a: cry-me-a-master Steinway was raised

up by a streetlight.

sharply concentrated as a protractor's

return starting point.

whose pressed encompassment shows

through, hours after lights out.

hotly bright on the Steinway's black hood

like a cow's patch.

as its shutaway keys rammed defiantly--

with reverberant bangs that bang

themselves.

aftermath's overintellectualization.

then someone that knew someone, that

knew Charlie Chaplin--skipped him into

frame.

where he stood his cane on the sidewalk

& pelted the Steinway with mothballs, for

good luck.

there it was, flatly suspended from the

streetlight--a musical ear's eclipse.

pantomimed sounds.

chi brought food & form was martialed--

feet struck, feet said: asphalt, feet said:

seawater.

as such a walk harnessed its entirety

before it began.

while feathers left birds on this or that

note, to touch pressure points of air.

whole symphonic collapses of earth thru

the blind conveyance of an obstacle

course.

the flexibility of weirdness is not a

parking sign peeping out of an

unstoppable tree trunk.

it's how that megaphone of pain acts as

a leyline.

reverse momentum knocking underfoot--

built-in everywhere.

loosed catapulsions on the verge of eyes--

these.

see just short of a walk's conclusion, the

side of a bush blow open.

exposing a few branches--one more

deafening than the other.

'I thought I saw something', is all she

sees--as moonlight, so her shine moves

indirectly.

the heightened allowance of two trees

appear as if they escort a satyr from

cover.

while he steps forward wearing a biege

trench coat, like Robert Stack from:

Unsolved Mysteries.

horns as rogue branches deformed by

blows to cycles, the dance-broken

amorata of his crown.

an ancient boyishness layered over by

sudden curdles.

deepset overread eyes, ruthlessly

sideways with a goat's revelation--

cheekbones defined enough to anticipate

a fish's pucker.

outlied by a copper-colored beard, thick

with nervous curls as of the rest of his

body.

his hooves' harsh prints moist-test the

mud.

he stands there bracing for the cellular

shock treatment of ringing a colossal

doorbell, not knowing why.

he is as he does--which are two things:

step forward from two trees & back, with

no memory to offer contrast.

Selbst the satyr doesn't know he's dead.

as holiday lights are relegated to festivus,

or the process of elimination--the eyeing

discomforts of the last to go.

there's evening air traffic--which implies

congestion, accurate in the sense that a

plane brings the sky with it.

a double negative, straightening out how

it should sound--from how it sounds.

the outdistance of a thing that shouldn't

be there, that's nothing but there.

the spiking rondure of a printless blurb

from reel to reel, as spot-on

abandonments of sky.

sky--the unabandoned.

where does that leave the hearer?

upon hearing the magnificence of

counterintuition upon hearing.

ice too is structured, I have witnessed its
appalling unbrokeness for longer than I
care to recall.
as with the guiding principles of
silverware, conversation should follow.
any misapplication would be as rude as
one cut off midsentence.
the mark of polite society is cultivated facade without imposition, hitchless
ritualism.
****** muscles uncramped of miseries,
poise is how stock is measured.
yet there's Michelangelo's: David, even
more poised with his pecker's forbidden
talking point.
tonight we exchange the currency of one
year for another--as the fog goes about its
yellow life.
no yellower than these so tight-lipped
about teeth.
the first time it happened, tobacco smoke
stratified layers of breath, cologne & perfume--letting fall delinquent unwash.
they all spoke at once, their features grew till they were competing panoramas.
as if they continually crawled out & came
for me with their airless truths.
how I learned to see with one eye, use the
opposite hand natural to me, balance on
one foot--to disalign with their choreography.
I increased that split second, I lingered upon it, caught others stitch a seam.
I saw the easeful converse of skulls make
stark headway, stiffly tolerant of arms left
raised in toasts.
the polished hatred of servants complimentary with movement & stationariness.
fool, martyr, poet--isolate any of the above & I will be indistinguishable from them.
it is I who lowered my guard, not they--throwing my nerves into the pools of impregnable circles.
hard at the art of hearsay, a one to one with a King--one with no dynastic
trickledown.
I drank from that chalice on New Years Eve--white flannel trousers rolled up.
masticated peach in my stomach, my ankles cuffed by a shoreline's puzzle piece.
splashed in the face by a mermaid's tail,
as to revive me from an undreamt year.

an elderly woman on the upper east side

leaves a red ring around a baby carrot

while gnoshing.

imagining Matisse cutting up fauve

confetti in his wheelchair, while he rolls

backward on a promenade.

then she lazily gropes at her neck,

observing a touristy swash--primed for

the annual rigging of Newtonian physics.

a man stands stern as 86,400 condolences
in front of a Grandfather Clock.
he resembles Lloyd the Barber from:
"The Shining"--except for mustachio &
monocle, a leather whip in his right hand.
dressed up to the nines for his
sadomasochistic relationship with time.
the pent-up tension of its purposeful
waste, excited him to no end with its
insightful extravagances.
the heightened state of foregoing all
possibility, rides the penultimate crack of
a whip.
oceanically wrought drops of milk &
honey--pelvic ache in-between no two
points.
the adrenaline dump of worlding an
infinitely broken silence--over & over &
over.
surviving deferments of dust in an edenic matchbox, quavering to hear--holy make the round of holies.
until sweat shines his shoes & the whip's
floored by undulance.
as his fire belly newt: Gozer, singles out from a camouflaged environ to be fed.