I WAS born on the prairie and the milk of its wheat, the red of its clover, the eyes of its women, gave me a song and a slogan.

Here the water went down, the icebergs slid with gravel, the gaps and the valleys hissed, and the black loam came, and the yellow sandy loam.
Here between the sheds of the Rocky Mountains and the Appalachians, here now a morning star fixes a fire sign over the timber claims and cow pastures, the corn belt, the cotton belt, the cattle ranches.
Here the gray geese go five hundred miles and back with a wind under their wings honking the cry for a new home.
Here I know I will hanker after nothing so much as one more sunrise or a sky moon of fire doubled to a river moon of water.

The prairie sings to me in the forenoon and I know in the night I rest easy in the prairie arms, on the prairie heart..    .    .
        After the sunburn of the day
        handling a pitchfork at a hayrack,
        after the eggs and biscuit and coffee,
        the pearl-gray haystacks
        in the gloaming
        are cool prayers
        to the harvest hands.

In the city among the walls the overland passenger train is choked and the pistons hiss and the wheels curse.
On the prairie the overland flits on phantom wheels and the sky and the soil between them muffle the pistons and cheer the wheels..    .    .
I am here when the cities are gone.
I am here before the cities come.
I nourished the lonely men on horses.
I will keep the laughing men who ride iron.
I am dust of men.

The running water babbled to the deer, the cottontail, the gopher.
You came in wagons, making streets and schools,
Kin of the ax and rifle, kin of the plow and horse,
Singing Yankee Doodle, Old Dan Tucker, Turkey in the Straw,
You in the coonskin cap at a log house door hearing a lone wolf howl,
You at a sod house door reading the blizzards and chinooks let loose from Medicine Hat,
I am dust of your dust, as I am brother and mother
To the copper faces, the worker in flint and clay,
The singing women and their sons a thousand years ago
Marching single file the timber and the plain.

I hold the dust of these amid changing stars.
I last while old wars are fought, while peace broods mother-like,
While new wars arise and the fresh killings of young men.
I fed the boys who went to France in great dark days.
Appomattox is a beautiful word to me and so is Valley Forge and the Marne and Verdun,
I who have seen the red births and the red deaths
Of sons and daughters, I take peace or war, I say nothing and wait.

Have you seen a red sunset drip over one of my cornfields, the shore of night stars, the wave lines of dawn up a wheat valley?
Have you heard my threshing crews yelling in the chaff of a strawpile and the running wheat of the wagonboards, my cornhuskers, my harvest hands hauling crops, singing dreams of women, worlds, horizons?.    .    .
        Rivers cut a path on flat lands.
        The mountains stand up.
        The salt oceans press in
        And push on the coast lines.
        The sun, the wind, bring rain
        And I know what the rainbow writes across the east or west in a half-circle:
        A love-letter pledge to come again..    .    .
      Towns on the Soo Line,
      Towns on the Big Muddy,
      Laugh at each other for cubs
      And tease as children.

Omaha and Kansas City, Minneapolis and St. Paul, sisters in a house together, throwing slang, growing up.
Towns in the Ozarks, Dakota wheat towns, Wichita, Peoria, Buffalo, sisters throwing slang, growing up..    .    .
Out of prairie-brown grass crossed with a streamer of wigwam smoke-out of a smoke pillar, a blue promise-out of wild ducks woven in greens and purples-
Here I saw a city rise and say to the peoples round world: Listen, I am strong, I know what I want.
Out of log houses and stumps-canoes stripped from tree-sides-flatboats coaxed with an ax from the timber claims-in the years when the red and the white men met-the houses and streets rose.

A thousand red men cried and went away to new places for corn and women: a million white men came and put up skyscrapers, threw out rails and wires, feelers to the salt sea: now the smokestacks bite the skyline with stub teeth.

In an early year the call of a wild duck woven in greens and purples: now the riveter's chatter, the police patrol, the song-whistle of the steamboat.

To a man across a thousand years I offer a handshake.
I say to him: Brother, make the story short, for the stretch of a thousand years is short..    .    .
What brothers these in the dark?
What eaves of skyscrapers against a smoke moon?
These chimneys shaking on the lumber shanties
When the coal boats plow by on the river-
The hunched shoulders of the grain elevators-
The flame sprockets of the sheet steel mills
And the men in the rolling mills with their shirts off
Playing their flesh arms against the twisting wrists of steel:
        what brothers these
        in the dark
        of a thousand years?.    .    .
A headlight searches a snowstorm.
A funnel of white light shoots from over the pilot of the Pioneer Limited crossing Wisconsin.

In the morning hours, in the dawn,
The sun puts out the stars of the sky
And the headlight of the Limited train.

The fireman waves his hand to a country school teacher on a bobsled.
A boy, yellow hair, red scarf and mittens, on the bobsled, in his lunch box a pork chop sandwich and a V of gooseberry pie.

The horses fathom a snow to their knees.
Snow hats are on the rolling prairie hills.
The Mississippi bluffs wear snow hats..    .    .
Keep your hogs on changing corn and mashes of grain,
    O farmerman.
    Cram their insides till they waddle on short legs
    Under the drums of bellies, hams of fat.
    **** your hogs with a knife slit under the ear.
    Hack them with cleavers.
    Hang them with hooks in the hind legs..    .    .
A wagonload of radishes on a summer morning.
Sprinkles of dew on the crimson-purple *****.
The farmer on the seat dangles the reins on the rumps of dapple-gray horses.
The farmer's daughter with a basket of eggs dreams of a new hat to wear to the county fair..    .    .
On the left-and right-hand side of the road,
        Marching corn-
I saw it knee high weeks ago-now it is head high-tassels of red silk creep at the ends of the ears..    .    .
I am the prairie, mother of men, waiting.
They are mine, the threshing crews eating beefsteak, the farmboys driving steers to the railroad cattle pens.
They are mine, the crowds of people at a Fourth of July basket picnic, listening to a lawyer read the Declaration of Independence, watching the pinwheels and Roman candles at night, the young men and women two by two hunting the bypaths and kissing bridges.
They are mine, the horses looking over a fence in the frost of late October saying good-morning to the horses hauling wagons of rutabaga to market.
They are mine, the old zigzag rail fences, the new barb wire..    .    .
The cornhuskers wear leather on their hands.
There is no let-up to the wind.
Blue bandannas are knotted at the ruddy chins.

Falltime and winter apples take on the smolder of the five-o'clock November sunset: falltime, leaves, bonfires, stubble, the old things go, and the earth is grizzled.
The land and the people hold memories, even among the anthills and the angleworms, among the toads and woodroaches-among gravestone writings rubbed out by the rain-they keep old things that never grow old.

The frost loosens corn husks.
The Sun, the rain, the wind
        loosen corn husks.
The men and women are helpers.
They are all cornhuskers together.
I see them late in the western evening
        in a smoke-red dust..    .    .
The phantom of a yellow rooster flaunting a scarlet comb, on top of a dung pile crying hallelujah to the streaks of daylight,
The phantom of an old hunting dog nosing in the underbrush for muskrats, barking at a **** in a treetop at midnight, chewing a bone, chasing his tail round a corncrib,
The phantom of an old workhorse taking the steel point of a plow across a forty-acre field in spring, hitched to a harrow in summer, hitched to a wagon among cornshocks in fall,
These phantoms come into the talk and wonder of people on the front porch of a farmhouse late summer nights.
"The shapes that are gone are here," said an old man with a cob pipe in his teeth one night in Kansas with a hot wind on the alfalfa..    .    .
Look at six eggs
In a mockingbird's nest.

Listen to six mockingbirds
Flinging follies of O-be-joyful
Over the marshes and uplands.

Look at songs
Hidden in eggs..    .    .
When the morning sun is on the trumpet-vine blossoms, sing at the kitchen pans: Shout All Over God's Heaven.
When the rain slants on the potato hills and the sun plays a silver shaft on the last shower, sing to the bush at the backyard fence: Mighty Lak a Rose.
When the icy sleet pounds on the storm windows and the house lifts to a great breath, sing for the outside hills: The Ole Sheep Done Know the Road, the Young Lambs Must Find the Way..    .    .
Spring slips back with a girl face calling always: "Any new songs for me? Any new songs?"

O prairie girl, be lonely, singing, dreaming, waiting-your lover comes-your child comes-the years creep with toes of April rain on new-turned sod.
O prairie girl, whoever leaves you only crimson poppies to talk with, whoever puts a good-by kiss on your lips and never comes back-
There is a song deep as the falltime redhaws, long as the layer of black loam we go to, the shine of the morning star over the corn belt, the wave line of dawn up a wheat valley..    .    .
O prairie mother, I am one of your boys.
I have loved the prairie as a man with a heart shot full of pain over love.
Here I know I will hanker after nothing so much as one more sunrise or a sky moon of fire doubled to a river moon of water..    .    .
I speak of new cities and new people.
I tell you the past is a bucket of ashes.
I tell you yesterday is a wind gone down,
  a sun dropped in the west.
I tell you there is nothing in the world
  only an ocean of to-morrows,
  a sky of to-morrows.

I am a brother of the cornhuskers who say
  at sundown:
        To-morrow is a day.

SMOKE of autumn is on it all.
The streamers loosen and travel.
The red west is stopped with a gray haze.
They fill the ash trees, they wrap the oaks,
They make a long-tailed rider
In the pocket of the first, the earliest evening star..    .    .
Three muskrats swim west on the Desplaines River.

There is a sheet of red ember glow on the river; it is dusk; and the muskrats one by one go on patrol routes west.

Around each slippery padding rat, a fan of ripples; in the silence of dusk a faint wash of ripples, the padding of the rats going west, in a dark and shivering river gold.

(A newspaper in my pocket says the Germans pierce the Italian line; I have letters from poets and sculptors in Greenwich Village; I have letters from an ambulance man in France and an I. W. W. man in Vladivostok.)

I lean on an ash and watch the lights fall, the red ember glow, and three muskrats swim west in a fan of ripples on a sheet of river gold..    .    .
Better the blue silence and the gray west,
The autumn mist on the river,
And not any hate and not any love,
And not anything at all of the keen and the deep:
Only the peace of a dog head on a barn floor,
And the new corn shoveled in bushels
And the pumpkins brought from the corn rows,
Umber lights of the dark,
Umber lanterns of the loam dark.

Here a dog head dreams.
Not any hate, not any love.
Not anything but dreams.
Brother of dusk and umber.

Do you hear those screams, piercing the night? It’s a little annoying sometimes, just when I’m trying to sleep, a shriek tears that delicate fabric of silence, and jolts me awake, once again. I’m not scared of those screams, but there’s something familiar about them, something, about that voice, that dread that cripples my heart-That voice. It belongs to me.                        Sweat rolls down my tiny face, like on a warm summer night, except now every part of me shivers from the cold, on the inside and the outside.

And slowly I start to remember why; why I scream.

The reminder, the memory- It comes. Silently, like a thief tiptoeing into my room. I bear witness unable to move, Still as a rock, I’m smothered by the weight of it, unable to breathe.“Go away”, I try to scream under the weight of a disobedient voice. But it’s no use, the naustalgia is unstoppable.           The coming nightmare whispers silently into my terrified ears, “Shush, enjoy that pain, they say everyone likes it.”And it comes, the pain so painful that death is sweeter. I can’t embrace it, I never will.

 And I’m taken to the past. To the day it all went downhill.

“So many colours!”, I said, as I gaped at the garishly painted wall that I tried to grasp with my gnarly little digits. I was never bored here at the kindergarten, unlike some other muskrats who only bestowed their presence to show off their capabilities to produce saltwater from their eyes and dolphin mating calls from their blackhole-like mouths. Some talent.

It was a sunny summer day and the only thing I didn’t like about it was that every adult complained about the heat -all the time- my mum, my dad and my teachers, everyone. I remember thinking that all these grown-ups were absurd. Sure it was a little hot, but winter was always coming, so it was only fair. Change was constant, but it was such a bright day, why complain at all? I felt exceptionally happy, the whole day was a treat to my imagination laden senses.

Pity, it was such a good day to eat chocolates too.

Another thing I remember about that day was that pesky little boy, who didn't strike me as obnoxious back then, but now I’m retrospect he was really quite a block in the chimney stack. He’d entered class yesterday with the Doraemon pencil that recited generic phrases from the popular kids show, stuffed proudly in his chest pocket. And as he walked to his seat, the sound of his footsteps were punctuated by tiny “oooh’s” and “aaah’s”, as adoring little preschoolers watched the invaluable speaking object reverently. Unable to deal with the sudden adoration prudently, he got ahead of himself as his world fed that ancient balloon- The male ego. He started teaching "art" forms such as scribbling and scratching. And because I was the one sitting next to him, he felt the need to bestow upon me his vast knowledge of the subject. I didn’t really mind this condescension only because the implement he used to teach me was so exquisite. I sat there listening to him till I got bored of him talking about his Daddy and his money.

Then that little bird had started to sing so beautifully, humming at the trees as it sat on our windowsill. Every shrill note out of its little beak sent the "historic" words of that boy deeper and deeper into the dark recesses of my tiny mind. The effect of that simple melody was immediate. I stood up and started to sway slowly to the windowsill. (Even though the things I remember about this make no sense to me now, they are quite an accurate representation of my state of mind at that point.) I loved the little sound that the little birdie made, the memory of it still makes me want to jump and dance. I cooed back to her, “Coo coo(I’m happy too I tried to chirp to her)”. She looked at me quite a while, cocked her head a little to the side and cooed once more before flying off.

She replied!

She understood what I told her and she replied in kind. My wonder making mind went into a mad frenzy. So all the cartoons were true, you could really speak to animals. How I wished, I had a poké-ball! I marched to the teacher in small short joyous steps as she wrote on blackboard and clutched on to the end of her Churidar because my little hands could only go so far.          “Teacher, Teacher”, I squealed in ecstasy, “That birdie spoke to me”          “I’m sure she did, sweetie, now go back to your seat.”, she replied.

Deflated but happy nonetheless, I skipped back to my chair merrily, thinking of little birdies and a magical Pokémon. I remember, I loved how that know-it-all pencilbigmouth kept asking me to tell him what the birdie told me. Even if I hadn’t loved to see him beg,(which I did) it was my little secret, how could I tell him? How would he even start to understand? (Yeah I was being quite the drama queen in my head back then, blame the TV.)

 

 

Here I break apart from my rapture into the past and find that in my subconscious, the memory gets blurry somehow, like the radio running between stations on daddy’s phone, I get snippets of thoughts and feelings as the memory fractures into a thousand pieces.

“Mumma must understand what the birdie said.”
"Pokémon exist."
“Oh! Chocolates! Yay.”
“There’s more, if you want some.”, a gruff voice resounds in my heart.
"More yay."
“Why is he removing his clothes?”
Then suddenly,  I remember the pain- searing hot and burning through me-as clearly as sunlight through trees. Crying and screaming, I tried to escape, but to no avail. There was a big man in front of me now. His lust-crazy eyes, ******* out every piece of my existence. Somehow he was inside me and it hurt, it hurt.

How was he inside me?

Why did it pain so much?

Didn’t he hear my cry?

Stop it.

I couldn’t move, I could do nothing but scream.                                                  He touched me in my softest parts, painfully, pinching me and tearing my skin apart. It was a sea of agony and I was drowning. As I struggled to breathe, the blackness finally took me under. That unconsciousness had saved me and cradled me, lulling me to sleep in its darkness.

It felt like death but crueler, because it let me live.

Looking back I realize, the sun wasn’t bright because it was happy, it was warning me. The day wasn’t bright, it was becoming hotter in foreboding. The bird didn’t tell me it was happy, it told me to fly away, far away.

 

Why are you still making me cry? After all these years, even when you’re asleep behind iron bars. Why are you still here, holding me down in your death clasp.?

Stop it. It hurts.                                                           ­                                                 It hurts.                                                           ­                                                                 ­  I can’t breathe, I’m choking,                                                         ­                          I’m dying.

I’m dyi…..

 

Calm down, I yell at my panicked heart. Slowly inhaling and exhaling, trying to fall back into my dysfunctional sleep, I lay back into my sweat soaked bed and close my eyes. And as the blackness of sleep slowly washes me down under its waves once again, I hear it again, somewhere over the dark horizon.

Stop it! I like this darkness, stop screaming. I sit up once again. I tell myself I’m not afraid of these screams anymore. I ignore the shrieks and the unease growing in me and close my eyes once more. Then I realize that the cries of terror that resound in my ears like a half-forgotten memory, they belong to me.

And once again I start to remember why, why I scream,

And once again the memory comes.

I

in the dark starvation is real.
In dark, the emesis that fills my
cheeks is a currency I soak inside, animal
coinage, the fine
bulbous talons of Sepiidae.

Savagely, pelagically
starving made me rich when
Muskrat’s claws pull apart delicate meat.
Sad Spanish blood, I would like you
to panic about what has been lost.
No body, no crime—we are all cannibals; so the muskrat ate
flesh from the dugong-heavy remora

a parallax of sorts occurs
when I cannot find my own entrails—
perhaps they are ruminating in my gut—
boiling in my optic nerve.

But–I found little boys betting quarters for eating bowels
of goat. I was small enough to fit through
playground gates so I could swing
swing in earthquakes, and portents
ride out this day on the waves—to succeed

foothills, grasses, and bath salts
by the creek. I got my quarters.
They asked me who made me as Mountain
Dew dribbled down my chest.
Infant teeth shattered my infant

fists and I did not eat divvied livers and
Victim watchers.
I wrote on
my protruding
viscera
proverbs from my ancient days


–extraordinary porch things, depleted
Phosphorus, and, on bendable limbs
I catalogued my windscraped knees.

How does one so young
become
so fed up with
hunger.

II

Starving made me easier to tie.
easier to lift.
my ancient autopsy of starvation
made me feel gutted out
like Finished
ice-cream containers.
Made me able to hold my breath for
up to six minutes—starving
made me full of Household Gods and rickety
rosaries,

small brown globular clusters,
1 arcsecond of stress
capable of aligning me
with spring-loaded washers

I pop one nut—two—
Dental Work can be a rhizome,
ordering wee-soldiers from
its tethered nodes without
lactation, laceration, infection into
my sleep-deprived throat,
Choking on bird chirps
and x-ray bursts

below the cradle where
my android sleeps. I
have named him The Alabaster.
(Synching The Alabaster.)
The Alabaster–Allie–is a kind of boat
that I have hole-punched into; like
children of the deep I have hurled
nearby rocks into its lungs.
I have wrenched crumbs of my honeymoon
sidewalk, for a beast that panics.
I would trade
the last of the dugongs
for a muskrat’s smile–
now there exists a cult for Plastic
that the spotlights started,

and in the night it will not
end with the filter feeder sinking
to the depth of the imagined water column,
spinning in the Gyre disposal.
There isn’t a colander large enough
to sift through the pejorative waste.

I knew the night would be fraught.
It makes my fusiform body necessary for
transport. Makes Monophyletic solid consumption
trucks and ACE arms reach for
well-behaved spearfish bodies.
Makes days disappear and cold
seem like simmering.
Makes staying out of sight
a trim.

And I told them,
the Fusiforms and Balusters, that
the spearfish would devour the hero who comes
from afar bearing the gift of travel–
Tully-Fisher, with his cottonseed oil
“Manufactured in USA” in
compounding pharmacies.
He made me.
And I told him:

to Tell me to trawl for something less
plastic than my second
self–that I which exists
in Mary Poppins cannons, compact
intimacies, medical and portable–

to dig within my throat, discover a nurdle
that failed to photodegrade during the the day
the Sirenia sang,
the Muskrat gnawed off his leg and hand
fed it to the remora.
III

My mouth is parched
for diagnosis of rickets, for
my un-mineralized bones.
I need RR Lyrae, Statistical π,
population “II”s
to stand in for my night.
I need Sweetened,
Spoonfuls of BB pellets and
Spoonfuls of cepheids to help
the tetany go down,

myopathic infants and
ricket Rosary symbols only work
in sacrifice–In this sense,
I have constructed a panic
architecture–Craniotabes are too
vast. Prions and viroids have seeped
through,

Infections more than dreams,
for injured muskrats who yearn for
the last real mermaid’s smile,
or tears if that would smash open
the cluttered ocean and scatter
the unwanted hosts multiplying
in my spinal fluid.

In day there is no more starvation–
the remora bring me
Libations and admire
my six pack rings mobile.
My connective obligatory.

Under my fingernails are thin
crisps that may somehow create equilibrium.
Although I nibble them regularly
I can’t always swallow.
Surrounded by a dense fog of fleas
my tongue is itching.
My teeth are scratching, scraping
away the space that will always be there.


The antique aisle at the local international
superstore is handing out shriveled
heads of past didactic patients.
But I tell them it’s not what’s there that matters
it’s what’s not there. And in my case
there’s a surplus of nothing that
I can live without.

Many settlers were eaten by muskrats during the Muskrat War of 1855. Tom, a young pioneer, settled down for a night of restful sleep in his tent when all of a sudden he was eaten by a muskrat, a smart-*** muskrat that would cleverly assume his identity and go on to become a wealthy Abraham Lincoln impersonator.

Pebbles and pistachios wrinkle in our pockets
like my mother’s attic wedding dress. From the side your nose
looks like an oil well. The gas station is 2.5 miles
away from here. We’re walking there for bottles that we’ll empty
and then leave next to churches in place of slaughtered lamb.
Sky punctures our wrists. You tell me the weather will be painting itself bruised
fireworks for the next week; I tell you about yawning.
It is summer and I am thinking about your hand overwhelmed
by sweat and how two years ago it was winter and your hand
was still broken but I made you hold my wrists anyway. Last
time we were in the park we drank like muskrats. Corporeal *****
stained the grass like knees: varnish for the ink that grappled
the insides of our tenderly wired bodies.

Beyond the rusty and almost  illegible "NO DUMPING" sign, lies the old dump. Beyond the first layer of recently deposited *******, leftovers of the occasional hobo alcoholic or teen partiers, is the heavy underbrush, a thicket so thick. Beyond that, you begin to get into the good stuff. Waylaid remnants of yesteryears all bungled and tossed about, with plenty of new inhabitants (hatchlings and their recent refugee Canadian geese parents) calmly making good of what surrounds. Lots of rot, as it all sits creekside, gives malodorous inclinations of fishy remains, the raccoons' and martens' cast-offs. Beyond, and beyond further that, if you have stomach enough and don't mind mustering about with muskrats, is a nifty cache. Trinkets are found amongst heaps of broken glass in the beyond beyond regions. Whole or only slightly chipped vessels are gold. Especially, ones that may say, "Dr. Whosie's Whatever Wonderful Tonic Water." Those are the best.

Amongst a treasure trove as this, in its paragon of days gone by, is also a seepage of what may not be as good as the good doctor ordered. It is arsenic, and other carcinogenic pollutants, things unheard of, that would make your molecular epidemiology stand on end. Things an Industrial Revolution left behind, the not so pretty things we find, but do not see. Seepage that sinks into water, under our skin, into Leukemic bones, and beyond words' worries of families affected. Beyond all this, is us, and by stirring it up, we are given a question. Is it better to leave what's left behind in its depths, or are we to pull it out, likely spreading more about, as well as what may be residually left unfound, or do we just stop and think? And maybe get a new "NO DUMPING" sign. Thank you for allowing me this whine. This has been my dump.

Every year
the lilies
are so perfect
I can hardly believe

their lapped light crowding
the black,
mid-summer ponds.
Nobody could count all of them -

the muskrats swimming
among the pads and the grasses
can reach out
their muscular arms and touch

only so many, they are that
rife and wild.
But what in this world
is perfect?

I bend closer and see
how this one is clearly lopsided -
and that one wears an orange blight -
and this one is a glossy cheek

half nibbled away -
and that one is a slumped purse
full of its own
unstoppable decay.

Still, what I want in my life
is to be willing
to be dazzled -
to cast aside the weight of facts
and maybe even
to float a little
above this difficult world.
I want to believe I am looking

into the white fire of a great mystery.
I want to believe that the imperfections are nothing -
that the light is everything - that it is more than the sum
of each flawed blossom rising and fading.  And I do.

Many settlers were eaten by muskrats during the Muskrat War of 1855. Tom, a young pioneer, settled down for a night of restful sleep in his tent when all of a sudden he was eaten by a muskrat, a smart-*** muskrat that would cleverly assume his identity and go on to become a wealthy Abraham Lincoln impersonator.

It’s hot in
Missouri.
The summer  
sun looks down  
jealous of
youth playing in
the fields,
carefree and
careless.
Kids drown
muskrats with
rocks in the
stream, and have
funerals for flies.
Death watches, and
waits for
winter to come.

Drop, tuck & roll, hard coke makes coal in the wilds of Australia minus mammalia. It is a con & a pain, borderline insane when ½ grilled Colby cheese slowly melts for trappers trapping muskrats for muskrat pelts. The common halves: ½ ***, ½ dollar, ½ ton, ½ way, ½ way house, ½ way there, ½ baked, ½ cup, ½ sister, ½ done, ½ mast, ½ dead, ½ naked, ½ ply, ½ awake, ½ tablespoon, ½ asleep, ½ hour, equally divide me. Hi, I'm Tim Walmart. Glad to meet you Mr. Walmart. I'm Todd Kmart. Are you related to Bob Family Dollar? No.

Quick snap & release I must sell geese
Drop, tuck & roll, hard coke makes coal
in the wilds of Australia minus mammalia
It is a con & a pain, borderline insane
when half grilled Colby cheese slowly melts
for trappers trapping muskrats for muskrat pelts

Drop, tuck & roll, hard coke makes coal in the wilds of Australia minus mammalia. It is a con & a pain, borderline insane when ½ grilled Colby cheese slowly melts for trappers trapping muskrats for muskrat pelts. The common halves: ½ ***, ½ dollar, ½ ton, ½ way, ½ way house, ½ way there, ½ baked, ½ cup, ½ sister, ½ done, ½ mast, ½ dead, ½ naked, ½ ply, ½ awake, ½ tablespoon, ½ asleep, ½ hour, equally divide me. Hi, I'm Tim Walmart. Glad to meet you Mr. Walmart. I'm Todd Kmart. Are you related to Bob Family Dollar? No.

I found a baby snapping turtle
by the muskrats pond

He fit in the palm of my hand
not inch more long

I set him back on the ground
and when he crawled away

I felt the tears upon my eyes
I had wanted him to stay