Who ever thought of it as the peninsula it is. Inhabited by native Americans and called Narrioch, a ” land without shadows”, “always in the light”, its beaches facing south and ‘always in the light; a “point” or “corner of the land”. Come 1600’s and it’s Dutch bought for a gun, a blanket and a kettle. Also called Coninen Island, then Coney Hook, then maybe Conyn Eylandt, maybe even Konah, even Colman after John Coleman, slain by the natives 1609.
Wikipedia

So I write about my Coney, phony, and for me my lonely island.
Land of rides and fun’s placations,
First such park for work vacations.
Frankfurters with ***** and mustard,
Frozen custard, chocolate syrup on the top.
Brooklyniters, Jackson Heighters…New York City’s pop…ulation
Come by subway all that way.
(Who had a car?  Everything and place was far,
Every stranger from a land they landed from –
At least their dads or moms or grand or great-grand dads and moms:
Generation and the nation of the 20’s 30’s, 40’s).
Cotton candy, candied apples sweet outside, sour within.
Who thought of sugar then?  
Who thought of staying thin?
Miles and miles of sand - all gray.
Cold Atlantic blocks away.
Parachute ride, new and daring.
Arlene Nover, longing, raring.
Merry-go-round wan and childish,
She, wildishly shy, tongue-tied,
Watched by grownups there not sharing any wooden horse beside
Which could have turned the ride
To fun
No parent un-derstood.
Clear and queer these memories.
Showing up spontaneously.
Sequences squeezed out of fate
Some seventy years later – late.


Coney Island 5.1.2017
Pure Nakedness;
Arlene Corwin

ladies and gentlemen this little girl
with the good teeth and small important *******
(is it the Frolic or the Century whirl?
ones memory indignantly protests)
this little dancer with the tightened eyes
crisp ogling shoulders and the ripe quite too
large lips always clenched faintly,wishes you
with all her fragile might to not surmise
she dreamed one afternoon
                            ….or maybe read?

of time a when the beautiful most of her
(this here and This, do you get me?)
will maybe dance and maybe sing and be
absitively posolutely dead,
like Coney Island in winter

It was a cold day,
overcast with a few rain showers here and there,
I picked you up from Penn Station,
dragged you to the subway steps,
led you down the tunnel, onto the train.
You asked me where we were going,
I wouldn't let you in on the secret.
One train. Another train...
You saw the last stop and knew
right where I was taking you.
Coney Island.
You looked from the sign,
then back at me,
your eyes lit up right then,
a smile crossing your face,
you knew i'd been trying to get you there.
We took the long train ride,
Manhattan to Brooklyn,
a quiet ride,
we enjoyed each others silence,
only feelings left to feel.
Finally pulled into the station,
'Mermaid Ave.' read the sign,
our kinda place, this was our time.
The boardwalk was practically empty,
on this cold and windy day,
everyone taking shelter from the rain.
I led you to the beach,
the sand hollowed from the drops that fell,
you looked at me doubtingly,
asking with your eyes,
'how will this help?'
I pulled off my green sweater,
you looked at me in shock,
threw you a smile,
off with my boots,
you stood there,
watching me undress,
not knowing what to do,
not knowing my next move.
I was down to my bra and *******,
goosebumps covered my flesh,
you laughed at my pale skin and it's contrast to the sand.
I ran over to you,
lifted you up,
you started to scream when you realized,
every intention of mine was to get you into the water,
the salt that is so addicting,
just like your name on my lips,
you made me set you down,
and so that's just what I did.
I ran into the water,
screeching the whole way in,
you laughed at me,
stopped abruptly,
knew that I was reminding you
of who you used to be.
I watched from the water as you stripped down,
you came running after me,
tears streaming,
not a sound.
You waded right to me,
stopped face to face,
I pulled you in my arms telling you everything'd be ok.

Earth’s sixth mass extinction has begun, new study confirms


How long before the rhino joins the list? Gerry Zambonini, CC BY-SA
We are currently witnessing the start of a mass extinction event the likes of which have not been seen on Earth for at least 65 million years. This is the alarming finding of a new study published in the journal Science Advances.

The research was designed to determine how human actions over the past 500 years have affected the extinction rates of vertebrates: mammals, fish, birds, reptiles and amphibians. It found a clear signal of elevated species loss which has markedly accelerated over the past couple of hundred years, such that life on Earth is embarking on its sixth greatest extinction event in its 3.5 billion year history.

This latest research was conducted by an international team lead by Gerardo Ceballos of the National Autonomous University of Mexico. Measuring extinction rates is notoriously hard. Recently I reported on some of the fiendishly clever ways such rates have been estimated. These studies are producing profoundly worrying results.

However, there is always the risk that such work overestimates modern extinction rates because they need to make a number of assumptions given the very limited data available. Ceballos and his team wanted to put a floor on these numbers, to establish extinction rates for species that were very conservative, with the understanding that whatever the rate of species lost has actually been, it could not be any lower.

This makes their findings even more significant because even with such conservative estimates they find extinction rates are much, much higher than the background rate of extinction – the rate of species loss in the absence of any human impacts.

Here again, they err on the side of caution. A number of studies have attempted to estimate the background rate of extinction. These have produced upper values of about one out of every million species being lost each year. Using recent work by co-author Anthony Barnosky, they effectively double this background rate and so assume that two out of every million species will disappear through natural causes each year. This should mean that differences between the background and human driven extinction rates will be smaller. But they find that the magnitude of more recent extinctions is so great as to effectively swamp any natural processes.


Cumulative vertebrate species recorded as extinct or extinct in the wild by the IUCN (2012). Dashed black line represents background rate. This is the ‘highly conservative estimate’.  Ceballos et al
Click to enlarge
The “very conservative estimate” of species loss uses International Union of Conservation of Nature data. This contains documented examples of species becoming extinct. They use the same data source to produce the “conservative estimate” which includes known extinct species and those species believed to be extinct or extinct in the wild.

The paper has been published in an open access journal and I would recommend reading it and the accompanying Supplementary Materials. This includes the list of vertebrate species known to have disappeared since the year 1500. The Latin names for these species would be familiar only to specialists, but even the common names are exotic and strange: the Cuban coney, red-bellied gracile, broad-faced potoroo and southern gastric brooding frog.


Farewell, broad-faced potoroo, we hardly knew ye.  John Gould
These particular outer branches of the great tree of life now stop. Some of their remains will be preserved, either as fossils in layers of rocks or glass eyed exhibits in museum cabinets. But the Earth will no longer see them scurry or soar, hear them croak or chirp.

You may wonder to what extent does this matter? Why should we worry if the natural process of extinction is amplified by humans and our expanding industrialised civilisation?

One response to this question essentially points out what the natural world does for us. Whether it’s pollinating our crops, purifying our water, providing fish to eat or fibres to weave, we are dependent on biodiveristy. Ecosystems can only continue to provide things for us if they continue to function in approximately the same way.

The relationship between species diversity and ecosystem function is very complex and not well understood. There may be gradual and reversible decreases in function with decreased biodiversity. There may be effectively no change until a tipping point occurs. The analogy here is popping out rivets from a plane’s wing. The aircraft will fly unimpaired if a few rivets are removed here or there, but to continue to remove rivets is to move the system closer to catastrophic failure.

This latest research tells us what we already knew. Humans have in the space of a few centuries swung a wrecking ball through the Earth’s biosphere. Liquidating biodiversity to produce products and services has an end point. Science is starting to sketch out what that end point could look like but it cannot tell us why to stop before we reach it.

If we regard the Earth as nothing more than a source of resources and a sink for our pollution, if we value other species only in terms of what they can provide to us, then we we will continue to unpick the fabric of life. Remove further rivets from spaceship earth. This not only increases the risk that it will cease to function in the ways that we and future generations will depend on, but can only reduce the complexity and beauty of our home in the cosmos.

I saw him on a subway train
We looked on each other
The whole ride.
Not a single word,
No secret smiles.
Just a look,
deep in the eyes.

Maybe imagining the life
We could have together
Sitting on the white sand
Of Coney Island beach,
Enjoying our cosy home,
Getting warm near a fire place
On amazingly snowing day.

And then a cruel squeaking wheels noise made him leave the train
And took all our dreams away.

We won't see each other again.
See you in another life
My love

on ruby jacobs walk, a
small girl
asked us for money for ice cream.

she eyed our cones
                                yours, lemon
                                mine, strawberry
with a child’s hunger
glinting and opportunistic
as she held out her palm for coins.

i was not yet accustomed to the shapes and sizes,
to a dime being smaller than a nickel,
and in any case wanted to preserve them for souvenirs
so we shook our heads and walked away.

a year later, writing this poem,
i learned that ruby jacobs was a local restauranteur
who, as a boy,
illegally sold ice creams
for a nickel on the boardwalk.
                                                a nickel is the larger coin
                                                the size of a ten pence piece.
                                                i know that now.

the wide atlantic rose from a sloping manicured lawn
        star-spangled,
                                like everything here,
                                                           ­     the airborne flag
                                                            ­    above a wide pavilion
                                                        ­        a fanatic wedding cake topper
                                                          ­      against the blood-blue sky.

        i slipped
out of my shoes and let
the white sand burn my feet,
and jaggedly fill the spaces between my toes.

the atlantic held open its arms
though we weren’t, as we imagined,
                looking east
                looking home
but south to new jersey, across the bay.

the gnarled boardwalk was a
song of the twentieth century
        a roll-call of mass-market capitalism
        here in the city that didn’t invent the concept
        but certainly perfected it:
                                                hot dogs
                                        amusements
         ­                       ice creams (we’ve covered that)
                        fridge magnets
                baseball caps
        i bought an espresso cup with a picture of the president
and the caption:
                         ‘huuuuge!’
i stopped to take a photograph
of a space-age building from the fifties
which turned out to be
                                        a public toilet.

later
from the sunbaked d train,
brooklyn spread out beneath us
the houses garnished with flags,
then the city coughed us up on seventh avenue
and night fell five hours early.

Why did you bring me here?
The sand is white with snow,
Over the wooden domes
The winter sea-winds blow—
There is no shelter near,
Come, let us go.

With foam of icy lace
The sea creeps up the sand,
The wind is like a hand
That strikes us in the face.
Doors that June set a-swing
Are bolted long ago;
We try them uselessly—
Alas, there cannot be
For us a second spring;
Come, let us go.

Ever been kidnapped
by a poet
if i were a poet
i'd kidnap you
put you in my phrases and meter

You to jones beach
or maybe coney island
or maybe just to my house
lyric you in lilacs
dash you in the rain
blend into the beach
to complement my see


Play the lyre for you
ode you with my love song
anything to win you
wrap you in the red Black green
show you off to mama
yeah if i were a poet i'd kid
nap you

Orange peel Thursdays and the Velcro shoes
Of children hordes
Who spider up Alice on toadstools in Central Park
Dusted psilocybin shoots my eyes through
With the clarity of ice and sliced mushroom
Steeping in stomach acid before finding blood
The kids are tripping like madmen or halloween candy
Like its time to release and give up to the nonsense
And let your young self congeal to a saccharine sludge

I don’t stroll in the park to keep my mind sharp
I’m here because it’s a riot
My head can throb to the jittery birds
And the blasts of carsong
It’s the right kind of rhythm to walk to

* *

Ketamine days and the lolling slums
To make sure the insane stay insane
And the hobos are washed with spit from the clouds
And the subway exhaust always hangs in our hair
And the old Coney Island burns again and twice more

We don’t pretend to understand what we see
In subway grates thirty feet wide
Like the earth punching out of work for a bit
Opening to you her *** belly
So you can check out the strips of metal inside
Before she slurps you down and with an esophageal squeeze
Shoots you through the turnstiles

The train squeals and grinds down our eyes
With thoughts as slow as ketamine
Makes room for schizophrenia in a conversation
We’re listening to ‘til sundown

* *

Years full of Brooklyn and the assorted pills
Makes offal fit for punks in name brand shoes
Squared off with police in the park
Being beaten for the fun of being beaten
Peacoat locals pass the days in supermarkets
And you grow up to the loony mumble
Of the woman who knows the boat
Moored at the end of the street
Mansion of the stray cat colony
You help her with her daily chore to feed them
Tabbies popping the pills of the homeless
And puking in tandem all over their house
Living off generous dying folk

Yesterday folds our vital documents
into its briefcase and steps onto a busy street.
Busses lunge on asphalt, rolling
knotted muscles and emptied pockets deeper
into roads where dogs and paper
blur the lines between news and ****.
Lovers, condos, taxis, and sidewalks
pray to scrape up rent. Tomorrow crouches, ready to spring
and ****** us back into the boxing ring.

I sit at the Earth's end,
an old, fractured, water-worn dock
cradles me and fixes the scene.
Yellow sails swimming the jetstream
hang on to the red dinghy whose wake
sets my eye upon the far shore.

     Coney isle ‘cross the murk-warped sea
     holds ancient homes like a tapestry
     holds ancient threads that you can see
     in some museum for a fee.

For the residents at Rosses Point
this is no end –
                          wit starts their children’s dreams
and holds them to life,
roots them in communal grasses
that grow and will always grow.
                                                       I didn’t know
that where the ****-stalk masses
life’s abundances overflow.

But where are their riches?

Cast in ditches by roadsides
where three hundred years of smiles,
vein-pulsing beliefs, busy thinkers,
sweet upswept streets,
all put wealth –
                           the heaping of coin
upon coin till nothing can breathe –
aside and laugh. They live,
surviving as they happen.

Inside the crumbled watchtower
I fling passion onto thought
onto nerve onto pen onto page
and then am limp,
like the carelessly treaded sage:
a child’s footprint.

     What anguish did the watchers know
     looking through the barred stone walls,
     their travelers still gone?

In the swirling, swallowing night,
that drops like the judge’s gavel,
I write images of the sundry
numb-fingered seaside –
                                          the birds call through the salt-stained air.

Fly, fly till you reach my words
that are split among a thousand minds and cities.
Fly till the grass overcomes the tread,
till the sun succumbs to lead
poisoning and dawn’s jaw drops dead.

The lighthouse, the sprinkling showers
from the clouds that shroud and mask
the would-be sky, guide
the heart that falls inside my throat –
                                                                two hundred tons of blood
beat through its bulge –
                                         I’m alive
and live on, like this unhampered ground.
The sound of ripples and the rustle
of reeds bring me back
to the time-broken dock.

I sit and remember my friends –
                                                       calmness soaks in and through my bones –
I am and will always be;
and when memory fails and fades
I will float the channel of everything,
beach upon this shore
and will be the grass and nothing more,
till history becomes the future
and the first layer becomes the core.

What Love commands the train fulfills*,

The six thirty bounds to Coney Island

Where the green Ubers awaits the passengers

Morning greetings, (Urdu) of few words, were the



Pakistan, rules Mermaid Street with the neon green

Were too mama? where too, two dollars:

A repeat routine for most of us,



Whether you’re a morning person or a night owl, we all start our day at some point. And we all seem to start it differently. (Kevan Lee)



Five forty showers, get dress out the door before six a.m.

Grab the garbage, and walk three to the subway,
where love commands the train fulfills, which lessened  

My morning depression until midday, (who control whom)



Why was I born, why am even here, what is my personal worth?

Timeless question, who would remember me, when I am gone?

The train, the cabbies, would the streets miss my dragging feet?

Self-observation, is it worth a Newyork minute of whom will miss us. (really)

Void, void, void, void, void, void, void, and more void,

Just allowed the few that might to do some adjustments

For the sake of remembering me, for the sake of losing my car fare,

For the sake of not receiving, my monthly fees, and T-Mobile

you definitely would, release me from my grandfather plans:



Today, I sit in silence, away from all sounds, only the sounds

Of a keyboard, and my heartbeat, as the mouse goes click, click

For the sake of remembering is that a poet is only good at recollecting, reflecting, and making his audience believes in his words:

Another shift, another day, Another buck to spend or save
A million riders, maybe more, delivered to their office door
Or maybe warehouse maybe store.
Or church or shul or city school, right on time as a rule.

Clickety, clackety, clickety, clee,
I am New York, the City’s me
Come let me ride you on my knee
From Coney Isle to Pelham Bay
From Bronx to Queens eight times a day.

Ride my trains, New Yorkers do
And you’ll learn a thing or two
About the City up above, the one some hate, the one some love.
On the street they work like elves
Down below they’re just themselves.

Through summer’s heat they still submerge,
Tempers held (though always on the verge),
They push, they shove – just like above –
The crowds will jostle, then finally merge.

Downtown to work and then back to sleep
They travel just like farm-herded sheep.
In through this gate and out the other,
Give up a seat to a child and mother,
Just don’t sit too close to that unruly creep!

With these crowds huddled near
Just ride my trains with open ear,
There’s lots of tales for you to hear.


Dis stop is 86th Street, change for da numbah 4 and 5 trains.  Dis is a Brooklyn Bridge bound Numbah 6 Train.   77th Street is next.  Watch out da closin dowahs.


     I’m Doctor Z, Doctor Z are me
     I’ll fix your face or the visit’s free.
     Plastic surgery, nips and tucks
     You’ll be looking like a million bucks.

     Looka those pitchas, ain’t they hot?
     You’ll look good, too, like as not!
     Just call my numbah, free of toll
     Why should you look like an ugly troll?

     You’ll be lookin good like a rapster
     Folks start stealing your tunes on Napster
     Guys’ll love ya, dig your face
     Why keep lookin like sucha disgrace?

     Call me up, you’re glad you did
     Ugly skin you’ll soon be rid.
     Amex, Visa, Mastercard,
     Payment plans that ain’t so hard.

     So don’t forget, pick up that phone
     Soon’s you get yourself back home.
     I’ll have you looking good, one, two three
     Or else my name ain’t Doctor Z.


Dis stop is 77th Street, 68th Street Huntah College is next. Yer ona Brooklyn Bridge bound Numbah 6 Train.  Watch out da closin dowahs.


     It was a limo, now it’s the train;
     Tomorrow’s sunshine, but now it’s rain.
     The market’s mine, for taking and giving
     It’s the way I earn my living.

     Today’s losses, last week’s gain.
     A day of pleasure, months of pain.
     We sold the puts and bought the calls;
     We loaded up on each and all.

     I’ve seen it all, from Fear to Greed,
     Good motivators, they are, both.
     The fundamentals I try to heed
     Run your gains and avoid big loss.

     Rates are down, I bought the banks
     For easy credit, they should give thanks.
     Goldman, Citi, even Chase
     Why are they still in their malaise?

     “The techs are drek,” I heard him say
     But bought more of them, anyway.
     I rode the bull, I’ll tame the bear
     I’ll scream and curse and pull my hair.

     So why continue though I’m such a ****?
     I’ll cut my loss if I find honest work.



Dis is 68th Street Huntah College, 59th Street is next. Yer ona Brooklyn Bridge bound Numbah 6 Train.  Watch out da closin dowahs.


     He rides the train from near to far,
     In and out of every car.
     “Batchries, batchries, tres por un dolar!”
     Some folks buy them, most do not,
     Are they stolen, are they hot?
     “Batchries, batchries, tres por un dolar!”

     Who would by them, even a buck?
     What’re the odds they’re dead as a duck?
     “Batchries, batchries, tres por un dolar!”
     Why not the Lotto, try your luck,
     Or are you gonna be this guy’s schmuck?
     “Batchries, batchries, tres por un dolar!”


Dis is 59th Street, change for de 4 and 5 Express and for de N and de R, use yer Metrocard at sixty toid street for da F train.  51st Street is next. Dis is a Brooklyn Bridge bound Numbah 6 Train.  Watch out da closin dowahs.


     “Dat guy kips ****** wit me, Wass he
     tink, I got time for dat ****?  Man, I
     got my wuk to do, I ain gona put
     up with him
     no more.”

          “I don’t know what to tell this dude. Like,
          I really dig him but
          ***?  No way.  And
          He’s getting all too smoochie face.”

     “Right on, bro, slap dat fool up
     side his head, he leave you lone.”

          “Whoa, send him my way.  When’s the last
          time I got laid?  I’m way ready.”

          “Oh, Suzie,..”


Dis is fifty foist Street, 42nd Street Grand Central is next. Yer ona Brooklyn Bridge bound Numbah 6 Train.  Watch out da closin doors.



     Abogados es su amigos, do you believe the sign?
     Are they really a friend of mine?
     Find your lawyer on the train
     He’ll sue if the docs ***** up your brain.

     Pick a lawyer from this ad
     (I’m sure that you’ll be really glad)
     You’ll get a lawyer for your suit,
     Mean and nasty, not so cute.

     Call to live in this great nation
     1-800-IMMIGRATION.
     Or if your bills got you in a rut
     1-800-BANK-RUPT.

     We’re just three guys from Flatbush, Queens
     Who’ll sue that ******* out of his jeans.
     Mama’s proud when she rides this train
     To see my sign making so much rain.

     No SEC no corporations
     We can’t find the United Nations.
     Just give us torts and auto wrecks
     And clients with braces on their necks.

     Hurting when you do your chores?
     There’s money in that back of yours.
     Let us be your friend in courts
     Call 1-800-SUE 4 TORTS.


Dis is 42nd Street, Grand Central, change for the 4, 5 and 7 trains. Dis is a Brooklyn Bridge bound Numbah 6 Train.  Toity toid is next.  Watch out da closin doors.


They say there’s sev’ral million a day
From out in the ‘burbs, they pass this way.
Most come to work, some for to play
They all want to talk, with little to say.

Bumping and shoving, knocking folks down
A million people running around.
The hustle, the bustle the noise that’s so loud
Get me far from this madding crowd.

“We can be shopping instead of just stopping
And onto the next outbound train we go hopping.
Hey, it’s a feel that that guy’s a-copping!”

They want gourmet food, from steaks down to greens
Or neckties and suits, or casual jeans,
It’s not simply newspapers and magazines
For old people, young people, even for teens.


Yer ona Brooklyn Bridge bound Numbah 6 Train.  Dis is Thoidy toid Street, twenty eight is next.  Watch out da closin doors.


     “So what’s the backup plan if
     He doesn’t get into Trevor Day?
     I know your
     heart’s set on it, but we’ve only
     got so many strings we
     can pull, and we can’t donate a
     ******* building.”

           “Hooda believed me if I tolja the Mets
          would sail tru and the Yanks get dere
          by da skinna dere nuts?
          I doan believe it myself.  Allya
          Gotta do is keep O’Neil playin hoit
          And keep Jeter off his game an
          We’ll killum.

               “My sistah tell me she be yo *****.  I tellya I cut you up if you
                ****** wid her, I be yo ***** and donchu fuggedit.”

     “I wish you wouldn’t talk like that.
     And we can just **** good and
     Well find some more strings to pull!”

          “Big fuggin chance.  Wadder ya’ smokin?”

               “Yo sitah she ain my *****, you be my *****.  I doan be ******
                wid yo sistah.  You tell her she doan be goin round tellin folks
                dat ****.”


Yer ona Brooklyn Bridge bound Numbah 6 Train.  Dis is Twenty eight Street, twenty toid is next.  Watch out da closin dowahs.


     Do you speak Russian, French or Greek,
     We’ll assimilate you in a week.
     If Chinese is your native tongue
     You’ll speak good English from day one.

     Morning, noon, evening classes
     Part or full time, lads and lasses.
     You’ll be sounding like the masses
     With word and phrase that won’t abash us.

     Language is our stock in trade
     For us it’s how our living’s made.
     We’ll put you in a class tonight
     Soon your English’ll be out of sight.

     If you’re from Japan or Spain
     Basque or Polish, even Dane,
     Our courses put you in the main
     Stream without any need for pain.

     We’ll teach you all the latest idioms
     You’ll be speaking with perfidium.
     We’ll give you lots of proper grammar
     Traded for that sickle and hammer.

     Are you Italian, Deutsch or Swiss?
     With our classes you can’t miss
     The homogeneous amalgamation
     Of this sanitized Starbucks nation.


Dis is Twenty toid Street, 14th Street Union Square is next. Yer ona Brooklyn Bridge bound Numbah 6 Train.  Watch out da closin doors.


     “Ladies and Gentlemen, I hate to bother you
     But things are bleak of late.
     I had a job and housing, too
     Before my little quirk of fate.”

     “There came a day, not long ago,
     When to my job I came.
     They handed me a pink slip, though,
     And ev’n misspelled my name.”

     “We’ve got three kids, my wife and me.
     We’re bringing them up right.
     They’re still in school from eight to three
     With homework every night.”

     “I won’t let them see me begging here,
     They think I go to work.
     Still to that job I held so dear
     Until fate’s awful quirk.”

     “So help us now, a little, please
     A quarter, dime (or dollar still better),
     It’ll go so far to help to ease
     The chill of this cold winter weather.”

     “I’ll walk the car now, hat in hand
     I do so hope you understand
     I’m really a proud, hard working man
     Whose life just slipped out of its plan.”

     “I thank you, you’ve all been oh so grand.”


Yer ona Brooklyn Bridge bound Numbah 6 Train.  Dis is 14th Street, Union Square, change for da 4 and 5 Express, the N and the R.   Astor Place is next.  Watch out da closin doors.


     The hours are long, the pay’s no good
     I’m far from home and neighborhood.
     All day I work at Astor Place
     With sunshine never on my face.
     Candy bar a dollar, a soda more
     A magazine’s a decent score.
     Selling papers was the game
     But at two bits the Post’s to blame
     For adding hours to my long day.
     All the more work to save
     Tuition for that son of mine: that tall,
     Strong, handsome, American son


Dis is a Brooklyn Bridge bound Numbah 6 Train.  Yer at Astah Place, Bleekah Street is next.  Watch out da closin doors.


     Summer subway’s always hot, AC’s busted, like as not
     Tracks are bumpy, springs are shot ‘tween the cars they’re smoking
     ***.

     To catch the car you gotta run they squeeze you in with everyone
     Just hope no body’s got a gun 'cause getting there is half the fun.

     Packed in this car we’re awful tight seems this way both day and
     night.
     And then some guys will start a fight.  Subway ride’s a real delight.

     Danger! Keep out! Rodenticide! I read while waiting for a ride.
     This is a warning I have to chide:  
     I’m very likely to walk downtown, but I’d never do it Underground.

     Took the Downtown by mistake.  Please, conductor, hit the brake!
     Got an uptown date to make, God only knows how long I’ll take.


Yer ona Brooklyn Bridge bound Numbah 6 Train.  Dis is Bleekah Street, Spring Street is next.  Watch out da closin doors.


     The trains come through the station here,
     The racket’s music to my ear.
  &nbs

I once was told
In Broooklyn New York
I had a lackadaisical attitude.
It was the first time I was hearing
That whimsical adjective !
So lackadaisical I was !
Looked like an illness
The way they said it
It seemed I could contaminate.
So I stopped a few seconds to think  and dissect the word
Lackadaisical
I lacked a daisy somewhere !
Sounded like I lacked a fuse in my brain !
Next thing I know I was checking the word
In my reminiscences of the Oxford English Dictionary
Or may be it was Webster's
And  it said in black and white ferns I lacked purpose
I wasn't properly lazy, I just lacked directions
I lacked enthusiasm, stamina
I was devoid of zest
I was blasé
Insouciant
Careless.
Translated into  more French I was nonchalant and better said
Jemenfoutiste.
It was during an encounter group
And they threw that lackadaisical attitude ******* to my face
And guess what i did ?!
I just kept on smiling
Jemenfoutiste to the extreme.
And they kept saying
See what I mean, you 're so ******* lackadaisical , man !
You're so pathetic !  You're so apathetic !
It was Winter in America like Gil Scott-Heron would say
And it felt so good, so warm,
As far as I could see,
To be called lackadaisical
And not laconical.
I not only lacked a daisy
I lacked a bunch of tropical flowers indeed !
Like bouganvillea, orchid or hibiscus
Anthurium, jasmine or bromeliad
I lacked sun and sea
Strange as it was
Even though I was near Atlantic Avenue, Coney Island
So I was lackaseacal and lackasuncal
But what I didn't lack was ants in my pants
And until today they make me dance
My forever lackadaisical dance.

It comes to you in your darkest days,
disguised in a familiar face,
It whispers words you've waited for,
uttered with eloquence & grace.

It touches your skin, holds your face,
Then consumes your self worth without care.
It hides behind a mask, planning & scheming,
leaving you unaware.

It hugs you as you dry your eyes,
it fills your head & heart with lies.
It utters hollow apologies with no intention of change,
It shouts vulgarities in a crowded coney island,
Filling you with embarrassment & shame.

It fakes compassion as you wait to hear,
whether you may indeed have cancer,
You question why it chose you?
but you never get an answer.

It prays at every meal,
mocking God without fear,
It attacks your reputation, your humanity,
and all that you hold dear.

It hides behinds friends, half truths,
and a sea of endless lies,
It marinates in every excess,
so it never has to open its' eyes.

You cannot give it love, expect empathy, or regret,
It is never satisfied because its true needs are not being met.

I'll never understand the cruelty,
the why or even how,
But some things have no answer,
and it no longer matters now.

Despite what has been DONE TO ME,
This I will always implore,
Evil may destroy this world,
But FAITH, HOPE, & LOVE
WILL win the war.

i.

O'
Timely
Apricity;

ii.

Mayest thou
Warm, and blanketeth
Me; as a neonate, as
Thou shalt gorgonize
Me, from within the space,
Ourn embracing is a cataract,
Of heavied chime-together laced.

iii.

Thine speak is comely, Concord
To mine earshot; the copse is
Surrounding, none manor
Needed, just the coney's,
With the delightful tree's,
veneering ourn cot.

iv.

Exhaling all ourn woes
And sorrow's, as if none
Tommorrow; None haste,
And none distaste, house-
Leeks groweth whilst the
Flaxen colored roses follow.

v.

O' oriental Apricity
I'm cold mine lass,
I'm freezing fast;
This winter day
Hath chilled mine
Soul, I needeth thine
Fire-place, to heateth these bones.
Though far-flung, away on stretched water's.
I'm awaiting for thee, mine queen, O' Apricity,
I'm awaiting O' queen, mine swart of the sea, thou holdeth the lock, tis I hath the key, here thou goeth amour', open it up, flyeth on through-setteth me free.



©Brandon Nagley
©Earl Jane Nagley dedicated ( Filipino rose)
©Lonesome poet's poetry

This is Detroit
and we ignore
what the rest of the world
has to say about us,
we wear our stink
like a badge of honor
and we laugh
at the fear on your face
knowing where you are
and what youve heard.
This is Detroit
the motor-city
which means
you better own one
because our public transportation *****
our roads aren't much better
and our gas prices are high
which means
the speed limit is unacceptable in the fast lane
in fact,
anything thats not 10-15 over
is not acceptable
treat our highways like the autobahn
This is Detroit
and any Coney Island you go to
you shouldn't see any fries
underneath the chili and cheese
regardless how small It may be
This is Detroit
and its a city that refuses to die
because of its artistic output
from Motown
to Eminem
and our failures
that catch the eye of the world
yet we live on
through the hardship
that builds our character
as they scoff
This is Detroit
and every pothole
every decaying building
every makeshift
into a new business
is a character trait
where banks become pizza shops
and theaters parking lots
This is Detroit
where we still show up and party
for a football team that has never
won a Superbowl
This is Detroit
we are dangerous
we are lawless
we know our own
and we wouldn't want it any other way

I get off the Belt Parkway at Rockaway Boulevard and
Jet aloft from Idyllwild.
(I know, now called J.F. ******* K!)
Aboard a TWA 747 to what was then British East Africa,
Then overland by train to Baroness Blixen’s Nairobi farm . . .
You know the one at the foot of the Ngong Hills.
I lease space in Karen’s African dreams,
Caressing her long white giraffe nape,
That exquisite Streep jugular.
I am a ghost in Meryl’s evil petting zoo:
I haunt the hand that feeds me.

Safely back in Denmark, I receive treatment
For my third bout with syphilis at Copenhagen General.
Cured at last, I return to Kenya and Karen.
In my solitude or sleep, I go with her,
One hundred miles north of the Equator,
Arriving at Julia Child’s marijuana herb garden–
Originally Kikuyu Land, of course—
But mine now by imperial design &
California voter referendum.
(Voiceover) "I had a farm in Africa
At the foot of the Ngong Hills."
My farm lies high above the sea at 6,000 feet.
By daybreak I feel oh, oh so high up,
Near to the sun on early mornings.
Evenings so limpid and restful;
Nights oh, so cold.
Mille Grazie a lei, Signore *******!
Andiamo, Sydney, amico mio.
Let it flow like the water that lives in Mombasa.
Let it flow like Kurt Luedtke’s liquid crystal script.
We zoom in. We go close in. Going close up,
On the face of Isak Dinesen’s household
Servant and general factotum. (Full camera ******)
Karen Blixen’s devoted Muslim manservant,
Farah: “God is happy, msabu. He plays with us…”
He plays with me.  And who shall I be today?
How about Tony Manero for starters?
Good choice. Nicely done!
Geezer Manero:  old and bitter now,
Still working at the hardware store,
Twice-divorced, a chain-smoker,
Severely diabetic, a drunk on dialysis 3 times a week.
Bite me, Pop:  I never thought I was John Travolta.
But, hey, I had my shot:  “I coulda been a contenda.”
Once more, by association only,
I am a great artist again, quickly made
Near great by a simple second look.
Why, oh God? I am kvetching again.
I celebrate myself and sing the
L-on-forehead loser’s lament:
Why implant the desire and then
Withhold from me the talent?
“I wrote 30 ******* operas,”
I hear Salieri’s demented cackle.
“I will speak for you, Wolfie Babaloo;
I speak for all mediocrities.
I am their champion, their patron saint.”

Must I wind up in the same
Viennese loony bin with Antonio?
Note to self:  GTF out of Austria post-haste!
I’ve been called on the Emperor’s carpet again,
My head, my decapitated Prufrock noodle,
Grown slightly bald, brought in upon a platter.
Are peaches in season?
Do I dare eat one?
I am Amadeus, ******, infantile,
An irresistible iconoclast and clown.
Wolfie:   “I am called on the imperial carpet again.
The Emperor may have no clothes but he’s got a
Shitload of ******* carpets."
Hello Girls: ‘Disco Tampons!
Staying inside, staying inside!
Wolfie: "Why have I chosen a ****** farce for my libretto?
Surely there are more elevated themes . . . NO!
I am fed to the teeth with elevated themes,
People so lofty they **** marble!"
Confutatis maledictis,
Flammis acribus addictis.

So, I mix paint in the hardware store by day.
I dance all night, near-great again by locomotion.
Join me in at least one of my verifiable nine lives.
Go with me across the Narrows,
Back to Lenape with the wild red men of Canarsee,
To Vlacke Bos, Boswijk & Nieuw Utrecht,
To Dutch treat Breuckelen, Red Hook & Bensonhurst,
To Bay Ridge and the Sheepshead.
Come with me to Coney Island’s Steeplechase & Luna Park, &
Dreamland (aka Brownsville) East New York, County of Kings.
If I’m lying, I’m dying.
And while we’re on the subject now,
Bwana Finch Hatton (pronounced FINCH HATTON),
Why not turn your focus to the rival for Karen’s heart,
To the guy who nursed her through the syphilis,
That old taciturn ******, Guru Farah?
Righto and Cheerio, Mr. Finch Hatton,
Denys George of that surname—
Why not visualize Imam Farah?
Farah: a Twisted Sister Mary Ignatius,
Explaining it all to your likes-the-dark-meat
Friend and ivory-trading business partner,
Berkeley (pronounced BARK-LEE) Cole.
Can you dig it, Travolta?
I knew that you could!

Oh yeah, Tony Manero, the Bee Gees & me,
A marriage made in Brooklyn.
The Gibbs providing the sound track while
I took care of the local action.
I got more *** than a toilet seat, a Don Juan rep &
THE CLAP on more than one occasion.
Probably from a toilet seat.
Even my big brother–the failed priest,
Celibate too long and desperate now–
Even my defrocked, blue-balled brother,
Frankie, cashing in his chips at the Archdiocese,
Taking soave lessons from yours truly,
Taking notes, copying my slick moves with chicks.
It was the usual story with the usual suspects &
The usual character tests. All of which I flunk.
I choose Fitzgerald's “vast, ****** meretricious beauty,”
My jumpstart to the middle class.
I spurn the neighborhood puttana,
Mary Catherine Delvecchio: the community ****
With the proverbial heart of gold &
A backpack full of self-esteem deficits.
I opt out.  I’m hungry and leaping.
I morph again, grab *** the golden girl.
Now I’m Gatsby in a white suit,
Stalking Daisy Buchanan in East Egg,
Daisy: her voice full of money;
My green light flashing on the disco dance floor.
I, a fool for love; she, my faithless uptown girl,
Golden and delicious like the apple,
Capricious like a blue Persian cat.
My “orgiastic future” eluded me then.
It eludes me still. Time to go home again to the place
****-ant Prufrocks ponder their pathetic dying embers.
Time to assume the position:
Gazing out from some trapezoidal patch of green
At the foot of Roebling’s bridge,
Contemplating an alternative reality for myself,
A new life across the East River,
In the city that never sleeps.
I crave. I lust. I am a guinzo Eva Duarte.
I too must be a part of B.A., Buenos Aires:
THE BIG APPLE.
But I am ashamed of my luggage,
Not to mention my baggage.
It’s like that last thing Holden Caulfield said to me,
Just before he crossed over the Brooklyn Bridge,
Crossed over to Manhattan without me,
Leaving me alone again, searching for our kid sister,
Phoebe, the only one on earth we can relate to:
“It’s really hard to be roommates with people
If your suitcases are much better than theirs.”
Ow! That stung; that was a stinger.
I am smithereened by a self-guided drone,
A smart bomb full of snide antigravity,
Transformational and caustic.
My meager allotment of self-esteem
Metastasizes into something base,
Something heavy and vile.
I drop to earth like lead mozzarella.

I am unworthy, unworthy in the maximum mendicant,
Roman Catholic mea culpa sense of the word.
I am now Umberto Eco’s penitenziagite.
I am Salvatore, a demented hunchback
(Played flawlessly as a demented hunchback by Ron Perlman),
Spewing linguistic gibberish in a variety of vernaculars:
“Lord, I am not worthy to live anywhere west of the Gowanus Canal.”
By East River waters I weep bitter tears,
The promise of a promised land denied.
I am a garlic-eating Chuck Yeager,
Auguring in, burnt beyond recognition,
An ethnic trope, a defiant Private Maggio
From here and for eternity,
Forever a swarthy ethnic stereotype
Trying to escape thru a small but significant
Hole in the ozone layer above South Ozone Park,
New York, zip code 11420.
That’s right, Ozone Park.
If you don’t believe me, look it up.
GO ******* GOOGLE IT!

And I just don’t know when to quit.
So why quit there?
Work with me, fratello mio, mon lecteur.
Like you, I took the LSAT so long ago.
Why am I not a distinguished American jurist
Asking the one question that seems to be on
Everyone’s eugenic lips today:
“Aren’t three generations of imbeciles enough?”
I am Charly from Flowers for Algernon,
A slow learner with a push broom, swept up in
Some dust from Leonard Cohen’s cuff.
Lenny: a grey-beard loon himself now, singing
“Hallelujah” for fish & chips in London’s O2 Arena.
“Suzanne takes you down, Babaloo!”
At last, I am Jesus Quintana—
John Turturro stealing the movie as usual--
This time in a hair net and a jumpsuit,
"Made of a comfortable 65% polyester/35%
Cotton poplin, you can even add your own
Ribbon leg trim and monogramming
For just the right look to be one of
The Big Lebowski’s favorite characters.
Mouse-over the thumbnail below to see our actual style
(Color must be purple). Style #: 98P, Price: $55.95. On sale: $50.36.www.myjumpsuit.com."
Fortunately, I am a savvy marketeer:
I understand the artistic potential, the venal
Possibilities of product placement. Go with me
To that undiscovered country.
The humanities uncorrupted till now by
Crass gimcrack television ads. That’s right:
******* commercials smack dab in the
Middle of a ******* poem. Why not?
Great literature has always been about
Selling something, even if only an idea.
Hey, **** me, Herman Melville!
We both know the publication costs of
Moby **** were underwritten by the tattoo artists &
Harpoon manufacturers of New Bedford,
Matched by a small research grant from some
Proto-Greenpeace, Poseidon adventure in some
Great white whale-watching swinging soiree.
Murray the ******* K, pendejo!
At last, I am The Jesus, a pervert & pederast,
According to Walter Sobjak—another post-traumatic
Post Toasty, like me, still out there in the jungle,
Still in love with the smell of ****** in the morning.
My bowling buddy, Walter, comfortably far to the right of
The Dude, and Attila the *** for that matter,
But who gives a **** if Lenin was The Walrus?
(“Shut the **** up, Buscemi!”)
“Once you hang a right at Hubert Humphrey,”
Said the streets of 1968 Chicago,
"It’s all ******* fascism anyway.”
That creep could roll, though, and as we know so well:
“Nobody ***** with The Jesus.”
Can you dig it, Travolta?
I knew that you could!

INCOMING!
I just heard from an old girlfriend who is miles away,
Teaching school in Navajo Land.
The Big Rez:  a long day’s interstate katzenjammer,
A Route 66 nightmare by car, but by email,
Just down the block and round the corner.
I had previously closed an email to her with a frivolous
“Say hello to my stinky friend.”
It was a total non-sequitur, an iconic-moronic,
Ace Ventura-mutant line from Scarface,
Which may have meant–in my herbal lunch delirium—
That she should say hi to some mutual acquaintance
We mutually loathe, Or, perhaps an acknowledgement that she–
My surrogate Cameron Diaz–has a new **** buddy,
Of whom I am insanely jealous.
Or maybe it was a simple Seinfeld “about nothing.”
Who knows what goes on in that twisted *****’s head?
She spends the next two hours in a flood of funk,
A deluge of insecurity.
A veritable Katrina ****** of self-consciousness,
Interpreting my inane nonsense in terms of vaginal health.

Hey, you want to ruin a woman’s day?
Tell her, her **** smells.

Unsticking our young dimpled thighs from the leather seats
We swirl sodas, lemon bitter, in the back of your moma's old car with the fresh smell
Banging our shins into the metal girding of Coney Island's landmark Ferris wheel,
We were landmarks ourselves, clutching each other hard, squeals high in our throats
Caught there with the lemon soda and honey grains of covered peanuts
Salt Wind ruffled our hair and his name was Billy, he was ours for the summer
We danced with him sharp and gentle on our legs covered in girl fuzz
Isn't it just grand to have our taunts and jeers still rough in our bodies,
Still young and sweet enough to draw lines across each other's palms, and promise We are Sisters;
'Cause you know tomorrow, we'll forget it all.

Funny, how sometimes butterflies
skip over your skin without ever landing,
how basketballs spin
around the rim without swishing,
or how things never seem to work out.
I’ve been wishing

for moments of high tide, gravitational
moons that would draw me to you,
in the middle of May on Coney Island.
I want you to pull my pigtails like it’s preschool.
I want to bleed neon, shout pop tunes
to accompany my words that sound like
a poem we all had to learn
to recite from memory.

Funny, how we store meat behind our popsicles
in the freezer, how we tear up things
before we throw them away,
or how defeated we feel when we wake up
to zero new messages.
I’ve been reaching

for the plug in the drain,
sipping champagne,
hearing your name,

when all I really want is lunchboxes,
the kind your mom leaves notes in.
I want to beat you in four square,
color on my Converse, catch crayfish
in the creek behind your house.

Funny, how we tone down our souls
to fit the mold, or interview each other
based on pieces of paper when we are
alive, and breathing, and it’s funny
how we save money for next time,
plan for tomorrow before we’re done with today,
count our accomplishments before our scars.

Funny, how all we ever wanted
was to finally be exactly where we are.

With nothing much else to do,
We would grab a couple of purple prickly pear margaritas
And I remember how delicious they were
And how the bartender didn't hold back
Yes, they were strong.

And I would giggle, I would act ditzy.
Just because it was fun, and it got your attention.
You would roll your eyes at me sometimes
But not really in a mean way.

And we would grab some coney dogs, devour them like they were nothing.
Then we would fight about something.

We would drive all the way to the city
Stroll through the casinos aimlessly,
Because we were financially irresponsible,
But not that financially irresponsible.
Afterwards, you would buy me a delicious ice cream.

Then you would tell me all the places you wanted to take me, and all the events you wanted me to experience.

We really did give it our all.

But life is cruel, and our best wasn't good enough.

i became the jumpin' jack flash in november '77.
there was slush in new york city and the bums at the piers
still burned trash in metal barrels you could see from over on coney island even.
just like kerouac said.

in the daytime foolish kids picked weeds in central park
and called them flowers. they got laid by stringing charming words together as they gave them
to the thousand daughters of manhattan's old monied men,
the wall street hacks hanging from the teats of the
great & frenzied cash cow of capitalist interest. the milk
came slow that winter.

one week, early december when the slush gave way to furtive snowfalls
i took a bus to patterson, NJ
for a few days, drank a lot of awful coffee writing obscenities in my journal but speaking
them aloud in the restaurants and bars and so
was deemed just like everybody else in patterson, NJ.
drunk & high, helicopter tours, stuffed with bread and half-truths.
and when shortly my irish luck ran out i raced back to the big smoke
in a drop-top mercedes driven by a man whose thick accent i couldn't quite place.
whose only serious question was whether i knew anyone
who had good coke.

in the city it rained for three weeks straight and
david byrne, in some bowery apartment wrote a song called 'flood'
which was never released on any talking head's album
but lingered in his brain as a reminder of the three weeks
he spent cooped up, eating saltines and dancing to the rhythms of the thunder and rain outside.
totally alone with his mind & a bass guitar. tina weymouth, naturally, was furious.
the bass was the last thing she had left in a band she half-started. and david had stolen even that.

but that was tina weymouth, that was new york.

Come down,
come down,
come down from your rain cloud.
You're always rainin' on me
babe.

It isn't practical
up there,
what's the use?
And if you're in the sky
where am I,
save, you gotta save it for me now.

Rock me rock me rock me rock me
Rockaway, rock me to Brighton!,
Coney Island dead give away, hey!
I feel like there is more-
there is more and, and I'm not
fully sure,
not from New York.
everybody moves their body fast

they wanna do this city fast,
rock me rock me rock me,
rock me, you know I'm slow.

Get wise, get wise
rest sore eyes
on petals blue.
The waves
and the flat lands are too high now.

Reports are that New York City
Has washed out with the tide
Give my regards to Broadway
The starless Manhattan skyline

The coffee shop patrons are oblivious
To what is going on outside
With latte in hand they don't realize
They'll soon be swimming for their yuppie lives

All the business men on Wall Street
Are stuffing money in suitcases
Hoping that they'll double as
Life saving flotation

All those spotless high fashion models
Are in heels trying to run-away
It's far too late for that now
Shouldn't have gone to work today

With Central Park underwater
It's now New Yorks finest fishing spot
Tossing fishing lines out of every high-rise
Using what ever bait they've got

From Escargot to caviar
Along with diamond rings for shine
To attract the fish for that special dish
On which the rich can dine

Once a place of so much fun
The island became it's own ride
When Coney Island washed away
As New York was pulled out with the tide

After the movie, when the lights come up,
He takes her powdered hand behind the wings;
She, all in yellow, like a buttercup,
Lifts her white face, yearns up to him, and clings;
And with a silent, gliding step they move
Over the footlights, in familiar glare,
Panther-like in the Tango whirl of love,
He fawning close on her with idiot stare.
Swiftly they cross the stage. O lyric ease!
The drunken music follows the sure feet,
The swaying elbows, intergliding knees,
Moving with slow precision on the beat.
She was a waitress in a restaurant,
He picked her up and taught her how to dance.
She feels his arms, lifts an appealing glance,
But knows he spent last evening with Zudora;
And knows that certain changes are before her.

The brilliant spotlight circles them around,
Flashing the spangles on her weighted dress.
He mimics wooing her, without a sound,
Flatters her with a smoothly smiled caress.
He fears that she will someday queer his act;
Feeling his anger. He will quit her soon.
He nods for faster music. He will contract
Another partner, under another moon.
Meanwhile, 'smooth stuff.' He lets his dry eyes flit
Over the yellow faces there below;
Maybe he'll cut down on his drinks a bit,
Not to annoy her, and spoil the show. . .
Zudora, waiting for her turn to come,
Watches them from the wings and fatly leers
At the girl's younger face, so white and dumb,
And the fixed, anguished eyes, ready for tears.

She lies beside him, with a false wedding-ring,
In a cheap room, with moonlight on the floor;
The moonlit curtains remind her much of spring,
Of a spring evening on the Coney shore.
And while he sleeps, knowing she ought to hate,
She still clings to the lover that she knew,-
The one that, with a pencil on a plate,
Drew a heart and wrote, 'I'd die for you.'

He swooshes down the mountain
Carving a series of humongous S letters,
Gracefully, brilliantly,
Gliding down the pure white *****.
Admittedly, the snow is hallucinogenic, an
Alphabet soup & smorgasbord;
A diabolic concoction I find irresistible.
He snaps to a dead halt before me, with
Flair & flourish like an Argentine tango dancer.
He is wearing a bright red Mad Bomber Hat . . .
(Mad Bomber Hat...$39.95  ‎Adwww.llbeanbusiness.com/‎1-855-371- 2754. Outerwear & Fleece-Top Gifts & Incentives - 20% Off Volume Discounts)
Forgive the poet, a simple refusnik, refusing to die in the gutter. Forgive me for making poetry pay, for once. $Ka-ching! $Ka-ching!
One had to have a shitload of
Self-confidence to wear a hat like that, my
Va-jay-jay getting creamy,
His smile fluttering my clitoral funny bone.
Confidence & humor: for me always a
Lethal combination.
Back in Providence they call me a
Rhode Island Pizza Queen; a
Certified cat litter-box for cads & scoundrels.
The Mad Bomber squats:
He is 50% Rhett Butler, 30% Joey Gallo,
& the other 40%, Cosmo Kramer, (duh?)
Adding up to a deadly duo that gets me every time:
Confidence & Humor snags my guinea ***.
First it’s coffee & Sambuca at the Lodge.
Two hours later I blow him in the shower
At The Green Mountain Inn.
The next morning, we say goodbye in the parking lot.
He promises to call me from Boston, but
Of course, I never hear from him again.
That sums up my MO with men,
Explains how I **** up when picking men.
Every time, again & again, like a
Third generation imbecile, deranged & demented,
Doing the same thing over & over, yet
Expecting a different outcome.
Woe is ******* me!
Another neurotic, myopic, ganglia misfire;
A behaviorist might point out there must be some kind of
Reinforcement going on, seeing I keep
Coming back, going back for more,
Like a lab rat still pushing the lever
Long after the food pellets are gone.
Oh yes! Call me Angie the
Out of control downhill racer.
It’s bipolar moguls & roller coasters,
Another Six Flags ski weekend,
A Stowe, Vermont Coney Island of the Mind for
Angelina Delvecchio, shimmy,
Shimmy Cocoa Pops.

You’re aged thirty-two with your own bottomless bank account.
A pocket full of cash that’s digging a deep immeasurable pit into your pocket.
Spending ridiculous amounts on ridiculous things, no matter if it costs over a million.

You’re aged thirty-two with your own supercharged automobile.
Fresh new stainless steel alloys and rubber tires to burn at the turn of the diamond studded steering wheel.
Chasing the marks on the road as you drive off into your own endless oblivion.

You’re aged thirty-two with your own house in New York.
The doors of which let hundreds of guests pass through night after night into the never-ending carnivals rides of Coney Island.

But when they leave you standing alone on your peer, pensively pondering your past,
Reaching out for her green light across the misty filled lake.
Trying to work out how to bring her back, but only this time making it last.

She’s just across on the other side of the bay,
With no idea that the hole in her back is being burned by the fires of your eyes.
As you stand disguised staring into her yellow solar flare hair in the morning sunrise.

You’re aged thirty-two with an unfilled heart.
Longing for the girl that you should have never left in the start.
But she’s with someone new and she’s probably forgotten all about that year she spent with you.

You're just the distant memory reaching across the bay,
The one that the whisperers say was a lonely millionaire aged only thirty-two.

After the movie, when the lights come up,
He takes her powdered hand behind the wings;
She, all in yellow, like a buttercup,
Lifts her white face, yearns up to him, and clings;
And with a silent, gliding step they move
Over the footlights, in familiar glare,
Panther-like in the Tango whirl of love,
He fawning close on her with idiot stare.
Swiftly they cross the stage. O lyric ease!
The drunken music follows the sure feet,
The swaying elbows, intergliding knees,
Moving with slow precision on the beat.
She was a waitress in a restaurant,
He picked her up and taught her how to dance.
She feels his arms, lifts an appealing glance,
But knows he spent last evening with Zudora;
And knows that certain changes are before her.
The brilliant spotlight circles them around,
Flashing the spangles on her weighted dress.
He mimics wooing her, without a sound,
Flatters her with a smoothly smiled caress.
He fears that she will someday queer his act;
Feeling his anger. He will quit her soon.
He nods for faster music. He will contract
Another partner, under another moon.
Meanwhile, 'smooth stuff.' He lets his dry eyes flit
Over the yellow faces there below;
Maybe he'll cut down on his drinks a bit,
Not to annoy her, and spoil the show. . .
Zudora, waiting for her turn to come,
Watches them from the wings and fatly leers
At the girl's younger face, so white and dumb,
And the fixed, anguished eyes, ready for tears.
She lies beside him, with a false wedding-ring,
In a cheap room, with moonlight on the floor;
The moonlit curtains remind her much of spring,
Of a spring evening on the Coney shore.
And while he sleeps, knowing she ought to hate,
She still clings to the lover that she knew,--
The one that, with a pencil on a plate,
Drew a heart and wrote, 'I'd die for you.'