My father walked me down the aisle,
But my mother held my arm.
He went with me,
But we went not towards the altar,
But towards the door.

My father walked me down the aisle,
And the ***** rang through the church,
Humming through the elaborate crown molding,
Carved by my ancestors.

He went,
Not beside me,
But before me,
And I watched,
As he was illuminated by the bright,
Overbearing,
Texas sun.

My father walked me down the aisle,
But I did not wear white.
My father walked me in silence,
And I shed tears not for a man standing at the altar,
But for the one I would never see again.

My father walked me down the aisle,
And no veil obscured my face.
All eyes were upon me, but not for my pristine beauty,
Instead for my clenched jaw and furrowed brow,
Severe and fierce to distract from my glassy eyes.

My father did not leave me at the end of our walk to sit beside my mother.
She clung to me for support and sobbed breathlessly,
Loudly,
Unavoidably,
And I carried her with one hand,
My sister the other,
And walked towards my future.
A future family,
Not one person more,
But one person less.
I walked,
One final time,
With him.

My father walked me down the aisle,
And I will never forget it.
Hundreds of eyes isolating my family from the crowd,
Slow and muffled sounds drowning in the deafening beat of my heart,
Blurred faces staring,
Black heels clacking against the cobbled path from the church,
The anguished wails of my mother,
The whimpering of my sister,
And the wooden box that glided before us,
Pulling,
A string tied to our patriarch,
The pin key of our family,
Pulled taut and then snipped with the slam of the hearse doors.

My father walked me down the aisle,
Before I had a chance to grow up.
He walked me,
Out of the church,
Away from the altar,
Never to be walked again.

i like my body when it is with your
body. It is so quite new a thing.
Muscles better and nerves more.
i like your body.  i like what it does,
i like its hows.  i like to feel the spine
of your body and its bones,and the trembling
-firm-smooth ness and which i will
again and again and again
kiss, i like kissing this and that of you,
i like, slowly stroking the,shocking fuzz
of your electric furr,and what-is-it comes
over parting flesh….And eyes big love-crumbs,

and possibly i like the thrill

of under me you so quite new

Buffalo Bill ’s
defunct
          who used to
          ride a watersmooth-silver
                                        stallion
and break onetwothreefourfive pigeonsjustlikethat

                                                      Jesus
he was a handsome man
                        and what i want to know is
how do you like your blueeyed boy
Mister Death

my mind is
a big hunk of irrevocable nothing which touch and
taste and smell and hearing and sight keep hitting and
chipping with sharp fatal tools
in an agony of sensual chisels i perform squirms of
chrome and execute strides of cobalt
nevertheless i
feel that i cleverly am being altered that i slightly am
becoming something a little different, in fact
myself
Hereupon helpless i utter lilac shrieks and scarlet
bellowings.

I focus on my bank account
and not feeling alone.
The man in 1080p repeats,
'Where has my America gone?'
Fifty or sixty, and billionaire rich --
I guess I'm his working class *****.

Voting on how to
delude myself best;
I am part of a
dollar bill nest,
where I get to see
but don't get to touch,
where I get to give
but don't get too much.

So much anger, burning hot sin
Scalding flow of venous liquid
Throbbing my heated skin

To appease the beast it seems,
The cool, smooth silverware
Sinks deeper, demanding release.

Once, in a long while,
I go somewhere new in my mind,
shapes take form where voice can’t affect
and my words become hieroglyphs.
It’s when pictures seem more natural than inky squiggles.
because, what’s more natural than shape?
What’s more poetic than an image words don’t capture,
can’t capture, never will—capture?

Despite the decades,
I still have not heard the perfect words
to describe summer skies on clear nights,
God knows I’ve tried,
he’s heard me whispering,
chanting phrase after phrase upwards
as they crash against the stars,
floating, fixed in open defiance of my calls,
immune to my attempts to trap them on paper.
But you can only try to define the infinite in so many ways,
before losing yourself to what is, ultimately,
indescribable.

Train 85 leaves the station and bursts into the blinding sunlight with a surreal suddenness. Below, to the left of the tracks, a field of wheat sways as though still under a summer sun. Golden-brown and lively in spite of the snow resting at its roots. The blinding sun hangs high, glimmering on the water. It gives me a headache. I try to ignore it.

Ahead of me, the laughter of two young people fills the car. I wonder if they are strangers, engaged in conversation just minutes after meeting. I wonder if they have the same destination, if they are each equally happy to be heading towards it.

To my right, across the aisle, a woman no older than fifty talks loudly on the phone about her father’s tumor and the biopsy that will soon determine if it is cancer. She sounds optimistic, and I am happy for her. I tread lightly on the thought that maybe her loud optimism is a front. I want to be happy for her. But in an hour I will get off this train, and if her father dies, I will never know.

The woman sitting next to me returns from the café car with a Dunkin' Donuts coffee and takes out her laptop. I turn down my brightness so that she can’t see that I am writing about her. Even though I write nothing bad, it feels like some sick invasion of privacy.

My fingers feel heavy. This train feels heavy.

I want to be outside, before the sun sets, while the golden-brown wheat is still bathed in light. The sun is going to set without me. I try to be okay with that.

The last time I ever wrote on an Amtrak — the last time I can remember —, it was a song about loneliness and self-destruction. It was more than two years ago. I want to be able to say that I have changed more than I actually have. But even as the world rushes past me, snow and wheat and house and sun, I still feel impossibly lonely. The heaviness from my fingers is in all of me now. I can’t shake it.

The young people ahead of me, the woman across the aisle, and the woman next to me all begin talking at once now, and I feel hot. Their words bounce back and forth off the walls, and I need to get off of this train. Receiving these airborne snippets of other lives feels wrong, feels overwhelming.

Anyone who reads this piece will think I’m insane.

The woman next to me stops speaking. The young people ahead of me quiet down. The woman across the aisle is engaged in some other conversation that I can’t exactly make out. It’s quieter. I might still break the windows of this train if I could, but it is quieter. My fingers feel a little less heavy. It is quieter. At least the insanity is in words now.

My thoughts are crabbed and sallow,
My tears like vinegar,
Or the bitter blinking yellow
Of an acetic star.

Tonight the caustic wind, love,
Gossips late and soon,
And I wear the wry-faced pucker of
The sour lemon moon.

While like an early summer plum,
Puny, green, and ****,
Droops upon its wizened stem
My lean, unripened heart.

I wish
my fingers
were his.
I don't think
about him,
my fingers do -
Touching me in places
I wish
only he did.