First days of autumn.
Cascading tranquility
pulsates through my skin.

Love stands at its peak,
its feet en pointe, fingertips
reaching for the clouds.

You're the whistling wind.
My heart flies along smoothly,
Like a chipped red leaf.

The outside air steps
that much closer to the age
of hibernation.

Winter approaches,
daggers in its icy hand
to quell Love's harvest.

Thankfully, for us,
we see no signs of frostbite.
Ignorance is bliss.

"Boy toy
or girl
toy! Don't
make me tell
you again, Pedro!"

I have committed a felony
within the land of the Golden Arches.

I have gone through
another patient's order
and forgotten which gender
to assign to the child
standing right next to them,
as if in need of another
fresh new coat in
traditional roleplay,
as if these little ones
were the cattle of tradition.

How foolish of me to assume
that the tiny calf in pigtails
would enjoy the strong-willed,
goal-setting, leadership-evoking
action figure instead of the sanitized,
goal-admonishing, vapidity-provoking
fashion doll.

I wouldn't want to lose
another valuable customer.

From the ripple in a glass of water
to the sonic boom of this internal
Pompeii, the erosion
of her etymology is the only
sense of movement in her
dilated, cave-pupil eyes, those
two ghost towns spanning
and encircling all the way back,
stretched like an elastic blindfold
past the moment the first brick was laid,
perhaps her first vivid memory,
or anecdote, or first word uttered
in a Cuban slum.

There are mountains of tumbleweed
over the once thriving metropolis
that expanded towards America;
who threw herself into
the architecture of seven pillars,
borne from her land and
minerals. Gone are the
huts that housed her
knowledge of basic motor skills.

The women who once imagined
Mami and Mima as her birth
name now scrub off
the graffiti of her excrement;
they saw a swarm of pink moons
the day she told the same story
to every visitor that came
their way, each day then becoming
a missing surveillance tape, a sinkhole
dismantling the awareness
in her bones and stubborn will,
until she became
these dust-engulfed plains with
a daughter and granddaughter
archeological in their efforts
to chase down the remains
of a girl still breathing in
those eyes from time to time.

Every other ten-millionth blink of
the eye rides the silhouette of a post-infant girl
on the high tides of her quick visit,
looking in horror
as the nation of her life's nightmares,
heartaches, broken promises, romances,
spiritual breakthroughs, life-changing seconds
drowns with morbid unity en cien fuegos,
desperately attempting to assemble
the remnants of her psyche
past her cognitive bloodclots
with the awareness of one
who speaks no languages.

Gone is the moment
she first learned
to feed her several children
before the slip of sunset.

One of seven pillars remain intact,
the others long dismantled of their
stick and straw infrastructures.

One pillar remained,
housed her own colony
for nine months,
and now both descendants
travel the mind of their
greatest influence
with perplexed dedication,
caustic humor the decoy
for swarms of exhaustion
and asphyxiation
from the truthful atmosphere,
reveling in the seconds
of humanity lurking
in an abandoned etymology.

You don't love
me;
you love the
tip of the iceberg
that is your idea of me;
the sugar-coated mute
leading herds
of unfinished sentences
down the copious hills
of his insecurity;
the nice little writer
whose constant attempts
at legendary one-liners
are as hit-or-miss
as a sitcom still airing
far past its prime.

I possess three biomes,
or, rather, three networks
of personalities and identities.
I am much more than
the Jack Macfarland archetype
lip-syncing to Cher in the one
gay bar in town, tyrannically
governing your wardrobe,
possessing a razor-sharp wit
cast toward the backs of his community
in the form of an outdated punchline-
my work on that show
lost its Willful relevance
and Graceful naivete
years ago.

I am of the generation
fed media saturation
three four-hour meals a day,
who ingested cardboard cadavers
as if they were mother's milk
and internally mutated their
thoughts and desires
to fit the compact time frame
of 30 minutes
to settle the series' worth
of traumas and neuroses
while making it home for dinner
to stay tuned for what's
next in the lineup.

Speaking as a casualty of this
inevitable chain of events,
I regretfully declare that even
those who have seen
every episode of myself
for the past six seasons
are still light years away
from the room full of faces
unencumbered by euphemism.

There
Is
A
Fly in my drink
And I'm starting to think
That my luck's on the brink
Ever since you told me
That one half of the bed
Seemed a bit more cozy

I soon realize
That I'm not drinking anything
And the poor old fly
Is drowning
In my
Pity party

My gloom made it nauseous
I've become so obnoxious
Since you ****** the life right out of me

I
Hope
You
Choke on the words you said
And the shallow waters that you tread
Are infested with piranhas
That's how it goes if you're not gonna
Live in the presence
Of someone
As holy as me...

I
Tell
The
Leeches hovering around me
That I badmouth you
Just to give Revenge a smile on her face
But here's the simple fact:
Your departure wasn't that bad

It's just that you hurt me
For Christ's sake, you hurt me
I can't believe you hurt me
Can someone stop this hurting?

There
Was
A
Fly in my drink
When I started to wonder
If this entire thing was starting to go under...

I was once God's Picasso painting
(the Guernica era).
Chuck Jones' illustration
of the tortured artist,
laid out like Wile E. Coyote
on a bed of scalding rocks
and a white flag screaming "SURRENDER"
clenched with both palms.

If it were feasible,
I'd have dove head first
into the smoky center of the sun
if it meant my audience understood
the shrieking woes I had to bellow through
to reach their overwhelmed palates.

But Tragedy is the sitcom foil
that has long outstayed its menopausal welcome,
and I would much prefer a haunting.

To Hell with those
who repulse the flies with
the vinegar of exploitation,
gawking as their spit seeps
through seven layers of collected scars,
who ventilate the wrists
to keep the audience comfortable.

Real aesthetic power
comes from a shower
of light hail on the spine,
the moments a ghostly hand
****** you on the finger
with quietly hidden truths
always whispered from a field away.

It's far more bracing,
the lump in the throat,
not the electrical gasp of shock.

It's a far greater sign
of a forthcoming apocalypse,
the angel weeping in pain,
not the footsteps
of the wailing banshee.

The wisp
over the wallop.