Here in the west borough, down three or four blocks from the epicenter, the shocks come to you in tides — little, electric, delightful in some alien way. Even the sounds of instant decay ring pleasant. The concrete, the bricks, the mortar, the Corinthian columns, the suspended ceiling tiles, the florescent bulbs, the coffee cups, the desktops, the family portraits all fall from their stations, screaming toward the cool pavement. It’s a temperate Thursday in January and the weathermen continue to talk in stunted disbelief. A car catches fire on Malcom X Boulevard, and weather is the wrong word, you think, for this phenomenon. It’s rage. It’s bitter. The violence of the sun-catching glass smacks of vengeance and this whole thing is man-made or, at the very least, god-made but not anything so indiscriminate as weather.

There’s still the pleasure of it though. The collapse of the old world. And there’s nothing but rubble on the corner of 9th and Dominican, and for the life of you, you can’t remember what stood there before. In your evergreen bones you know one thing: whatever anodyne brick institution reigned will be replaced by that glorious glass and that glorious steel, 100 towers impaling the sky. The future is now. A tremor. A cloud of dust.

For about ten seconds the windshield is worthless yet you speed up, hurling yourself through the fog of destruction into a **** world, feeling essential and brilliant and and and.

How many times and on how many screens has JFK been assassinated? she asks a few minutes into the commute.

Someone has said that to me before, I say.

And I notice, now for the first time, even she is a rerun or a ghost
or an unfortunate reminder of the one who came before her,
from the artfully mismatched polish on her toenails to the way her wrists wrap around each other as she talks her quiet talk, her fingertips balancing her iPhone, which streams Jackie Then Kennedy scrambling toward the back of the Cadillac. Its the Zapruder footage in slow motion and somehow in HD, and she touches the thumbs up icon when the footage comes to a close.

Across from me sits a dead man. I'm sure of it—his death. He lounges in himself, his belly fat imperialistic in its expanse, moving beyond beltline and claiming a space all its own on the torn, blue cushioned seat. The dead man looks a bit like Marlon Brando, post-Tango in Paris, when the depression set in and with it the weight, but like Brando, there's still a cool magic in the deep lines of the dead man's forehead, something forlorn and knowing in the drag of his eyelids.

It's here that I remember I'm a writer. And moments like these, I'm supposed to render in belabored yet fragmented ways.

That's ego, she says, not looking up from her phone.

What's that? I say.

The way you pigeonhole me. Rerun, ghost, et cetera, she says. Maybe I've made love to a sad man like you before. Maybe you're a trigger for me. Maybe I know everyone you're going to be, everything you're going to say.  Like I was going to tell you these pants, these pants are lenin pants and I got them from Bali. And I didn't say it because I already knew your response.

Are they ethically made? we say smugly and simultaneously.

And the subway car does that screeching sound you hear in movies and the tunnels outside do that motion blur you see in movies and I try to kiss her but she says that uh-uh cowboy line you know from movies.

Brando had affairs, I say.

Kennedy had affairs, she says.

Have you ever had an affair?

It was exhausting, she says, the performance required. All the effort in your vocal affectations, those terrible 3 p.m. lunches, the pet names, your obligatory passion and one-liners, the secrecy for the sake of secrecy, the purchase and disposal of lingerie. If I could get the time back—

I'd spend it alone with a glass of red wine and a good book, we say.

The slam poet in cords, in denim,
rambles from neon beer haven
to flybuzz brothel, cracking quiet
jokes about soup to shiny junebugs
in the relentless moonlight.
One hundred dollars in thirty-five bills
slowly retreat from wallet
toward water-cut whiskey.
He’s got a chapbook widely
available at frozen yogurt shops
across the metro; he’s got a
tour in the works, tri-county,
every middle school from
Shawnee to Seminole; he’s
got a collection of ex-girlfriends,
made up almost entirely of wizened lesbians;
he’s got an MFA from UNC Wilmington,
and he shouts this more than speaks this
from his treacherous barstool to the sleepy bartender.
One of the girls, she takes him upstairs,
and to her he says, Your freckles—islands
in the sea of your milk-white skin.

The night passes, warehouses are razed,
and he watches the loft apartments emerge.
The food trucks come. He parks beside them,
typing poems made to order out of his trunk. The
money flows in, crumpled and sweaty and
in one-dollar denominations. The Old Fashions
transfigure into Old English. And in his pocket
thesaurus he looks for a word. It’s not vagrant,
nor vagabond. It’s not homeless, nor wayward.
He lies in the long shadow of a Midwestern sunset,
starved and shaking. Up from the blackened
city shrubs comes an indifferent breeze and
just as he thinks the word Pauper, he dies one
on the corner of 23rd and Western.

Return trip from the borderlands
and Maria, she's driving though
she's had a little too much based
on the tremors and the listless
drift of the party bus from left lane
to right.
I'm in my Chuck Taylor's,
the Warhols, the $795 collector's,
thumbing through my girlfriend's
Facebook timeline. She just bought
a Picasso, a self-portrait. I want
to stab her with the long end
of my ****-me shoes. They're
on the carpeted floor. Jenny's
on the carpeted floor too. I roll
her on her side so she doesn't
choke on her own *****. Hero.
The path lights overhead start
blinking and somebody, Kate
or Kristen, I get them mixed up,
starts screaming, "Strobe." We're
in the left lane going ninety, ninety-five.
The right lane looks weak.
Jenny mumbles something as I step over her.
"What's that?" I ask.
"Read the quiet book. Love the quiet book.
the whole human experience captured
in twenty-six scattered symbols."
Someone's in the ****** laughing.
We go into a tunnel and everything
goes quiet and thoughtful and black.
Breathe in through the nose and out
the same way. Click the heels together
and wait.

She ***** on a milkshake through a metal straw. Strawberry.
The place, Tom's on Western, is bare. Ash falls outside. It's
sticking to the glass windows. Glass and steel frames
and white paint and white chairs and ash outside.
A taxi cab goes up over the curb. A black woman in a headdress
gets out and tosses money, red money, blood money.
I'm here too sitting by the bathroom, noting the length
of Strawberry Milkshake's boy shorts. Is this objectification
or object reduction or reverse personification?
The siren in the distance winds down, sounds like it's melting.
Do sounds melt? She, Strawberry Milkshake, doesn't
seem bothered by what's going on outside. I want to sink
my teeth into her shoulder. Ash sticks to the glass, and a
kid, eight or nine, runs by, newspaper up over his head.
He's crying. I can see this, but I don't hear this. Water
starts leaking then pouring then falling in sheets. Ceiling
tile and insulation float at my feet. Strawberry Milkshake
pulls her wet hair back into a ponytail. I clear my throat.
She raises her *******. I walk over and tell her
there's this song she reminds me of. And a bomb hits just
down the street. There goes the glass, crashing all around
us, slicing past forearms and skipping through empty space.
The steel frames bend. She puts her hand to my face. My
face becomes her face, her hand my hand. She and I half-hum, half-sing
"Oh Destructo, you're so destructive. You're so destructive to me."

The conspiracy's got holes, water coming in, and
everything you say on the burner, they're going
to use against you in a court of law or as
a bargaining chip to go a level or two up,
but if you get caught, who can you give up?
Whose real name do you know? You feel
it all closing in. The black sedan whose
make and model you can never peg
is always parked off to the side.
Some days it rains, and you
try to remind yourself
to cherish this. You've
killed one man, been
asked to **** two more.
The sun sets uptown and
the jewelry stores close
and the bars open,
the ones with oak tables
and longbeards serving drinks,
the ones where they look at
you funny when you pay
in cash, the ones where
the women talk loudly
about their shapes
being real, about beauty
and food and thigh gaps,
their world entire.
What a funny set of problems,
you think to yourself as
the third beer hits your head
just right and headlights
come in through the window.
You walk out the back through the kitchen
into the neighborhood with
bikes left in the street. Two, three porch lights
on. Watchers east. Watchers west.
You break your phone on the hood of a stranger's car.
You run for the first time in months.
You run past the coffee shop and the frozen yogurt shop
and the artisan haircut shop and the tattoo shop with fair trade
ink. You find yourself at your sister's on 23rd. You tie off
in the living room while your nephew yells at the
Xbox and the LCD. It's curtains. Uneven.
The warmth and softness of synthetic women swirl around
you. There's a word for this. Maybe two. You swear when
you wake you will be hunter. No more defender. No more
user. Hunter King. Dark Secret on the Wind.

Billowed and pasted, rollicked and wasted,
the night takes hold and Samantha, you remember her,
she's smoking again. This is her last pack though.
Drinks poured. Drinks spilled. Kate and I are talking
like people with scheduled late afternoon love affairs. There's
a car alarm going off in the distance. I love this blouse. Is it new?
No. It looks new. I love your perfume. You aren't wearing any?
Must be a natural—and the first to arrive at the party, Chris and
Evan, they're the first to leave, and we listen intently as one, or maybe both, tumble down the stairs. There should be waivers for second floor
apartment parties. Kate, you deserve so—I know. I know. You've got this light. Jesus. I'm just saying. Is it radiant? Yes, it's radiant. And they're lighting their drinks on fire now in the kitchen, some concoction of amaretto and 151 and a kickback of Coors. The flames reflect in their eyes, their cheeks a soft amber, and most of them are smiling, not sincerely, but when was the last time you could give yourself over completely to joy? There's a siren in the distance. Someone says they're coming for us. I'm going to the bathroom. Do you need help? And there's this ceiling fan with LCD Christmas bulbs strung around the blades. A myriad of claustrophobic yellows and whites and blues. Have you seen that video of the ****** having a baby? And he brings it up on his phone. Someone says, Oh my god I love this song from the bathroom. I hadn't noticed the music before now. Drink this. What is it? You'll see. And Samantha she says she's got to step outside for a second. And someone drops a hookah coal on the beige carpet. There goes the deposit. There's incense. There's a Scentsy. There's Febreeze being sprayed liberally. Can you drive? Can you? Do you want to? You know? I've ate a lot today. The songs keep getting skipped. Parquet Courts, Michael Jackson, Lionel Richie, Chvrches, Miley Cyrus—wait, wait put on some SWIFTY. We're going to fire up in my closet if you want to join. It's a walk-in. Evan's back now. He kicks a mirrorball across the kitchen tile with Chris, who's also back now. Where's Samantha? She's smoking. She shouldn't be alone. You remember last—That won't happen again. I'm just saying. Well, you can stop saying. Sirens again. Closer. We're in the walk-in. Kate tugs on my sleeve. I take a pull off the bronze pinch hitter. Do little circles with my head. ****, she says. What? It all starts fading out, the rush of dark, the rush of light. Someone says trash can. Sirens. I'm just trying to—Shut up. I'm just trying to—Shut up.