toppling the gait
  of trees in the bluster.

we do not like it when it rains.

under the melee, kamagong lay
idly with the gravity of fruit ripened.
  at long last, touching ground.

in this knell

i regard you as plaything
take drippy measures and harness
  cues for thrusts.

the span of the shadow plastered
to the wall means   the silence is as deep
   as the rain outside,

all up from the unfurling corner
  of walled up tango-stride, ripping apart
the    linoleum with   dance.

  i may become a daub of perfume

   and you, maybe a smile on my face
   passing as it rained.

wind goes ballistic.
the farther the birds are to complete
    this absence, the better

quicker exchange of easy avatars
   in Magsaysay, where no strobe
  roams and only alternations of taxi
      zigzag in stolen hours.

remember you pale,
   forget you raw with blood.
 eyes see all what silence divests.

in some dark place, we must
  all have many cicatrices. blue is the hand
whirling outside, serious with its narratives
    and tenuous notes.

lightening up
the fleeting truth of togetherness,
its ample weight something virtuous
    in perceived realness is

that      all guesses wan and wild
     exhilarating the    words we   utter
  riding along the strange   Sun,   our
  headlong  chronology of    rue.

Someone will cross, kiss as if it
   were rain and tough stone as if
  it were love,

and all futures stir, taking prescience
     away making all wounds dumb
   in foretelling, time taken like an orphaned
 child from abandon

the frivol of rescue is the promise
     of its danger

making nights stranger than they were the
   first time, room made bare and wider again
with its shy deceit of furtive silence

  you, conversing in that moment of sleep's ravenings

the terror of its lightness: the frothing sea reaching for salt, circling the toe for words
   left in tongue's misery, clasped and irretrievable like the vanity of naked principle
    rushing like tides in between
   bone-spaces;

I'll peer through the flaxen strand
   of night

with your color that excites,

and think myself the blue pither of fire
  or a flummoxed stone left unturned.

it's not the rapture of a knowledgeable
   beast or the common grip
   of the eye's gift for unsparing detail.

it's the way the queen moves to all
    corners unclenching a fold of sidereal,

and then like a child with almond eyes
  spruced up, spritzed this morning's
  incandescent dye,

the lapping of strange tides revealing
    fish with dreams of brine

or that one moment when you had
   at first light, the hot flush of coming
      into, recognizing insatiable appetite,

  whistling its overdue intent and the detritus
        we try to hide when we had that virginal moment of    once and  never looking back
      at mirrors.

This old and twisted thing,
arranged in awry futility
like most lives circumspectly:
 a pair of denims
washed in the Sun,
 a slow laburnum glowering.

face-ovals perfumed with
  the camphor of such departure.
 the hand waving the weight
  of the night's obsidian
    is the love i take in - dull or sharp -
  as it arrives, tired as a crankshaft
      or a waned piston

 this junked engine, wheeled off,
  looming a light-clenched house
 with its exhaust of excess. declension.
   rife as a numeral being. repetitive like the drivel of radio talk.  heavy like the sudden drop
     of Sunday on the plod of chapels,

  once more into this.

Thought first begins in
          mouth

                         Tzara

a Sun with a slow metabolism
       excreting    sterile   doves

            or    roses in machineries     of     crimson

I feel   the  same   inflammation

   when    thought   first starts    in the   mouth

   and ends    a derailed    train:      *******
      in   an    alley      of   locomotives

this    titular  token   of the   grave  sorrow of the World
      sinking   in   your   sleep   a  dagger

or          
               simply   a
promise

there are only 5 seats and on each end
are metal chapels. time slows down like a slug
climbing a vertical wall, or say, a drunken man
  making his way towards the oblique recess.

the ignominy of an exhausted carburetor
is the orchestra for the night.
lots of women go in and out, out and in,
  whichever is first, but the last is always
just as bland as any other truth:

we go, each foot splayed to cover measure,
  and in the flash of a scene, gone.

I watch their skirts make gossamer tune,
like some flotsam or a poised note being led
  straight to a trajectory disappearance:

the idea of the image is to glide
over them, over flesh,
over this fetal smoke that I will soon toss
  right into the womb of nothing

and fall flat as a key from a tone-deaf cathode,
a spanked melodrama of television with dull cursive,

        or as lithe as justly, the right camber of blues
             ripping straight through my day-old denims,

peering through the tease of a thigh’s penumbral shadow,
the sound of the world being dragged into double-doors

       echoing a metonymy: *silence the interlocutor, her mouth
                          full of birds. Dark birds.