In a world full of ugly people,
A city made of hideous faces,
A phone call means everything.
It means a voice, free from
Its crooked nose, its wrinkled skin,
And its gapped, stained, crooked teeth.
It means a connection.
With another, with yourself,
And with the ability to disconnect
At the push of a button.
I take out my scratched, chipped cellphone
With its cracked face,
And call Helen.
Her voice swims through the mud
Inside my skull when she answers,
Stirring and churning
Until I'm weak and dizzy.
"How 'bout you just come
On over now, Big Fella?"
And I do.
I turn off the squawking television,
Don a pair of food-stained pants,
Drag a comb through my
Overgrown hair,
And descend the stairs to my
Waiting Oldsmobile.
The turn of the key in the ignition
Only produces a hollow click,
One click two click three click six,
Then a partial start,
But the beast fails to come alive.
I get out to replace
The fried starter fuse,
Then do this dance four more times
Before the old ***** clears her throat
And starts to idle.
It's a short ride,
Pawtucket is small,
And my only companion
On these post-midnight streets
Is the white noise
Issuing from the broken radio.
I pass the house I grew out of,
The crumbling schools
That taught me the value
Of impartial numbness,
The cemetery my father used to visit
To perpetrate the lie
He lives;
The role of a child
And the permanence
Of parents.
I pass abandoned factories
And abandoned hope
And abandoned pets
And abandoned storefronts.
In a world of full of past relics,
In a city full of ghosts,
A crumbling façade means everything.
It means bricks freed from their mortar,
Separated from their history,
Left to be picked up and thrown through plate glass windows.
Buildings are never empty,
Just quiet.
I pass the CVS at Newport and Armistice,
With its twenty four hour pharmacy,  
Dispensing the one a.m. hydrocodone,
The one thirty a.m. dextroamphetamine,
The two a.m. oxycodone,
The two thirty a.m. alprazolam,
The three a.m. dextromethorphan,
The three thirty a.m. methylphenidate,
The four a.m. eszopiclone,
The four thirty a.m. benzodiazeprine,
The five a.m. phenylpropanolamine.
I drive past the clinic in the old senior center
With its six a.m. methadone ready to go
In pre measured cups.
Buildings can be quiet, but not empty.
Helen lives on the third floor of a three story house
Built sometime in the forties,
Forgotten sometime in the eighties.
The two bottom floors are vacant,
The windows are boarded,
The driveway is choked with weeds,
And two lounging cats don’t flinch
When I walk by them
On my way to the door in the rear of the building.
The door is always unlocked,
So I let myself in
And begin the rickety climb to the top.
The higher I go,
The louder Amy Winehouse’s voice gets.
“What kind of fuckery is this?”
Seems an adequate question.
There are ****** handprints on the railings,
The walls,
Drops polka dot the stairs.
I don’t bother knocking,
I never do.
She’s seated in a La-Z-Boy in the kitchen
Facing the door,
In a cloud of cigarette smoke.
In place of exchanged pleasantries
I say I need to use the bathroom
And she nods,
Eyes locked on mine.
I take a look at my sallow image
In the mirror,
With specks of toothpaste and hairspray
Pocking my face like acne.
The toilet bowl is still streaked
With the last man’s ****.
I ****, wash my hands,
And take another look at myself.
Helen is no longer in the chair,
But I know where to find her.
She’s sprawled on the bed,
With a new cigarette in her mouth,
The toys spread out on one side,
The tools on the other.
I tell her I’ll forgive her for stabbing me the other night
If I can get a freebee now.
She shakes her head once,
Exhales a cloud,
“Not gonna happen, Champ,”
And I take what I can get.