i am very very sad.

and when i am very very sad

all i want are flowers

because flowers are pretty

and dont care to know it

Marcy Shultz was a typist.
She typed and typed the day through
but never wrote a single thing.

Each morning she would drink her coffee
with a sunken ring at the base of the mug.

It was her good luck charm,
an assurance that at one point in one moment
someone had truly, honestly cared.

At noon she would salsa with the air,
knowing **** well that she would later devour it.

But the air knew nothing,
Thought nothing, just stood there.
Air is naïve, and she was alone.

At night she would shower with the blinds open
figuring if someone looked, someone cared.

But nobody ever looked, and Marcy never blushed.
She'd type little tales on her little laptop.
Typed little stories of little couples

walking dogs
kissing in park benches
laughing at rude jokes
eating tiramisu in little cafés
weaving stories of passers-by
carving initials in wood
waking up in the dead of night
to hear the rhythm of the other's breathing
before
holding each other's hands
and whispering softly in the light of the full moon
flooding in like spilt milk from the cracked window
saying,
"We are together now
and if a moment like this is happening,
then a moment apart is only imaginary."
Then,
always,
always,
always,

The little couples would make love.
Their moans bled through the window
like timeless cries over the milky moon.

The cats in the alley would circle about the songs
echoing loud from the little couple's little love.

Then always, always, always with frustration
Marcy Schultz would toss the tales and go to bed
and the couples would live on in crumpled paper.

I want something more than what you are thinking.

I want the sway of your hips as we gaze into the sea,
examine its sheer force and power and immaculate size,
then reflect unto our reflections and realize that we are small.

I may be six feet to heaven, but I am the smallest person I know.

**** me like the ocean would the moon, Dear Amaranthine.
Teach me as you would any abecedarian, slow with pace.
My pallid arms are spread, and feet are crossed.
Crucify me, like one of your French girls.

Your endless frame arched over mine
a vaulting testament to the heat
of your front against my back.
This scene should have been a chapel.

Through hazed musk I can taste the saline
as it tumbles from your dripping brunette tendrils
forming brooks and lagoons the color of flesh
in the glens and about the islands of my spine.

I wish I could write about you in me
while you dance a contemporary beat
ceaseless, indeterminate, untold are
your feats within and upon my person.

For a split moment, seconds shattered in two,
I am completely and totally permeated by you.
I whine for you to vacillate me, I am ******* begging
to be occupied, satiated, by a rhythm akin to the sway of trees.

Love me fast and kiss me slow, Dear Amaranthine.
My palms are red, and feet bloodied, too. I moan.
Call me your poetaster but don't come on my chest;
There's far too much weight there already, my dear.

Being alone with you is like being alone.
But being alone is like being nothing.

I love to hold your hands while we hike through the crevasses
especially when you could fall and I'd have to save you.

Rocks are coldest when compared to your hands
I think as we break contact to scale yet another.
My favorite lyrics become distant rhythms
the moment your mouth moves and song bleeds out.

I think the catchiest song
is the sound of your lexicon.

But you're not singing,
you are simply talking

about that moment when the cigarette, dribbling with smoke, pulls away
from your perfect lips, the lowest of which hangs in a perpetual pout.
That is the soft line of flesh I would like for my tongue to skate upon.
Pirouettes are crisp and cantilevers are hopeful but I would much prefer

To enter a deep outside edge
while performing an open stroke.

But that is slicing ice, not kissing.
And we are climbing rocks, not kissing.

*What's the difference?

The carpet is stained with your beer.

You used to have the sharpest mouth
a tongue like a serpent's in slow motion
as it flicks, nay as it laps into the dark of my mouth.
Your lips felt like frozen lines of gasoline.

They tasted like the fires of the oil refinery.

I used to beg you to let me ride with you
through the forested paths lacing behind my house
on your mobylette we would fly down the gravel
like birds upon a cloud, with more bumping and rattling.

But birds aren't aroused by the turbulence of clouds.

I loved the feeling of my arms about your waist
holding you close as a reminder that if I let go
I would fall and when the day came that I let go
standing in the living room as you drank beer...

There was no where to fall but up.

When I was small I would lie

every single day

and run to the mirror to see if my

nose had grown

because all I wanted was*

to be a real boy.