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 Jan 2014 Katie Hill
Gabriel Adam
When I rain, I pour.
But this year broke me.
Sank its fingertips
into my shoulder blades
and tore me asunder.
Nailed me to the
floors of this apartment
that weeps like a willow.
While you wrapped yourself in goodnights
I screamed into the floorboards.
I licked at your fingers
like a dog.
No matter how deep I dived
I never reached the ocean,
And I cried.
Sweet Jesus, did I cry.
But men aren’t supposed to,
so I begged instead.
At the age of twenty
I discovered shame.
I felt like calling for help,
but my voice cracked
like a frozen lake.
You’d tell me you were going out
with a few friends, and I’d beg you to stay home,
but my guilt tied my tongue down
with fish hooks.
When I rained, only ashes fell.
And no phoenix clawed its way out.
Only my naked back, flayed by the chains of the prison
I forged for myself,
bleeding out poems that I’ll never see
again.
******* out air from music notes
in order to survive.
This year I discovered guilt.
I could never count how many times I said I’m sorry,
but I tattooed it to my chest
so when I made love to you
I wouldn’t have to say it out loud.
I used to burn.
Burn so loud that
when spoke
smoke climbed from my lips,
I lived my life like a car crash
but sang like a music box.
I plucked smiles from strangers
and drank up the voices
of girls
like wine.
I played loud.
And at the age of nineteen I found myself unworthy.
I inhaled smoke instead of speaking it,
and never let the car
leave the driveway.
I cried ink from my fingertips,
and used you as a telescope to search for God.
With you, I discovered far too much.
I still feel that only shackles embrace me,
but I want to shred open my rib cage
and the let the songbird
out of my chest.
Pull the hooks from my tongue
so I can say
I love you.
When I rain, I want to ******* pour.
So the world knows my heart’s beating.
My wounds are canyons,
that I’ll stitch up with poems.
I want you to know me.
I want you to hold your breath
when you press your hand to my chest.
I want to scream so loud these
walls split open
to let the ocean pour forth from their eyes,
so I can swim to the surface and write my name on its face.
Sing the moon into my hands.
And free that fire from my music box,
so I can find my way
home.
 Apr 2013 Katie Hill
Pen Lux
treat yourself like a lullaby
soft and sweet
give yourself away to the restless
biting their tongues and twisting their bodies
(like I do, 'cause I can't help it)

attraction pulses through poison
I don't want to hurt you
attraction is deluded through conversation
I know your annoyance stems from over-stimulation
and that  maybe if I'm alone then you won't be afraid to be,
or at least if I am then you won't
'cause as soon as I need someone you're there.

here's where I jump from one thing to another
this isn't about you, I know what you're thinking
this is the problem with explaining poetry, or maybe it's just my problem
but I can't hold on to the same point, even if I were to die without one,
and if I were, I'd die screaming, "**** me!"

here is where all things I've never found inspiration in meet
where at more love than hate explains how I'm not alone,
and that after meeting a real-live-manic-depressive
(that I really hope doesn't own a gun)
can help me more than I can help them.

I had *** without love
and realized what a love meant
and the distinction between the two.

Without experience, there is no learning, for me.
without reading, there is no knowledge, for me.
without interest, there is nothing, for me.

caught up in the heart drop of loss,
I decide to learn as much as I can
and not give in to myself,
distraction is paradise, lately.

I know time is just a measurement from the way you looked at me,
the way you held my face, and kept moving no matter how tired you were.
sweet sweat tired breath repetition redemption saliva salvation
I love you, I love her, I love him, I love them
I love me, I love us,
I love all.

whoa there, you're so personal.
you're so jaded, you're covered in attention.
I'm not going to let go just because you want me to,
I'm not going to hold on just because I'm scared,
I'm just going to go in whatever direction I feel is best,
no matter what whoever thinks.
Rebellion on my finger tips
watch out for yourself and I'll do the same for me.

I'll send you sweet dreams while I can't sleep.
 Mar 2012 Katie Hill
Gabriel Adam
When they stripped me of the life in my bones
I looked to the stars,
and plucked the moon from its perch
with my lips.
And the rage in their fists
tried to pry it from my skull.
But they cannot win.
They may look down on us with their
hollow eyes that can do nothing but weep,
and their hungry mouths that spit ash.
But I know what hope is.
And They don't.
No matter how many times I am beaten
I swear that the birds that sing in my chest
will always be louder than them.
Tell me what holy is,
and I will tell you of the love in my veins.
Tell me why you hate so much,
and I will tear it apart with my shame.
I will split the night open with my words.
I will sweep up the ashes with my rage.
They cannot win.
Not when your eyes look through me like that.
And while you sew together my wings,
tell me of the love letters that God left
on your windowsill.
Tell me of the fists that left those scars.
When they finally bring me to the gallows,
make sure that the noose is made
from the strings of guitars.
Carve my spine into the heart of a tree.
Spread my ashes over the lips of the sea.
Tell me what holy is.
And I will take you to that river full of sin.
I will write my poetry in the snow with my bones.
Tell me where Gabriel is.
And I will clean the blood from his crippled wings.
I will be an immovable sky.
The mouth of the river that never ceases to sing.
They'll separate us with razor wire,
but a few cuts won't hold me back.
They'll scream at us with their empty taboos.
But the paintings I've got tattooed on my ribs
aren't black and white like their words.
I'm done hiding my heartbeat.
I want to taste the words that come off my tongue,
to paint with the dirt beneath my nails.
Say my obituary was written like a poem.
So that when God greets me at his gates,
he will tell me that I was alive.
That I wasn't empty like Them.
But I'm tired.
And I've walked one too many miles in my
own shoes.
But it's impossible to stop,
when you've got wings flapping in your chest,
and a heart that burns like a lantern.
Remember me like this.
Spouting words from the darkest corners
of my soul.
Words that stick to you like a lover's kiss.
It's a song.
A manifesto.
An epitaph that will stay burned in your eyes
until you blink away the tears.
I'll keep walking if you just carry me
on your back for a few short steps.
A couple of shallow breaths.
Just let me rest.
So that the next words that come out of
my mouth will be “I love you”.
And you'll see that the bruises on my back
are the notes of music.
Tell me what holy is.
So I can tell you why I keep moving.
So I can spread these wings you've built for me,
with the skin I've shed
and my broken bones.
And I'll teach you how to fly too.
Because life has no rhythm
unless you give it a beat.
Tell me what holy is.
And remember
that we
are not.
 Mar 2011 Katie Hill
JJ Hutton
with a shrill cry we entered here,
we pitter-pattered on broken concrete,
we channel surfed the static,
charged with disdain and an
affinity for quickly dismissing
hopes for change,

with a shrill cry we entered here,
diploma in hand,
vocabulary expansive--
we tabbed the browsers,
waited for the buffer,
thought silent prayers,

with a shrill cry we entered here,
a jungle of shouts, busted fenders,
AA meetings, and white male kings,
waiting to mean anything more than seem,
and while we wait they talk polite-
ask us to line up against a newly white-washed wall,
the sunlight gleams over barrel, over trigger,

with a shrill cry we exit here.
© 2011 by J.J. Hutton
 Aug 2010 Katie Hill
seethroughme
we carry scars
and marks
imperfections of pigment
warped bones
and fragmenting knees
we feel the weather
in our old injuries
if you play
you inevitably bleed
 Aug 2010 Katie Hill
Walt Whitman
1
I celebrate myself, and sing myself,
And what I assume you shall assume,
For every atom belonging to me as good belongs to you.

I loafe and invite my soul,
I lean and loafe at my ease observing a spear of summer grass.

My tongue, every atom of my blood, form’d from this soil, this air,
Born here of parents born here from parents the same, and their
parents the same,
I, now thirty-seven years old in perfect health begin,
Hoping to cease not till death.

Creeds and schools in abeyance,
Retiring back a while sufficed at what they are, but never forgotten,
I harbor for good or bad, I permit to speak at every hazard,
Nature without check with original energy.

2
Houses and rooms are full of perfumes, the shelves are crowded with
perfumes,
I breathe the fragrance myself and know it and like it,
The distillation would intoxicate me also, but I shall not let it.

The atmosphere is not a perfume, it has no taste of the
distillation, it is odorless,
It is for my mouth forever, I am in love with it,
I will go to the bank by the wood and become undisguised and naked,
I am mad for it to be in contact with me.

The smoke of my own breath,
Echoes, ripples, buzz’d whispers, love-root, silk-thread, crotch and
vine,
My respiration and inspiration, the beating of my heart, the passing
of blood and air through my lungs,
The sniff of green leaves and dry leaves, and of the shore and
dark-color’d sea-rocks, and of hay in the barn,

The sound of the belch’d words of my voice loos’d to the eddies of
the wind,
A few light kisses, a few embraces, a reaching around of arms,
The play of shine and shade on the trees as the supple boughs wag,
The delight alone or in the rush of the streets, or along the fields
and hill-sides,
The feeling of health, the full-noon trill, the song of me rising
from bed and meeting the sun.

Have you reckon’d a thousand acres much? have you reckon’d the
earth much?
Have you practis’d so long to learn to read?
Have you felt so proud to get at the meaning of poems?

Stop this day and night with me and you shall possess the origin of
all poems,
You shall possess the good of the earth and sun, (there are millions
of suns left,)
You shall no longer take things at second or third hand, nor look
through the eyes of the dead, nor feed on the spectres in
books,
You shall not look through my eyes either, nor take things from me,
You shall listen to all sides and filter them from your self.

3
I have heard what the talkers were talking, the talk of the
beginning and the end,
But I do not talk of the beginning or the end.

There was never any more inception than there is now,
Nor any more youth or age than there is now,
And will never be any more perfection than there is now,
Nor any more heaven or hell than there is now.

Urge and urge and urge,
Always the procreant urge of the world.

Out of the dimness opposite equals advance, always substance and
increase, always ***,
Always a knit of identity, always distinction, always a breed of
life.
To elaborate is no avail, learn’d and unlearn’d feel that it is so.

Sure as the most certain sure, plumb in the uprights, well
entretied, braced in the beams,
Stout as a horse, affectionate, haughty, electrical,
I and this mystery here we stand.

Clear and sweet is my soul, and clear and sweet is all that is not
my soul.

Lack one lacks both, and the unseen is proved by the seen,
Till that becomes unseen and receives proof in its turn.

Showing the best and dividing it from the worst age vexes age,
Knowing the perfect fitness and equanimity of things, while they
discuss I am silent, and go bathe and admire myself.

Welcome is every ***** and attribute of me, and of any man hearty
and clean,
Not an inch nor a particle of an inch is vile, and none shall be
less familiar than the rest.

I am satisfied - I see, dance, laugh, sing;
As the hugging and loving bed-fellow sleeps at my side through the
night, and withdraws at the peep of the day with stealthy
tread,
Leaving me baskets cover’d with white towels swelling the house with
their plenty,
Shall I postpone my acceptation and realization and scream at my
eyes,
That they turn from gazing after and down the road,
And forthwith cipher and show me to a cent,
Exactly the value of one and exactly the value of two, and which is
ahead?

4
Trippers and askers surround me,
People I meet, the effect upon me of my early life or the ward and
city I live in, or the nation,
The latest dates, discoveries, inventions, societies, authors old
and new,
My dinner, dress, associates, looks, compliments, dues,
The real or fancied indifference of some man or woman I love,
The sickness of one of my folks or of myself, or ill-doing or loss
or lack of money, or depressions or exaltations,
Battles, the horrors of fratricidal war, the fever of doubtful news,
the fitful events;
These come to me days and nights and go from me again,
But they are not the Me myself.

Apart from the pulling and hauling stands what I am,
Stands amused, complacent, compassionating, idle, unitary,
Looks down, is *****, or bends an arm on an impalpable certain rest,
Looking with side-curved head curious what will come next,
Both in and out of the game and watching and wondering at it.

Backward I see in my own days where I sweated through fog with
linguists and contenders,
I have no mockings or arguments, I witness and wait.

5
I believe in you my soul, the other I am must not abase itself to
you,
And you must not be abased to the other.

Loafe with me on the grass, loose the stop from your throat,
Not words, not music or rhyme I want, not custom or lecture, not
even the best,
Only the lull I like, the hum of your valved voice.

I mind how once we lay such a transparent summer morning,
How you settled your head athwart my hips and gently turn’d over
upon me,
And parted the shirt from my *****-bone, and plunged your tongue
to my bare-stript heart,
And reach’d till you felt my beard, and reach’d till you held my
feet.

Swiftly arose and spread around me the peace and knowledge that pass
all the argument of the earth,
And I know that the hand of God is the promise of my own,
And I know that the spirit of God is the brother of my own,
And that all the men ever born are also my brothers, and the women
my sisters and lovers,
And that a kelson of the creation is love,
And limitless are leaves stiff or drooping in the fields,
And brown ants in the little wells beneath them,
And mossy scabs of the worm fence, heap’d stones, elder, mullein and
poke-****.

6
A child said What is the grass? fetching it to me with full hands;
How could I answer the child? I do not know what it is any more
than he.

I guess it must be the flag of my disposition, out of hopeful green
stuff woven.

Or I guess it is the handkerchief of the Lord,
A scented gift and remembrancer designedly dropt,
Bearing the owner’s name someway in the corners, that we may see
and remark, and say Whose?

Or I guess the grass is itself a child, the produced babe of the
vegetation.

Or I guess it is a uniform hieroglyphic,
And it means, Sprouting alike in broad zones and narrow zones,
Growing among black folks as among white,
Kanuck, Tuckahoe, Congressman, Cuff, I give them the same, I
receive them the same.

And now it seems to me the beautiful uncut hair of graves.

Tenderly will I use you curling grass,
It may be you transpire from the ******* of young men,
It may be if I had known them I would have loved them,
It may be you are from old people, or from offspring taken soon out
of their mothers’ laps,
And here you are the mothers’ laps.

This grass is very dark to be from the white heads of old mothers,
Darker than the colorless beards of old men,
Dark to come from under the faint red roofs of mouths.

O I perceive after all so many uttering tongues,
And I perceive they do not come from the roofs of mouths for
nothing.

I wish I could translate the hints about the dead young men and
women,
And the hints about old men and mothers, and the offspring taken
soon out of their laps.

What do you think has become of the young and old men?
And what do you think has become of the women and children?

They are alive and well somewhere,
The smallest sprout shows there is really no death,
And if ever there was it led forward life, and does not wait at the
end to arrest it,
And ceas’d the moment life appear’d.

All goes onward and outward, nothing collapses,
And to die is different from what any one supposed, and luckier.

7
Has any one supposed it lucky to be born?
I hasten to inform him or her it is just as lucky to die, and I know
it.

I pass death with the dying and birth with the new-wash’d babe, and
am not contain’d between my hat and boots,
And peruse manifold objects, no two alike and every one good,
The earth good and the stars good, and their adjuncts all good.

I am not an earth nor an adjunct of an earth,
I am the mate and companion of people, all just as immortal and
fathomless as myself,
(They do not know how immortal, but I know.)

Every kind for itself and its own, for me mine male and female,
For me those that have been boys and that love women,
For me the man that is proud and feels how it stings to be slighted,
For me the sweet-heart and the old maid, for me mothers and the
mothers of mothers,
For me lips that have smiled, eyes that have shed tears,
For me children and the begetters of children.

Undrape! you are not guilty to me, nor stale nor discarded,
I see through the broadcloth and gingham whether or no,
And am around, tenacious, acquisitive, tireless, and cannot be
shaken away.

8
The little one sleeps in its cradle,
I lift the gauze and look a long time, and silently brush away flies
with my hand.

The youngster and the red-faced girl turn aside up the bushy hill,
I peeringly view them from the top.

The suicide sprawls on the ****** floor of the bedroom,
I witness the corpse with its dabbled hair, I note where the pistol
has fallen.

The blab of the pave, tires of carts, sluff of boot-soles, talk of
the promenaders,
The heavy omnibus, the driver with his interrogating thumb, the
clank of the shod horses on the granite floor,
The snow-sleighs, clinking, shouted jokes, pelts of snow-*****,
The hurrahs for popular favorites, the fury of rous’d mobs,
The flap of the curtain’d litter, a sick man inside borne to the
hospital,
The meeting of enemies, the sudden oath, the blows and fall,
The excited crowd, the policeman with his star quickly working his
passage to the centre of the crowd,
The impassive stones that receive and return so many echoes,
What groans of over-fed or half-starv’d who fall sunstruck or in
fits,
What exclamations of women taken suddenly who hurry home and
give birth to babes,
What living and buried speech is always vibrating here, what howls
restrain’d by decorum,
Arrests of criminals, slights, adulterous offers made, acceptances,
rejections with convex lips,
I mind them or the show or resonance of them-I come and I depart.

9
The big doors of the country barn stand open and ready,
The dried grass of the harvest-time loads the slow-drawn wagon,
The clear light plays on the brown gray and green intertinged,
The armfuls are pack’d to the sagging mow.

I am there, I help, I came stretch’d atop of the load,
I felt its soft jolts, one leg reclined on the other,
I jump from the cross-beams and seize the clover and timothy,
And roll head over heels and tangle my hair full of wisps.

10
Alone far in the wilds and mountains I hunt,
Wandering amazed at my own lightness and glee,
In the late afternoon choosing a safe spot to pass the night,
Kindling a fire and broiling the fresh-****’d game,
Falling asleep on the gather’d leaves with my dog and gun by my
side.

The Yankee clipper is under her sky-sails, she cuts the sparkle
and scud,
My eyes settle the land, I bend at her prow or shout joyously from
the deck.

The boatmen and clam-diggers arose early and stopt for me,
I tuck’d my trowser-ends in my boots and went and had a good time;
You should have been with us that day round the chowder-kettle.

I saw the marriage of the trapper in the open air in the far west,
the bride was a red girl,
Her father and his friends sat near cross-legged and dumbly smoking,
they had moccasins to their feet and large thick blankets
hanging from their shoulders,
On a bank lounged the trapper, he was drest mostly in skins, his
luxuriant beard and curls protected his neck, he held his bride
by the hand,
She had long eyelashes, her head was bare, her coarse straight locks
descended upon her voluptuous limbs and reach’d to her
feet.

The runaway slave came to my house and stopt outside,
I heard his motions crackling the twigs of the woodpile,
Through the swung half-door of the kitchen I saw him limpsy and
weak,
And went where he sat on a log and led him in and assured him,
And brought water and fill’d a tub for his sweated body and bruis’d
feet,
And gave him a room that enter’d from my own, and gave him some
coarse clean clothes,
And remember perfectly well his revolving eyes and his awkwardness,
And remember putting piasters on the galls of his neck and ankles;
He staid with me a week before he was recuperated and pass’d north,
I had him sit next me at table, my fire-lock lean’d in the corner.

11
Twenty-eight young men bathe by the shore,
Twenty-eight young men and all so friendly;
Twenty-eight years of womanly life and all so lonesome.

She owns the fine house by the rise of the bank,
She hides handsome and richly drest aft the blinds of the window.

Which of the young men does she like the best?
Ah the homeliest of them is beautiful to her.

Where are you off to, lady? for I see you,
You splash in the water there, yet stay stock still in your room.

Dancing and laughing along the beach came the twenty-ninth
bather,
The rest did not see her, but she saw them and loved them.

The beards of the young men glisten’d with wet, it ran from their
long hair,
Little streams pass’d all over their bodies.

An unseen hand also pass’d over their bodies,
It descended tremblingly from their temples and ribs.

The young men float on their backs, their white bellies bulge to the
sun, they do not ask who seizes fast to them,
They do not know who puffs and declines with pendant and bending
arch,
They do not think whom they ***** with spray.

12
The butcher-boy puts off his killing-clothes, or sharpens his knife
at the stall in the market,
I loiter enjoying his repartee and his shuffle and break-down.

Blacksmiths with grimed and hairy chests environ the anvil,
Each has his main-sledge, they are all out, there is a great heat in
the fire.

From the cinder-strew’d threshold I follow their movements,
The lithe sheer of their waists plays even with their massive arms,
Overhand the hammers swing, overhand so slow, overhand so sure,
They do not hasten, each man hits in his place.

13
The ***** holds firmly the reins of his four horses, the block swags
underneath on its tied-over chain,
The ***** that drives the long dray of the stone-yard, steady and
tall he stands pois’d on one leg on the string-piece,
His blue shirt exposes his ample neck and breast and loosens over
his hip-band,
His glance is calm and commanding, he tosses the slouch of his hat
away from his forehead,
The sun falls on his crispy hair and mustache, falls on the black of
his polish’d and perfect limbs.

I behold the picturesque giant and love him, and I do not stop
there,
I go with the team also.

In me the caresser of life wherever moving, backward as well as
forward sluing,
To niches aside and junior bending, not a person or object missing,
Absorbing all to myself and for this song.

Oxen that rattle the yoke and chain or halt in the leafy shade, what
is that you express in your eyes?
It seems to me more than all the print I have read in my life.

My tread scares the wood-drake and wood-duck on my distant and
day-long ramble,
They rise together, they slowly circle around.

I believe in those wing’d purposes,
And acknowledge red, yellow, white, playing within me,
And consider green and violet and the tufted crown i
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