Full moon, raw denim, and I'm back all. Google "Men's Hairstyle 2017" and oblige myself. Low faded. Enough on top. Something to grab onto. Pantomiming a stripper's routine on every other streetlight. This is me now. I've acquired an English accent. And I've become quite knowledgable in the ways of brandy. Three drinks in. Settle down. Slow burn. Whisper. I could carve up the fog, I could make this moment holy, I recognize her and could acknowledge it. Look into my eyes and wait for it. She says. She says my eyes are gray. I gently tell her gray isn't an eye color and we're off, shitkicking through this door chime city on a Wednesday, we're on and off the level. She goes white when I fall. I fall on Griffin Street. I scrape. I scrape my knee and the blood runs in rivulets and falls, spaced and reticent to the ground. There's this bar, I say, this bar goes empty around midnight. I want to take you there. She says, What are you looking for? I might be able to help you find it.

I'm looking for rain on a Saturday morning window. I'm looking for someone to paint wearing nothing but tall socks in my living room. Someone who insists on hyphenating her last name. Oils. She should be using oils. I'm looking to be hexed, to be chained. I've dulled, you know? I've become fat with routine. I've become fat with casual ***. I need to hand over—I don't know the best word for it—control, maybe?

We've tried that all before, she says.

I'm nostalgic for it. I get that way. Now and again.

Nostalgia, she says. You can't double back on time, can't control its ebb.

I don't need a takeaway. You asked what I was looking for. I answered.

It's out of your reach.

Say it again. Let me prove you wrong.

I'm not in the mood for this.

So much hangs on the word of a woman. I feel like I've been waiting my whole life for the right words to fall from your lips. Every interaction charged and then diffused when the actual words arrive. I would say anything to you, anything for you.

That's why so little hangs on the word of a man.

Glancing around that neverplace, the airplane cabin,
indulging that edge-of-time feeling,
your head resting on the cool window,
you see her.
She rolls a piano onto the tarmac.
You wait to be bused to the takeoff starting line.
She's fuzzy in the distance, a soft shape getting softer,
in a blue hoodie and blue jeans, perhaps barefoot.
No one stops her.
You feel like someone should.
A dry swift wind beats across the flats.
She stops pushing, the piano in a suitable place.
A man in an orange vest drags a row of stairs behind the piano.
She sits on the third step, lifts the fall board.
You cannot see her hands. She's playing now.
A noisy collective boredom surrounds the cabin.
And yet this. Just outside.
From your vantage, it's not music, nor is it spectacle.
It's suppressed beauty, a dimmed surprise,
and your hands ache and you long for the wind,
for her bright song, for a brief dance
beyond this inconsiderable window.

And he's provocative, a provocateur, a beacon of free speech and foul speech and vague speech and pointed speech, pacing the Conference Room Alamo on the ground floor of the Hilton, testing his lapel mike, asking the crowd of eighty, ninety to move to the front rows, and he mouths something to the photographer, a dreadlock'd skin and bones white boy, and the photographer flanks the crowd, angling the shot to solidify the intended narrative: he is a provocateur, a popular provocateur, a staunch opponent of political correctness (which this bystander must note strangely equates to a champion of hate speech), a former poster child for the alt-right, but—and quoting here—he says, "I cannot be pigeonholed," and perhaps that's it, the secret to his former success, his viral, shapeless nature, a terrorist of language and persona, and perhaps that's it, the secret to his demise, his shape forming, his identity emerging from the podcast ghettos and GOP speaking gigs, and he's on the stage and he's in all white and this is intentional, this is the redemption tour, the other-side tour, and the crowd claps now as he pumps his arms (at this point in the presentation they used to shout, I should point out), and he calls Hillary Clinton "Satan's ingrown *******," and the men in the audience laugh and pant and cough, and he spends fifteen minutes on fake news and hit pieces and the nuance of video editing and how liberal snowflakes won't stop protesting his appearances (for clarity here, there were no protestors at this event), and he wraps everything rather quickly (especially for the $150 ticket price) and says he has a minute for questions, and a young man, twenty-five or so, asks for tips on becoming the God King of Internet Trolls, and he, the popular provocateur, says, "Ah. The next generation is coming up from behind."

In Farmington the misfit suffers the jukebox and dances to an unknown song. He dances on the pool table. He wears black—black skull cap, black
duster, black shirt, black slacks, black boots. He's in Farmington and
the women here drink Bud Light. He dances slow. It's similar to a dance
you've seen before. You have that friend that climbs on couches after a few and half staggers, half sways. The women here watch him with unhappy eyes and hands stained blue from the textile mill. He seems to mouth the words although he clearly doesn't know the song. They, the women, dig their elbows into the bar. Pocked and graffiti'd, the bar soaks up spilled beer and ash and nail polish. Behind the bar a sign reads: Free Beer Tomorrow. And for some reason, you must admit, this sign's effect never dulls. The Misfit pantomimes a dance with a pool cue. His face is severe, serious. He's in Farmington dancing with a pool cue on a pool table to a song he doesn't know like a drunk friend of yours and the women are watching. Next, he does something amazing. He removes his cap. He's got shocks of bleached hair and burn scars run like rivulets between the patches. He tosses the cap toward the bar. One lucky woman catches it and summons herself to the pool table. You want them to have a bit of dialogue here, to say something oblique and innocent. Instead the lucky woman dances at the man's feet. He surrenders a smile and he's got small tracts of bleached hair and burn scars and he's in all black and he's dancing. The lucky woman, she's in a canary yellow patch dress. Her dance, although clumsy, still mesmerizes you. It's without ego, without shame. She is a child. She is the light in the room. She is, in this moment, the world entire. He pulls her onto the table. It's time to appoint the Misfit and the lucky woman names, you think. His name shall be Joshua. Her name shall be Anna. Palms together, her head resting on his chest, they sway. The smoke and the tracers of light meld and Joshua and Anna's outlines become muddied. Their bodies merge and they are both yellow and black and covered in burn scars and bleached hair and the women are still watching. As the song starts to fade, someone—maybe it's you—drops a few coins in the jukebox and it begins again.

Forever, I touch the word, running my fingertips
along the coffee table we saved up for. Forever,
I whisper the word to the carpet where you
used to pin me down. Forever, I feel it on my chin,
I take it on the chin. Forever, we'll have sunshine,
little breaks in the fog. Forever, if I can even find you
then. Forever, the joke we said with wine-stained lips
and ash in our mouths. Forever, we dreamed each other
foreign and lived inside. Forever, the muse and never
the poet, the pen and never the paper, the writer and never the
reader. Forever, the way you talked down to me in t-shirts
too large for your shoulder blades. Forever, I take it on the chin.
Forever, the word, I feel it in my neck now. Forever, the affectation
in my voice, do you hear it now? Forever, the seeker in the company
of the sightless. Forever, the weaver. Forever, the weaver threading me into you. Forever, the weaver. Forever, the weaver winding me into you, unwinding me back into myself. Forever, the weaver, the ******* the dance floor, the tower of song, the siren, the sonnet, the beacon, the tower of song, the ******* the dance floor, the weaver, forever.

Better natured today than yesterday,
smelling less like cigarettes and more
like laundry detergent, you sit across
from your therapist at the bar and
ask for one more boilermaker.
You say, How do you desire what you already possess?

And your therapist says, Don't go down that drunk.
That's a bad drunk.

You're in a floral print A-line dress, one
you bought from your sister-in-law.
She's doing one of those multilevel marketing things
and though her Facebook posts make you want
to suicide yourself, she's happy and independent
and at home with her kids. Despite these lukewarm
feelings, you harbor some resentment as you finger
and thumb a seam that's already coming undone.

Sloane. Your husband keeps mentioning a woman
at the office named Sloane. You're at the bar,
almost alone, and promised yourself
you wouldn't think about Sloane. But here you are.
Sloane in a pencil skirt and stockings. Sloane
with a fresh ****** energy, the kind you can't
seem to summon, and you wonder why ***
is such an important thing. It's so brief,
forgettable, full of abject compromise.

*** is an inherently violent act, don't you think?
You say to the therapist.  

If your therapist hears you, he doesn't respond.
You don't repeat the question.

You watch yourself broadcast on the TV above the bar.
They're commenting on your hair and your arms
and going on and on about your likability.

Your therapist changes the mood. It's 6:30.
He gives the place a nighttime feel.
He kills a row of lights and turns on the
colored bulbs, the blues and greens.
The TV is turned down. The music is turned up.

This is what you've been waiting for, the lights, the music.
There's an hour before anyone really shows up. You can
close your eyes and drift.

Two or three drinks pass. A couple walks in.
You have your therapist put in for an Uber.

Maybe I've been asking the question the wrong way, you say.

Oh yeah? the therapist says.

Yeah. Maybe the question should be reversed.
Maybe the question should be
how do you remain desirable to the objects you possess?

That seems like a lot of work. Seems like you'd have no
sense of self. You'd always be bending.

I've been a plus one for a long time.
You say bending. But I wouldn't be
doing anything new. I already do all these things.
But I see them as a compromise. I'm just trying
to reframe, you know?

Why? your therapist asks.

You open your mouth and find no words. You smile. You say you've had too much. You're rambling. You're sorry. You better go.

I buy the gluten-free protein bar, peanut butter and chocolate, because this is who I am now. This is me. This is me as a lighthouse of personal fitness, a man of discipline, of a principle or two. And I surf only the most densely populated dating apps, looking—somewhat feverishly, I must admit—for a likeminded woman, a scholar, a child of the moon, a frequent quoter of the Dhammapada, an insatiable and acrobatic lover, and I imagine her driving the dark streets seeking me. Polly in a Prius. My future muse, near but out of reach. We'll reclaim the arts district. She'll piggyback to the open mike, her ****-me shoes clicking in her hand. We'll spend a year politicizing every ****** encounter. Consensual assaults in perpetuity. And she'll say I'm a white man. And she'll say I think this is my privilege. And she'll say she's into leather and she finds my *** offensive and she'll hold my head against the wall. And at the end, if there's an end, I imagine our naked bodies wrapped in a stained comforter, all of the desire spent. I imagine our minds sober and clear, wondering how we could have ever been so kinked out, so on fire for something, and yet so ******* unable to remember a single ****** or whether or not we transcended. I'll vacuum the apartment. Polly will take her Warhol prints, pack up the Prius, and go anywhere, anywhere not here. Seattle. Maybe Portland. A few weeks will pass, and I'll find a note in whatever book I'd been reading before she left. It'll say: I loved you to the max. I loved you to the max. I loved you to the max.