be able to drive myself to work come winter.
Fall moves faster still. Red-orange canvas of
trees becoming leafless and I am too entangled
in people. I save my errant gaze for next year,
another season.

It tastes of auburn and cool mornings and smells
like summer in retrospect, as though I never noticed
in full bloom, only after. I have problems focusing on
the surrounding world as it plots and plods.
I go along. I am occupied.
She has changed the color of her hair,
soft brown to blue-black.
She smells of leaves falling, of
cold nights and fires to burn.
She is my favorite season.

So pointless, still starting sentences with
and as though I am curtailing from
previous profundity into present thought.

Silly, still. Finally I have found
inspiration in the smallest places,
skin-deep moments, echoes.

Base instinct betrays
graymatter, brain left grazing,
gutted by daybreak.

Bend at the waist
be a doll, doll,
dance your *** down
this way, my way
into sentiment, burning
images onto the brain
you can't get away.

Bend babe, shake or
shiver as you please
let lethargy melt into
unkempt smiles, deep
dimples of face-skin
softened in sweet sun ray.

All the people in the street.
Where are they going, and
what does that mean in the
end-times, the ever-present hour
of a dying world's last breaths,
here for sole reason of shepherding
the sheep, because you're a wolf
are you not?

Miles above the weeping masses,
holding it together with barely
a grip to give name; coping
they call it, accepting reality as
objective, something separate from
myself.

I imagine the world as a bubble
and I hold the pin-needle, too close
to body to alarm and too close
to bubble to bat away, bend
please, bend at wrist for sake of
sanity, bury yourself neck-deep in
chance. Bend babe,
bend away.

Searching for answers as to
why I'm so alone is like locating
the holy grail in sand-ravaged
desert, like rationalizing human
action, like taking delicacy
with a grain of salt.

I have turned depression into self-
fulfilling prophecy, so many days wasted
on loathe and pestilence, resisting change,
shutting out what I perceived
to be white noise.

I am drunk during this writing,
This is not medicine, let it be known.
Nor emulation, for simple fact that
I am whole, a whole thing,
silently splitting its ends.

Four walls and one door
maintaining (perfectly) in-tune
with the outside world,
countless libraries and braver
brains in court, fingertips
away.

Too much sometimes, too much
noise and sleepless racket,
no need for hotel wifi or
roaming minutes, change nowadays
burns faster than
relationships.

I woke today to find
bombshells exploding elsewhere,
slaughtered innocents and
captives in bright silver fences
until the next time I
read about it.

My brain is spent running in
slow-motion. I have glasses now,
my vision once was perfect but
staring at screens beat biology
to the punch: a most frightening
revelation.

In those brief places
of prompt and pause, is it truth
if I am smiling?

By book-ends my stomach is churning,
I'm cantankerous and stand-offish
in spurts, barely there in others.
I could not dig up where my head was
if I had to. I do not have to.
There are some things in my life that
lead themselves to failure. I have dropped
instinct, instead adopting pattern,
a means of coping with the endlessness
of life in a globalized world.
This is not lament. I could part with
objectivity, happy to expire for a
scrap of extra sentience. Please, before
my words become manners and manners become
holes full of dirt, pardon me for the mess.
I only had so much time after all.

I've lent myself to self
parody. I am yellow grass
in summer. So easy to see
in daylight, split-rays.

Again I stumble through the
door too closely, nose grazing
siding too rough, not fit for
suburban living.

I am outside now, cigarette in lungs
almost empty of airspace. Tight
breath, silt sinew of exhale and
burning, eyes painted in panic.

Four smokes in, cherry blossom
cheeks, a rosary of liquor, perhaps
lending myself to sanity,
a bright morning in autumn.

He paints his ashtray
alkaline blue,
a petty tip-of-the-hat to
harbingers of evil,
men between men and
women sitting aside,
head bobbed
in embarrassment.

What have we become which
normalized gestures do not
puncture?

His alkaline blue ashtray
trading dust for roach buds
and where is he off to,
brain sorting sentiment with
barred numbers, statistics,
inaccessible phenomena.
Pains to say most often he is
wandering in the wings
flapping for attention.

How humanity must suffer
in the name of
self-effacement.

He and his
alkaline blue ashtray
skitter across the landscape
(a da Vinci,
a Mona Lisa)
again in apathy to watch
petty tip-of-the-hat prisoners
wag thumbs and call
each other names.

In the end of things,
reason does not prevail.

The dust is all.

Comes to pass my picture of the Middle East
(one minute and twenty one seconds of television news,
          much less than I had thought)
is an inaccurate representation of people
and the individuality of their experience.

How does one measure the merit of
I am offended?

If all I know are snapshots, misdirecting
the issue, changing path to digest murdered cartoonists
killed with Allah in mind
          (another misdirection)
and I am not outraged.

Sadness manifests as thick fog
blocking artificial light, splitting the rays,
opening up and flexing, the truth as is,
the sole truth we must attain;
          we are slow, dying creatures.
Inborn freedoms dissolve.

Did Salman Rushdie beg forgiveness for
images of his head book-ending a spear,
or did he die a little in secret?

Suppose I am a rouser marching the streets of
New York City, a gold pendant of two
          falling towers adorning
my chest-cave, Je Suis etched into my forehead
(black felt-tip).

Do you defend me?
Relish in your torment of words?

Will you bury the fire in your belly
for sake of freedom?

Before I went my way
I was unsure if my car tire popping
constituted omen or bad luck.
That is the frame of mind I was in
leaving Lincoln.

Now I realize most of this is temporary
distraction, soon Nebraska passes and
Missouri remains, as it always has.
One year later I will change my college major,
theatre to sociology.

Lincoln taught me lessons, not
all of them important. I found true solace
in watching others, why they walk like that,
what their hair says about their politics,
microbes erupting into civilization.

Leaving Lincoln behind was so remarkably
necessary in its devices. I will always
make time for my thoughts, my seasons,
thanks to the dull, blinding cold of

Lincoln, Nebraska.

Hot breath, twist and bend,
bite down soft, release, linger,
teeth scraping new skin.

Picture the word Devastation.
What do you see?
Bodies in a motorcycle accident.
Buildings of fire falling.

But that is not it,
it cannot be. Picture the word
DEVASTATION.

                                            ­          What do you see?

I see something so unbelievably
personal.

Devastation must mean my own life
in wreckage. A body in a
motorcycle accident.

                                                        A jump from a
                                                        burning­ building.

I cannot divulge how deeply
this is seared in my thoughts.
Picture the word

Shame
Incidence
Accident
Immolation
Remember
Breath­
Grass
Water
Wreckage

Picture the word Love.
What do you see?
Picture the word Devastation.
What do you see?

Are you surrounded?
Only a few?
Are you alone?
Do you want to be?

There is no shame in any answer.
I do not press my morality on others
but we must, must believe that.
There is no shame in any answer.

In Lincoln
two times I was drunk
one only slightly.

I was lonelier than I'd
ever been. I hope I never feel
that way again.

Three times I felt alone.
More times I was sick to my stomach.
I do not regret a single second.

Eyes can't help but follow
long hair in long coats
wind shaking the strands like
snowflakes, their own little patterns.

The cinemaplex is open,
negative seventeen degrees Fahrenheit and
someone is still making money.

Wrapping around a blocked-off
manhole I turn the corner too quickly,
bump into a homeless man and his chair.
He asks if I've any change.
I say No, my pockets are empty.

Inner monologue firing, always,
I cop the corner and take a moment to my
physical self, ask it questions, How are you?
You've been a slight bit distant during this time.
Do you miss home?

I'm not sure I've found a home to miss.

I

I am often attracted to things unhinged. Not necessarily (traditionally) romantic, more akin to an unwillingness to ask permission, one who might say It was never your permission to begin with and not be angry or upset about having to say it. Few are so willing to evaluate situations without the overwhelming cloud of emotion. Judgment fully withheld, kind banter catching wind. A needed immediacy.

Jean-Michel Basquiat was aware of the past. He pretended to not care if you did not like his paintings. Part of him was upset some people did not understand. Basquiat strangled history down to basics: music, culture, society (not the same thing), generations of family after family. His point was not for you to obtain this. This was his conscience—tangible. Brain processing. Synthesizing. To him it was so simple. I refuse the word primal because it is misguided, it does not factor purity, clarity. Sugar Ray Robinson told Basquiat to stop painting the background. Tuxedo told Basquiat what words to place and where.

So much of my art is stripped and lucid and enacted with only me in mind.

Should the ache dull,
consummate the liver,
fulfill desire,
I refuse to stop it.

I keep feeling the whole day in one pinch.

Perhaps writing should not render in burst
format as it ****** and rots.

Rothko knew pain was art because to Rothko
it was all art.
He would not budge, stood stooped in
knee-deep-scarlet splash-stained denim
begging all to see the colors through him.

Rothko paints mountains with pulses in
red rectangles.

Estimate tells us the avg. height
of a female in the U.S. is 64 inches.
This is quantitative. Unfeeling of prospect,
the numbers fascinate and baffle.

Recent estimation supposes
1500 active volcanoes on the earth of which
500 have erupted since history,
the invention of writing.

                                                       ­                Such a short time ago.

Measuring in quantities, the earth is
4.5-4.6 billion years old.
Creatures of like sentience who never wrote about
volcanoes, the age of their earth.

Quantities hum of something borrowed.
So tight-wound, so deeply close, and yet still.

                                                         ­               Something not ours.
                                                                        Blind, free of invention.

Sat in silent place
hop-pulse-pounding my feet in
ecstatic motion.

Little tiny objects like cigarettes can
**** you. Not sure

                    I know this
                    secondhand
                    or if

forgetting is a coping tactic. It's best to
put the things I most forget on paper
because writing burns into the
brain.

I can't be sure who told me.
No, I can't remember.

I am walking for escape
Silence, darkness

It is sudden. Sound of
two-by-fours smacking grain
lit up in the distance,
                       the street

Maternal scream mistaken for
coyote howl, sticky-tongued
lamentation filling the space,
                       lockbox

Grey matter spilling
the street for a
beggar's mouthful

I could make known my notice
Or leave his peace at asphalt
rocking skull-bone;

marrow cut loose: free

Nothing I make of words can ever be confused with beautiful because I don't see beautiful things, only things in tandem, stuck between, feverish and naked as my burning brain substitutes ******* for dead protesters. This is a sickness I will not grow out of; I cannot say I want to grow because I do not want, I am a mind in a hollow shell which I keep beating with toxins that will **** me sooner than most. I do not care if you read this. This is not for you. This is not about you. It is always, will always, be about me. That is as close to happy as I will be. When did my poetry become so self-serving: I have turned art into work, art for the sake of speaking literally about my conscience and how are you still reading? I am not talking to you. This is not poetry but narcissistic whining and who doesn't love wallowing in the endless sea of their own *******. One thing: When I am dead, do not say I am gone. I have gone nowhere. I have been the only place I will ever be; a brain in a skull in a body, every second I know trapped in crawling skin. Do not say I am gone. I was never really here to begin with.

So ******* heavy-
handed that I cannot put
anger into words.

The purest of pure irony in that
we live to die, this is endgame,
nothing reminds us about life more so than
death. And so we fear, because we
do not know the result of the thing,
only the thing. Humans who assume too
much makes for messy subtext.

If I could pop open my skull,
find the part of my brain so often
mistaken for the heart, and ask it
a question, do you think it would
have the courage to respond?
Am I a soul, or is this brain and
its infinite connectivity capable of
fooling itself so deeply? I side with
the latter, not for depression,
but truth.

My poems sound like mindless simplicity.
They are poems because I call them such.
**** what the editor says.

Imagine burning by fire,
hustled bones piling up, a sanctum
seeped in dust.
It his here where I compartmentalize
the fire, its embers and heat
stacked neatly on hotbed coals, a flame with
labels, numbers, a name.

I keep the space neat and airy,
I have room for all of the fires
as well as some extra storage
yet to have a specific set purpose.
In this room of fire I read
constantly. I am currently on Marx, and
my next read is Durkheim's
Suicide, which is much less strenuous
than one would believe, having been
familiar with Durkheim but
not his work. All of this clatter and
sociology.

The fires remain lit, I have no need
to run the heater this winter.
Fire, in all its compartments,
organized and labeled as it is,
and still, with my world in such a state,
I cannot hold fire in boxes.
I am blindly adding fuel.

Is narcissism
an excuse for worshipping
my own handwriting?

I can get over the face in the mirror.
In fact I kind of like it, bunched and
furrowed in thoughts, wet webs of contempt.

I wonder if I'd be a good father.
It doesn't take much to show up.

How am I going to tell my step-dad
my grades ******* blow this semester?
These are the
important questions.

How will I tell this futuristic child
St. Nicholas died in the 4th century CE?
Is telling him/her a bad thing, or
is there somehow more fun in that?

I've caught myself treating twitter profiles
like messiahs, without the martyr.
Those two lines sound very self-serving
because I don't write sarcasm well.
I've found coherence to be tedious
and boring and that's barely it.

Most sad poems are also
beautiful because they are pure,
untainted and untouchable, some
golden pendant forged of
***** not given.

If I have a son.
If he has my face, my mind.
He will be sad. He will not know why.
He will be an artist. But he will not just create. He has to learn.

You cannot make a thing without first
taking a thing away.

You said he was skinny and sagging
and he wore a sad face for show.
I feel as though I am the man
in your nightmare.
I can't tell you to wake up.

Hearts sparse in this carpark,
the wind feeling rowdy, biting like a
small rabid animal with no collar
wandering the city alone at night.

The car is making me claustrophobic,
I've spent far too much time with the heat,
too many minutes burning cigarettes and
my hands near-numb from the caffeine.

Poems are less like action movies and
more like action paintings exploding
in suspended motion. I'm sure we all
remember when art felt new. I can't
recall when it didn't feel so lived-in.

(And of course this poem is merely
a memory of feelings, which is not much
of anything to me or you because the past
is dry and done and does not intrude.)

Lincoln, Nebraska is a livelier city
than one expects. It is like going to an
art exhibit expecting Rothko and getting
Basquiat, bombast and immediacy.

My favorite poet is Craig Morgan Teicher
because he and I may ramble but he is not
afraid to sacrifice accessibility for
feeling. He could find the beauty in the
image of Lincoln, Nebraska in January.

I will soon need to devise another way
to keep myself entertained so let us
say this CD spins one more time and
maybe I can go for a walk, clear my head.

I do not intend this to be wrought with
sentiment, but there are times I am not
as cold as this city. There are times
the mind must scream
so the heart stays safe.

I do not intend my poetry to be
inaccessible and yet I refuse to shower
this recycled verse in pretty words
to distract from disinterest in my own life
and the things I surround.