I couldn't believe the pathetic look you were giving me,
As if I was the one who needed saving.
Let me profess once and for all that I do not want your pity.
Once and for all, that you never realized what I needed from you.

Friends,
He shrugged at me when the fiery arrows came,
And he kept my secrets,
but only when I was present.
Friends,
I gave him my utmost devotion and he
dismissed it for the bat of pretty eyelashes
Friends!
He abandoned the sacredness of friendship
For the sake of professionalism.
It's "unprofessional"
to care for someone
Who sacrificed everything for you.

Is this in reality …..
Has all it’s lost its ways!
Or it just a bucks of cents
And all your sense taken away!


So, I cry for the lost…
And for those I learned to love….
What a world of ¬ Professionalism
Taken out of the blues!

Remember how I'd smoke after school
outside your classroom window
watching you pack up your briefcase,
pulling your arms through your blazer sleeves?
Four cigarettes in a ring
between my thumb and fingertips,

an "okay" sign.
You preferred jean dresses with the hips cut out,
knee-high fishnet socks,
my hair wrapped curiously in bandana red
with my eyes outlined in black.

I stole condoms and Twinkies,
brought them to your apartment
after you'd call to unwrap me

like penny candy
on the mattress in the middle of your floor,
each tear in synch with the teeth
of your zipper releasing.

A green wrapper
and an empty trash can
next to my book bag.
You licked your fingers
after the last bite.

i'd like to say that poetry could be my profession
but that would be like saying
that spewing my emotions and dark thoughts
across the shelves of a bookstore
is a profession.
i could never make someone clean that up.

(and still face them again)

BELIEF & TECHNIQUE FOR TELEPATHIC PROSE
Lee Sharks & Jack Feistfrom Pearl and Other Poems

1.     Compose real poems telepathically, with mind control powers, inside your glorious brain.

2.     You are your own best advocate. Insist the world acknowledge your poems as artifacts of tiny doom. Accept nothing less. Threaten to smash yourself in the face with gasoline and set your hair on fire. Leap over the seats to aggressively stand inside the world’s personal space and get up in its grill. Take this container of Tic-Tacs and smash it on your forehead. Crush each Tic-Tac individually into your eyeballs and ask the world if it likes your poem, and if it likes your poem, then eat your poem: “Do you like my poem? Then eat it.”

3.     Always seek constant approval, then punch your cat in the face.

4.     Arrive alive. Don’t text and drive.

5.     Always write poems all the time.

6.     Never professionalize writing. Professionalism is the last refuge of responsible people looking for work.

7.     Your life is your poem. Take care to write it biographically. Failing that, invent false biographies and post them on Wikipedia.

8.     Get as much education as you can, then ****** your education in the face to save it from sloppy education. Get enough education to respect your contempt for education.

9.     Give it all that you have, as deep as it goes, as desperate and total as taking a breath.

10.  Also be pedantic mundane pig-critic of precise punctuation juggling and ruthless crossed-out darling murdering of your own puny sentences. Save every draft and revert to original after enormous work, then drown yrself in the bathtub. Remember: editing is organization.

11.  Be long-sighted prodigy of skeptically believing in nothing, but also believe in destiny, but quietly, and hit yourself in the face for naivety’s sake.

12.  You are a seamstress of words—place each stitch carefully, deliberately. Develop a series of rituals and perform them, without variation, prior to placing each word. Allow the frequency and intensity of these rituals to grow until you spend hours, each day, touching and retouching your left index finger to the tip of your nose in a rhythmic, counter-clockwise motion, in sets of thirty revolutions, in order to place a single character. Spend years of your life shut away from the world, wasting away into an awkward, unhygienic shadow of your former self, and have, to show for it, a two-syllable word of Germanic origins on an otherwise clean, white page. This word will be redoubtable, the bedrock of your writing career. Go on to spend vast sums of personal wealth and total dedication, alienating the remaining handful of long-suffering friends who continue, despite all odds, to solicit the memory of your humanity, in order to learn the arts of metalworking, Medieval alchemy, and font design, recreating a metal-cast, alpha-numeric set of Times New Roman font, from scratch, going broke long before “numeric,” and with only the half-formed germs of the characters W, N, and sometimes-vowel Y.  hat are such retrictio s to  ou?  ou are a poet,  ot a mathematicia .  ou are a creature of steel.  ou  ill  rite a  e  and better  orld, a  orld  ithout the letter   , forgi g it, o e smoki g husk of a  ord at a time.

13.  Turn over a new leaf. You’re not getting much done like this, anyways, let’s face it. Break the chains of your censoring, conscious mind; tap into the spontaneous well of unconscious human brilliance that springs from the source of dreams. Thwart the stick-in-*** tyranny of your internal editor by making a commitment to write constantly, without ceasing, editing, or even thinking, no matter what, ignoring the anally retentive quips your brain will no doubt make. Make a further commitment: you will not only write, irrespective of internal censorship, but in a way that is unconscionably terrible, on purpose. Your writing will be, by turns, embarrassing, infantile, automatic, and marmaduke poppers—or shall we say, antagonistic to the indoctrination in repressive concepts such as “sentence” and “word” of your reader, who is always, and only, you. Let your writing be a spiritual discipline of Bat-a-rang pancakes and lightly alarm clock, ding—your toast is done.

14.  Always Alka-Seltzer eyelids all the time.

15.  At last, you are ready to make it new, to ****** your darlings, to first thought, best thought, to your heart’s content. Your adverb will be the enemy of your verb, the difference between your almost-right word and your right word will be the difference between your lightning bug and your lightning. You are ready to have a spontaneous overflow of powerful feeling, then censor the s**t out of it. You are ready to turn your extremes against each other: Unlearn your apple pancakes and burst through the mental barriers; then slow the flood, let the lovely trickle out & edit, edit, edit. Capture spontaneous gem of native human genius, then marshal vast armies of technical knowledge & self-discipline to ensure it glimmers and cuts.

16.  Believe in things like destiny. No really—the path will shatter you so many times your shards will have splinters, your bombshells, shrapnel. By the time you get there—which you probably won’t—even your exhaustion will be tired. Exhaustion of mind and body will have passed so far beyond the physical, and through malaise of spirit, that it will emerge on the other side, as physical exhaustion again. In the face of this, nothing but a little Big Purpose will do. Besides, a little ideology never hurt anyone. Feel free to be all Voltaire with your bad self, in public—but don’t give up.

17.  After all of this, when your will is finally broken (again), and you have given up for the final time (again), start over. The former model wasn’t working. Refashion yourself and your writing. Lather, rinse, usurp your noble half-brother, and repeat, until you get somewhere, or die in the trying.  

18.  Achieve consistency of voice; it is the signature by which you will be known. Your “you” should ring out clearly from each individual letter. In this, the writer is like the salesman. Like a new car, neither the writing’s merits, nor the reader’s needs, will be the final, deciding factor. Ultimately, the deciding factor is you.

19.  Unlike a new car, it is difficult to drive a poem, to use it to get to school or work. Unlike a car salesman, a writer does not wear enormous ties.

20.  Be so consistent that your writing consists in composing the same words, in the same order, creating the some overall voice and style, consistently, over and over, an eternal return of the same. Maintain this disciplined drudgery over the course of years. Let years become decades, and decades, an entire life: You will have “found your voice.” Variety is the spice of life, but consistency is its signature.

20.  Be so consistent that your writing consists in composing the same words, in the same order, creating the some overall voice and style, consistently, over and over, an eternal return of the same. Maintain this disciplined drudgery over the course of years. Let years become decades, and decades, an entire life: You will have “found your voice.” Variety is the spice of life, but consistency is its signature.

21.  Then again, consistency is the hobgoblin of small minds. Throw things up a little bit. One day, put on your hobgoblin hat, the next day, your small mind.

22.  On second thought, re: #16-17: Stop here. You don’t look like much of a writer. Save yourself the trouble of a deep investment that is sure to yield no returns. The prize is big, and not many take it. The Iliad showed us that the prize of writing is life eternal, and taught us to long for that promise; but the Odyssey taught us not to bother. There are many suitors, a single Odysseus. While the husband wends arduously homeward, Penelope weaves impending glory, an evaporating glamour, enchanting them, until he arrives. We are in for a bad end, if we chase another man’s wife, or a prize not rightfully ours. There are many suitors, a crowd of them. They begin as a chittering swarm of bats and end in the very same manner. You cannot have what is not yours. What is yours, no man can take. So, like Emily says,

I smile when you suggest that I delay ‘to publish’—that being foreign to my thought as Firmament to Fin. If fame belonged to me, I could not escape her—if she did not, the longest day would pass me on the chase—and the approbation of my Dog would forsake me—then—My Barefoot Rank is better—

23.  Therefore, take these Sturm und Drang commandments to the trash heap. Return to step 1, as the only useful piece of advice: Compose real poems telepathically, with mind control powers, inside your glorious brain.

(c) 2014 lee sharks & jack *****

from Pearl and Other Poems:

http://www.amazon.com/Pearl-Other-Poems-Crimson-Hexagon/dp/0692313079/ref=sr11?ie=UTF8&qid;=1429895012&sr;=8-1&keywords;=lee+sharks+pearl

I notice the tiny pulse of frustration in the back of his neck
I notice the way that he sighs and slumps over
I notice how his elbows splay out so his face bobs lightly over his desk
A buoy dancing over a wave
I notice the way he glances at his friends before he answers
I notice the way he shapes his mouth into a grin before he speaks
I notice how his eyes squint a little when he laughs
I notice how they dull when he doesn’t want to listen
I notice how his shoulders hunch when refuses to hear
I notice the boredom in the lines of his back as he considers
I notice the way his leg jiggles as he bounces his foot lightly
The ever-present dichotomy of professionalism fighting immaturity
Of a thirst to learn, fighting against ignorance, justice calling
I notice this inner battle of boyish nonchalance and masculine defensiveness
I notice how his eyes dart lightly over his chosen comrades before he writes again
I notice the way he presses his forehead into his hand
As though he could pull ideas out
And read his thoughts printed back on his palm
I notice the consistent rubbing against his face with his fingers
Phalanges to stimulate the thought process
I notice the hesitation before his pen scratches the page
Piercing the paper with words he must call his own
I notice the claim of responsibility and the toll it takes on his physique
I notice the fatigue of struggling to create
To feel, to create, to feel, to feel
I notice, throughout all the time I’ve been noticing him
He has not noticed me once

If you grasp tight to your
                         individualism,
Give in to all the
                      romanticism,
Rid of any
         materialism,
Confide within
                   professionalism,
Drop all acts of
                      favoritism,
Eject from any
                vulgarism,
Open up to
           socialism,
Advocate
              activism,
Realize you are an
                          organism,
Forget about any
                     perfectionism,
And explore inside
                           transcendentalism,
You will look up into complete
                                          mesmerism
of how all the stars are
                               symbolism
for the billion versions of
                                   creationism
that you've ever lived,
                             and will live.

Dear Charlie,
I assume you may not know me, but I know you. Well, how else could I not know you when your story has been adapted into a book and a movie? You may not recognize the way you can reach me back, because you’re fictional. But I’d like to think you’re real, and that’s good enough for me.
I’ve been reading your letters, just like any other kids my age and some adults who are still intrigued by young adult fiction. You cried a lot for a boy. You were not ashamed of it, too, even when you were with your friends, Patrick and Sam. They seemed to be really nice people, and I learnt that what they did didn’t define them. The fact that they like to smoke and drink doesn’t make them bad people. I like that. And as always, eventually, people stop doing things but their personality stays strong. Who you are comes from inside.
Anyway, yes, you cried a lot for a boy. You were lucky to have friends that appreciate your tears. Sometimes, they would join you, but in cheers. You cheered along, too, but they weren’t yelps or shouts of joy but whimpers of happiness. Crying may seem weak and vulnerable, but I think you didn’t need to stop.
I would like to tell you a story, if I may. Well, how would you reply to my request of patience and lending both of your ears when you’re only inside our minds? However, Charlie, if you were ever alive, I think you would be a good listener. This reminds me of one of the lines in your letter, stating that you’re “a wallflower”. Anyway, now, let’s get to my story.
In a few months, I will be packing my bags then depart to your country, the United States. A few months ago, I was tested whether or not I was eligible to live in your country and represent my nation. I passed. Though I thought that my interview kind of ******, I still passed. After being declared that I was qualified to go to the U. S., I was given a 27-page form I needed to fill. And so I did. The form consisted of student profile, student questionnaire, student’s letter to host family, parents questionnaire, interviewer’s report, medical records, academic records, a photo album, and a contract. I don’t know why, but this form seemed to weigh down on me, even though it shouldn’t feel tiring at all. I had the pleasure of writing my letter to my future host family, because I love writing, but somehow, I just didn’t like dealing with the official stuffs. But gradually, I put up with it and ended my misery.
Today, I gave the form to my counsellor. I was ready to feel satisfied. I was so ready because I had been feeling very ******* of late, and my rage peaked when my mom forgot to print the photos I needed for the photo album for my future host family to see. My anger still haven’t soothed down, though. Which means I am really mad. Little did I know, after all that ice cream of strolls between the school building to the administration to get my academic records and car rides from home to the doctor to clarify my medical records, topped by an icing of stress due to the ignorance in putting the photos together, there was a cherry on top. I had to print another copy of the same form, photocopy my passport photo, get my dad to sign my form, and if all that was not enough, my counsellor poured down a chocolate syrup into my wombs. I needed to refill my medical records which would only mean going back to the doctor for several more times. I don’t want to exaggerate by saying the hundredth time, because I am already tired.
Of course, all I did was put on my poker face for security, even though my mom yelled at me for not telling her sooner about the correct way to fill my medical records. To be honest, that is all I do. Put on a face of a clear expression of unclear emotion. I felt really stupid for not listening intently to my counsellor when we first met. I felt so stupid, I felt like I already wasted my opportunity. My opportunity to be myself to the fullest extent. My opportunity to feel what is unfelt. My opportunity to meet people I have not encountered. My first opportunity to really go.
But of course, that is not true. I just need to do what needs to be done and I’m all good. But I can’t help feeling like a failure. And I have been stifling more cries than I have ever been in my entire life. I wanted to cry when my brother left. All I did was covered my mouth with the bottom tip of my t-shirt and tried to catch myself when I fell. This time, I wanted to cry because I had never been so ignorant in following instructions. I don’t just tell myself this everyday, I am fully aware that I am observant. I see things people don’t. I feel things that people would dismiss. I listen to unspoken thoughts rather than what has been stated. I really like this part of myself. I feel like this is something that makes me me, and when I don’t do well on something simple like this, something has got to be wrong.
The first thing that came up to mind when I was faced with my mistakes was, “So this is my karma.”
I am a strong believer in karma, Charlie. I bet you know what it is. It’s the punishment you get after doing something bad. Nobody seems to know this, but I’m a bad person. I am. I have a bad habit of judging people; of collecting prejudices to make myself feel good; of being good even when I don’t want to; of not making the best of things; of lying, lying, and lying; of constantly hiding even when I have the chance to fully display myself out there; of being a burden to my parents and friends; of being vague about my faith; of not having a voice. I feel weak, but I won’t say I’m a weakling because I won’t make it become me, although all I want to do is to cry all the time because unlike you, I have no idea how to do that.
All I know right now is when I can feel there’s water in my eyes, I blink to dry them out. When my lips seem to turn upside down, I give them a rubdown so that they would look nice and pretty again. I don’t know how to cry, Charlie, I really don’t. I can already see myself next week at school, making an excuse to the toilet, or having lunch with friends and while having a good laugh I find myself crying, and I wouldn’t be able to distinguish my happiness and my melancholy. Neither would my friends.
I’m sorry for making it really long for you to read. I could just make it into several sentences, like, “Didn’t correctly fill out my form. Feeling like a failure. I don’t know how to express myself.” But knowing that you really like reading books as much as I do, I think you would appreciate my effort in writing my story as detailed as possible. I hope you enjoy it, too, no matter how miserable it seems when it really shouldn’t be. But then again, I wouldn’t be telling you a story.
During my inconsolable moment, I decided to make a list of things to remember when I’m an adult. In my mind, I wrote the first one down. I said to myself, “Remember the feeling of holding back.” I muttered the line aloud inside again and again, so that it would feel natural for me when I see someone in a situation like mine. As much as I hate that feeling, I need to be reminded so that others won’t be as miserable as I was. It seems pretty selfish of me, to see other people smile so that I can join them, but if you think again, it’s also for their own good.
The second one is to be sensitive, because it’s the only way you can understand anyone, especially your kids. I feel like people should not forget the fact that others of their kind is others of their kind. They’re not only their fellow citizens, they’re not only what they do for a living, they’re not doctors, or lawyers, or engineers, or archeologists. They are human. The basic form of every occupation. And they have feelings, just like we do. Sometimes we are blocked by the boundary of professionalism that we forget who they really are. There is not a day where we’re not divided based on jobs, religions, races, nationalities, and the list keeps going. But in the end, what we are is not based on those factions. We’re just mortals.
I would tell you more about the four other things I’ve listed, but I don’t want to keep you from doing what you’re supposed to do now. I think there are more things to be listed, too, when my days have moved on. But the four other things I’ve written down are, “Keep in mind Alesso’s quote, that you’re not gonna get any younger”, “Make ‘Listening to Sigur Rós’ a routine”, “Always eat your breakfast”, and “Remember the feeling of being a teenager, because most parents have already forgotten”. I thought that I would erase the last one because it is pretty similar to the second one, but I guess it has a different understanding. I’m sorry for keeping you from doing your job for awhile, whatever it is you are doing now. But I do hope you turn out well.
If you do reach the end, Charlie, now is the time that I thank you for reading this from the beginning to the end. I don’t get listened to much actually, so I think it is very kind of you for having finished reading every word. Anyway, I need to get busy printing my form again. I hope to recognize you in one of the souls I will be meeting one day.

Love always,
A friend

Settle down please.
Today you will be trained in Level 1 crucifixion.

First, the nail. Please pass the bag along once you have taken one nail each.

You can rely on these nails.
Each one is forged by hand, hammered out and shaped with skill.
'You can nail it with one nail,' as they say.

Nails can be used to fasten almost anything to wood. Choosing the right nail for the job can make a big difference in hold power. As there is no need to conceal the nail head and we require maximum holding power, we have chosen common nails for the job. When the nail is temporary and will be pulled out again, as with crucifixion work, we have found that a double-headed or duplex nail is the best choice. However, due to cut backs, we have reverted to the common flat headed nail.

Experience and common practice calls for driving the nail through the thinner limb into the thicker timber. For maximum holding power, the length of the nail is such that it passes almost, but not quite, through the thicker timber. 

Take a careful look at the illustrations provided. As depicted, for best results lay the condemned on the crossbeam and bind the arms in place on the timber before nailing. I refer you to your ropes and knots training last week.

One nail is sufficient for each upper limb if placed between the forearm bones above the wrist. You will find that some limbs will have been subject to a break beforehand. If this is the case, we advise that you use additional rope to bind the limb to the cross beam and that you select a site for the nail further up the arm if necessary.

Now you are ready to secure the feet. Place the feet together one over the other. Hold them in place while a colleague drives one nail through both feet. Please hold them steady and resist any attempt by the condemned to frustrate your task. Keep steady pressure on the feet while your colleague hammers the nail home.

Before lifting the crixiform into the hollow, ensure each nail has been driven in securely. Once you and your supervisor are satisfied, lift the cruciform in one swift movement ensuring the base slides neatly into the hollow. Two or possibly three of you are needed for this.

This is the greatest test for your handiwork. The impact of the timber landing at the base of the hollow will cause the body to jar under its own weight and place additional strain on the nail. In the event that a nail comes loose, you are advised to lift the cruxiform out and to use a second nail on the unsecured limb.

In most cases this will not be necessary and the condemned will hang securely long enough to allow the body to die, even if this takes several days.

Once death has been confirmed using the accepted method, lift the cruxiform down, remove the nails and inspect them for damage. If deemed reusable, rinse and dry them before storage.

If there are no questions you will now each be assigned to an experienced colleague to assist with a crucifixion. If at any time you feel that you are likely to *****, please use the bucket provided. There's no shame in this, the first time can be quite shocking; there is usually more blood flow than you initially expect. However, you will soon learn how to complete the exercise with skill and professionalism. I have complete faith in you.

Please keep your nail, you'll need it later.

[A dialogue between Brigid and her boss, Hollis. Hollis has called Brigid into his office and gestured to close the door.]

Brigid: Hey, sorry. You know how hard it is getting him outta here when he's got a problem.

Hollis: I do, I do. Go ahead and pop a squat for a second, dear.

Brigid: So what's going on?

Hollis: Brigid, your fingers are always so ashy.

[Brigid wipes her hands on the darkest part of her faded slacks.]

Brigid: Oh, yeah, that's a bad habit that's getting worse. I was just in the bathroom, too. So I guess I should probably start washing my hands more often.

Hollis: No, hon, it's not about the ashes -- you're smoking **** in the office. More and more it seems like.

Brigid: Oh I mean, I've been smoking for a while.

Hollis: Not in the office.

Brigid: Well, now I do.

Hollis: You don't see anything wrong with that?

Brigid: I mean, you never really said anything about it when I brought it in the first time, so I just kinda kept on going. And that, that was like, at least two weeks ago, I think.

Hollis: I don't think it's been as long as you're thinking.

Brigid: I see what you're trying to do here. However long doesn't matter -- I know for a fact you've seen me before and didn't say anything.

Hollis: I'm saying something now.

Brigid: Yes you are.

Brigid: Oh.

Hollis: Look, hon. Could you just go use the balcony round back?

Brigid: Well sure, but I kinda have to be at the desk, you know? That's why I never leave on my breaks, either.

Hollis: Brigid, it looks bad.

Brigid: What, smoking ****?

Hollis: Yes, it looks real bad. It reflects the professionalism of the Human Services Office. Or the lackthereof.

Brigid: How?

Hollis: I believe it's popular opinion that being under the influence of any substance impairs your ability to dutifully perform your work, and perform work that sets the best possible standard.

Brigid: Actually, and I kid you not, it really, really helps me perform my work. See, without it, I believe, I would not be able to live up to your standards.

Hollis: You're acting like--

Brigid: Hollis, please, for the love of god. I'm such an awesome employee, right? Always upright. Always for the good of the people. Last night! Last night I went to Davis's place for some coffee.

Hollis: I thought you were going to stop doing that.

Brigid: You should have seen it. Oh god, the mess that went down. Unruly mercenary helping hands serving fists up to unappreciative patrons, *** workers slinging emselves over tables and the bar, sweat and all that other nasty body water mixing up next to all the food and alcohol.

Hollis: What--

Brigid: Hollis, I went out back for a cigarette and there were people milling around in the alley ******* each other. People are ******* ******* behind Davis's place, and you're worried about just, a little bit of the good stuff defacing the image our city.

Hollis: Jesus Christ, okay, alright. You're right, that's disgusting.

Brigid: Told ya.

Hollis: When you gotta smoke, just ask Helen to watch the front for you.

Brigid: What if I just put the pipe away when someone's at the counter?

Hollis: I'd really prefer outside.

Brigid: Okay, how about, if I go to the window. So that way there's no smoke inside?

Hollis: You're just about ******* impossible, little girl. Forget I said anything, forget the whole ****** thing. I ask you for one favor, and you can't even do that.

Brigid: I do all your other favors.

[Brigid gets up and walks to the door.]

Hollis: You're still giving me that discount on Cheese, right?

Brigid: Absolutely. I'm gonna take a break and go out back for a cigarette.