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Kelly O'Connor Jun 2013
Designed to have the highest
Concentration of barbs and spikes, you sit
Smug between the lines in the pavement.
More smug than you, I take you on bare-handed,
No weapons of metal, but still, I
Think, able. Poked and prodded, I
Consider giving up, unable
To get to your root, soft, fragile
Skin split open to bleed by
Razor sharp spines.
Then I think, this is why
You've gotten so bad, why you've
Gotten so strong; because
Nobody
Ever
Cut you
Down.
So I steel myself for Hell, say well,
******* and your evolutionary process
Kelly O'Connor May 2013
We all thought he would
Stay here forever, like
So many other lethargic
Sons and daughters of the slough
Who may never have learned what the mustard fields were for.
I escaped early, lucky I
Guess, but never quite let
Go of him, and another year
Gone by, like battered ships we return.

Those eyes are intense and
Hazel in the oncoming
Headlights, buzz-cut
Hair black as the ruins of Haystack Landing.
Once you’re told, you remember what the mustard fields were for.
“I’m different, I mean,” he says,
“****, even at dinner with family. I
Freak out, get paranoid, like I’m
Fighting for my life in the Sonoma hills.”

He sighs, “I know you know,
When I come back from
Where I’m going, seeing you is
What I’ll want the most, but--”
I wonder if he knows what the mustard fields were for.
“I’ll probably be real different,
Probably need a lot of help.”
Passing elevated acres of mustard, we
Pause; he says, “Gotta stop for gas.”

This soldier stands in sharpened
Contrast to this rural, liberal
Community, these Victorian
Cathedrals of a quiet isolation.
They will never tell you what the mustard fields were for.
I wonder then if something about our
Air here makes us want to reach out,
Aspire for our names and badges
Across the expanse of war and peace.

Like the murky waters of the turning basin,
History hides a silent violence.
Hatching, we find ourselves inoculated against
Human strains of moral dystrophy.
I went into the world knowing well what the mustard fields were for.
They’re still here, still growing, those
Slender, musky stalks, golden heads
Sweetly pastoral in their floral bloom,
Soft biochemical carpets in a cultivated sprawl.
I know now, I know **** well what the mustard fields were for.
9/12/2012
Kelly O'Connor May 2013
I lived a childhood of dirt:
my beginning and end, my friend, my
frontier. Dirt was the reason why
when other kids were always sick, my antibodies
made me a demigoddess, a mud-pie,
sand-cookie, dirt gourmet
crunching lightly-rinsed carrots wiggled
straight from the ground.
It never hurt, never hurt at all.

Warm dirt under my knees and hands,
my nails blackened, feet buried like I
could root myself in the soil -- I was lettuce
with dirt at the center of each lacy skirt.
Horseradish, deep in the ground and bitter,
wanting to become something sweeter, a new
tree or rosebush or better yet a veggie,
like the wild dirt-skinned potatoes
I dug up in the yard.

But tubers don’t have moms who give
***** looks and shake their heads,
examine your hair and your nails.
She sighs at the dark stain of your
feet, and banishes you
to a white tub, where she scrubs
the back of your neck, muttering
“Dirt, dirt, dirt,” as if
she doesn’t know what you are made of.

So give me the dirt, because I know my onions.
Always digging for gossip, flipping up
the neighborhood skirt, curious whispers
the way cornstalks share their childhood
tales before being tilled down,
becoming rich, dark dirt.
Ashes to ashes, I recognize some
for what they are, just fertilizer
for the imaginations and vibrations of others.

I may be half dirt but don’t
treat me like it, full of grit and
covered in sand from my hands to
my elbows. But what I am won’t
put up with your *******. Dirt is
a mother, to feed and flourish, dirt
is a woman much like me, and you
will never know the dirt under my
fingernails the same way I do.
Kelly O'Connor May 2013
Returning son, his daughter at his side,
imagines now the men who once amassed
the limestone locks to straddle the canal,
an obsolete image from an eldritch past.

On a ritual hour of summer dusk,
if you should know precisely where to stand
that ghost of Syracuse can still be seen,
a rotting timber craft trapped deep in sand.

Mosquitos drone their hungry mother song.
The two upon the towpath, side by side,
survey this stagnant waterway where once
their ancestors lived and worked and died.

The silt entombs the boat’s untimely end –
how many years before the blasts of steam
sent veins of iron shooting ‘cross the land
did this canal boat capsize like a dream?
Kelly O'Connor May 2013
Darkened doorways to the outside, bright wide doorways to insides
My insides, spilled on the linoleum over the smell of oleander
I stare into your black cracked eyes with a loving smile
It’s a gaze in the fog where your thin fingers stretch
You are all the hills, all the ditches and fills, the trills
Of nightbirds and coyotes looking for the ****
You are ruthless, ruthless, ruthless…
And I fly every mile like a salamander slides.

And I must, hush, say this in a whisper, whispering cobwebs
My morning glory, sweet sunrise through black curtain.
I could have learned to live a long time ago
With a gaze in the fog you touched and taught me
You are all my fatal fear, your mind is clear, all here
Your legend floating in a perfect tear
It is endless, endless, endless…
Your crystalline flow on the uncertain ebbs.

How many, many eyes do you have? How many sighs
Drift through your rafters like your own vortex of laughter?
I remember falling in love with a light from beyond you
Your gaze in the fog like the fire from your head
Eggshell lead paint, no complaint, breathe in till you faint
With all your soul that of a stenciled saint
Songs so shameless, endless, ruthless,
Cannot fly through this shell until after it dies.

— The End —