Time: 1
Us: 0

Will it always be like this?

Swinging our racquets at Einstein's illusion.
Singing, singing, singing 'Stop
the World I Wanna Get Off
With You'
when nobody hears
over the relentless tick-tocks.
As
     as
the clock's hands
push
         push
pull us together,
apart.

Hey, you.
Are we lovers or are we opponents?
Let's look at the scoreboard.

Time: 1
Us: 0

In school, they taught us perseverance.
So we keep
dancing, dancing, dancing
                                              around
the hands of the clock.
I'm on number 3 and
you face me.
What's it like on number 9?
What's it like to be on the edge of
the next hour,
the next day,
the next big thing?
You're on number 9, I'm on number 3.
I face you, you face me.
Are we lovers or are we opponents?
I face you,
                   you face me.

So easy for us to...
So easy for us to love, but
so easy for us to leave.
So easy to fight, to
wrap our hands
                            around
each other's throats
simultaneously.
So easy to embrace, so
easy to walk away
when you are the west and I am the east.

I'll ask you again:
Are we lovers or are we opponents?
Eyes flit up to the scoreboard,
even though
                      we don't want to look
away from each other.

Time: 1
Us: 0

The ball is in no one's court anymore.
No more back and forth,
stichomythia, repartee.
Nor round and
                           round
when it's all an illusion,
isn't it?

Don't look.
Don't bring it up.

Time: 1        
Us: 0

The figures are getting bolder, louder
than the ticking.
Tell me, tell me, before
you move to 10
and our angles get skew,
tripping over the clock's hands,
because we forgot the steps of
our dance.
Tell me, tell me, what it's like
when you see me
all the way from number 9
while I'm on number 3.

The scoreboard's screeching
like a train ready to leave.

Time: 1
Us: 0

The audience is already beginning to clap.
They have loved us
and so have we.
We put on quite the show,
enough to rival Djokovic or Murray.
But neither of us will walk out with gold.
Not when we've lost to an abstraction
that can swallow us into
memories.
We get silver medals.
Around our necks, choking
but we clasp them tightly
so they can sparkle on our chests.
My silver beams to you,
                                           your silver beams to me.
On and off,
a Morse code speech.
When we can't speak,
                                       can't breathe,
that seems to suffice.

Here is a case of beautiful irony:
How did we meet?
Your eyes
                 saw in
my eyes
               that silver gleam.
My eyes
               saw in
your eyes
                 the very same thing.
Remember:
I face you, you face me.
Are we lovers or are we opponents?

The scoreboard screams:

Time: 1
Us: 0

I bought a watch today, why
did I do that?
I'm so smart but
I'm so stupid.
I face you, you face me.
It's not an illusion, is it?
Look at me.
Is it?

Time: 1
Us: 0

We're finished.
But then how could we have ever won
when neither of us knew how to play tennis?

We look at each other
so the scoreboard can dissolve
instead of us.
Like your eyes
                          in my eyes
a tethering glance,
could hold us in an eternal position.
Like a single look
could sustain us
stationary.
I face you, you
                          start to leave.

It doesn't matter now.
Everything's spilling out
on the loudspeaker.
(And for once, you don't wish to seek this one truth.)

Time: 1
Us: 0

It will always be like this.

Time: one.
Us: love.

new summer, spoken then lived.
new letter, spelled in crayola crème.

you were the love of
my life.
plucked my heart like
squishy fruit.

we once turned the night
into paintings and poems,
particulates of
a golden time gone by.

Their poetry imperceptibly
slipped
into the first person.

Neither of them noticed
when
'he and she'
became
'you and me'

Let's analyse that, shall we?

'What shall we talk about today?'

Spin, spin, spin the conversation
into loops and recapitulations.
Cassettes were my sustenance but
a vinyl record spins on the turntable.
Won't you tell me what song is playing right now?
Rests, then
    block chords, then
          swing-swung rhythm.
Then,
unexpected concords.

Where did those blue notes come from?
And colour our red, some supposed red, into
purple?
But jazz has always been unpredictable.

I grew up on the clarity and
gravity
of soft pink time;
pearl-notes to the steady, steady,
steady
beat of a metronome.
But now,
                now?
Syncopation.
My  
      beat
against your
                beat
and we make a violently violet
bossa nova.

Suddenly the classically trained flautist
has time-travelled to her very first lesson.
Because no sound flutters out of the mouthpiece
and her fingers can't keep up.
Swing-swung
            syncopation
and she doesn't know to breathe anymore.
Where did those blue notes come from?

Silence.
Have we reached the final double bar?
The cadence is imperfect,
                                             unresolved.
Listen, a cold snap of instant jazz
knocked us over.
Arms clasped, teeth chat-chat-
                                              chattering.
1,
     2,
3 -
A not-quite waltz.
But jazz has always been unpredictable.

Won't you tell me what song is playing right now?
I think we know what it is but can't figure it out.
And so Cole Porter and Billie Holiday save us
from
     fading out.

'Let's do it, let's fall in-"

I don't want this song to be over.
I don't even know what it's called
but
don't let it end, don't let it,
don't
        don't
don't.

I can't cook but I think
I can make  
                   instant jazz.
And you,
        and you...
You'll write dizzy like
a Coltrane solo.
As you do.
And I'll lay down my flute,
struggle out of my red minuet and
                                               wonder:
Where did those blue notes come from?

But jazz has always been unpredictable.

'What shall we talk about now?'

There he sits.
The moon is in the sky,
like clockwork.
His personality changed
from yesterday,
along with his clothes.
Tonight, he's draped in stars
and showing only a quarter
of his wonderful personality.
How humble he can be.
He's playing off the light
of the fireflies
like a violinist from a conductor.
Look at that...he's higher
than the shadow connected trees.
My old friend,
you have a flare for the dramatic.