Overlook the fragile hourglass figure

Beyond corsets and pseudo-beauty rules,

Endorse thy curves and stretch marks strewn,

The dusky skin and frizzy curls,

Braille like pimples on the face

Discoloration, bumps and pores;

This Body shaming, I shall pass.



Writhing in pain and humiliation,

Drenching in rage and insecurity

While I lie,

Society curses me

Defining and redefining my chastity;

'T was the crop top, the alcohol and the sly behavior.

You set the monster free and blame the ****

This Victim shaming, I shall pass.



Beige and ebony;

They call me names blatantly

Betwixt skin color and bleached smiles.

Laugh and scoff all you want.

Harass the Black, detain them,

Prejudiced minds rule your dystopian world.

This Black shaming, I shall pass.



Without creating a labyrinth of stigma,

And seeking refugee in collective blame,

Let's construct our utopian world

Acknowledging all freaks and flaws

This Shaming, we shall pass.

Months ago, I used to apply makeup
for the sole purpose of feeling beautiful,
part of me adored the curve in my eyeliner
or the red in my lipstick; it made me confident,
it made me feel like my smile was brighter,
like any and everything I did, was wonderful.

I can't be sure when the shift happened,
but I find myself less and less capable
of enjoying the morning's application process.
I suppose it's because I no longer wear it for pleasure
but rather, to cover the darkness under my eyelids,
to mask the discoloration in my skin,
and to hide my far too visible exhaustion.

This is ancient land, this is
       hallowed ground, this is
21 kilometers worth of tunnels.  

Blood stops flowing after death
                                                          becaus­e the heart is no longer beating;
no longer forcing blood to gush through veins and arteries and vessels.  
It gets lazy, becomes stagnant.  
Slowly slides down to the
                                               lowest point on the body; creates a
                                          reddish purple discoloration on the skin
similar to a bruise, but not quite the same thing.  

          This is what I imagine the fifth level of the catacombs to look like:
                                           a reddish purple discoloration
                                          spread across my mother’s back.  

This is what I see when I close my eyes and rub them a bit too hard for a bit too long.  This is what I see when I look into a hole in the stone walls that is big enough to fit an infant.  This is what I see in the reflection of the Trevi Fountain.  This is what I see when I try to remember the shape of my mother’s sleeping body as it curled in on itself on top of a flat hospital mattress.  

The color of death is not black, is not white.  The
color of death is the color of blood: the way it looks
through the skin after having
                                                       hours and
                                                                ­            days and
                                 weeks to
slowly slink down into the
lowest bend of the body.  

This is the reddish umbra of the earth that the
                                                                             eclipsed moon hides behind.  
This is my body given for you.  
Take and eat.  
                                                  Do this is the remembrance of
                                                                ­                                                me.

(For Harry Clifton)

I HAVE heard that hysterical women say
They are sick of the palette and fiddle-bow.
Of poets that are always gay,
For everybody knows or else should know
That if nothing drastic is done
Aeroplane and Zeppelin will come out.
Pitch like King Billy bomb-***** in
Until the town lie bearen flat.

All perform their tragic play,
There struts Hamlet, there is Lear,
That's Ophelia, that Cordelia;
Yet they, should the last scene be there,
The great stage curtain about to drop,
If worthy their prominent part in the play,
Do not break up their lines to weep.
They know that Hamlet and Lear are gay;
Gaiety transfiguring all that dread.
All men have aimed at, found and lost;
Black out; Heaven blazing into the head:
Tragedy wrought to its uttermost.
Though Hamlet rambles and Lear rages,
And all the drop-scenes drop at once
Upon a hundred thousand stages,
It cannot grow by an inch or an ounce.

On their own feet they came, or On shipboard,'
Camel-back; horse-back, ***-back, mule-back,
Old civilisations put to the sword.
Then they and their wisdom went to rack:
No handiwork of Callimachus,
Who handled marble as if it were bronze,
Made draperies that seemed to rise
When sea-wind swept the corner, stands;
His long lamp-chimney shaped like the stem
Of a slender palm, stood but a day;
All things fall and are built again,
And those that build them again are gay.

Two Chinamen, behind them a third,
Are carved in lapis lazuli,
Over them flies a long-legged bird,
A symbol of longevity;
The third, doubtless a serving-man,
Carries a musical instmment.

Every discoloration of the stone,
Every accidental crack or dent,
Seems a water-course or an avalanche,
Or lofty ***** where it still snows
Though doubtless plum or cherry-branch
Sweetens the little half-way house
Those Chinamen climb towards, and I
Delight to imagine them seated there;
There, on the mountain and the sky,
On all the tragic scene they stare.
One asks for mournful melodies;
Accomplished fingers begin to play.
Their eyes mid many wrinkles, their eyes,
Their ancient, glittering eyes, are gay.

There are metallic, life-like statues of human figures scattered through my city, often on park benches.  You must look twice the first time you spot them, and sometimes, each time, as they are so nat-ural, that they fool the retina image of man.*

The traffic light,
red to green,
yet my limbs,
froze fruit solid,
release catch stuck,
unflippable,
somehow plastic freezes,
mobility skills rusted
by December's hampering
cheeky cheeks,
a seasonal reddish copper
discoloration of the extremities,
a harmony of no sensation

A comet stuck in
pedestrian neutral,
collided/jostled by
starry eyed
Fifth Avenue
street walkers and tourists.

my presence sensed,
touched, yet avoided,
unnoticed,
like streetlight,
lamppost, mailbox,
I am, a body,
at rest,
unseen
but on display
in the art gallery of
Manhattan's Lost and Found

In the section of the paper
where the
unimportant local news is
sliced n' diced
into single paragraphs,
of human interest,
tidbits, amuse bouche,
items of
major minor interest,
The New York Times
reported the discovery of an
unauthorized lifelike
bronze n' copper sculpture.

eyes of polished nickel,
heart of stained steel,
rendition of a man
so lifelike y'all do a
triple take, smile,
take a cell photo,
phone a friend

his embodiment can be found
on the rounded corner of
Columbus Circle, @59th St.,
where you enter Central Park.

upon a bench,
man clutching Sunday newspapers,
a pair of scissors,
coupons cut,
scattered at his feet.
a homely but comely,
****** expression,
one of bewilderment.

A tiny plaque on a brass plate,
at his feet,
hints of his progenitor and human origins.

Artist: Unknown,
Materials: Organic Metals
Title: A Living Finish

so tightens the end of september
like a noose, rained for weeks straight
and i’m doing whatever feels right

you run your fingers thru my hair
and i’m embarrassed, don’t know
how to tell you how i feel

want to run away into the night
with you, want to drink again
and fight the system, its every discoloration

so each day goes
forgetting what brings the glitter
back in my eyes, smiles fading for no reason

Mark Twain to Helen Keller


“Oh, dear me, how unspeakably funny and owlishly idiotic and grotesque was that “plagiarism” farce! As if there was much of anything in any human utterance, oral or written, except plagiarism! The kernel, the soul—let us go farther and say the substance, the bulk, the actual and valuable material of all human utterances in plagiarism.

For substantially all ideas are second hand, consciously or unconsciously drawn from a million outside sources and daily use by the garnerer with a pride and satisfaction born of the superstition that he originated them; whereas there is not a rag of originality about them any where except the little discoloration they get from his mental and moral calibre and his temperament, which is revealed in characteristics of phrasing.”

Mark Twain