And when I met that girl in San Francisco
Off a dusty little pier
with rotting wood
and squawking seals
And screaming bayside wind

She caught me off-tropics
and danced with the grace
of a palm tree
lines between the quaked
concrete
off telegraph avenue
On an obscuring Sunday morning

and no
she didn't go
to church or any silly thing
like a temple or synagogue
She said those were no places
for god

God was the trees

We smoked cigarettes and got off to each other's
carcinogenic practices
oxidizing a little faster in conjunction with hopeful
Formaldehyde
Deriding the formalities
of small talk and trivialities

She liked her guitars with nickel-wound strings
I with nylon
But I couldn't play songs
that sounded any good with them
while she could
and did.

and girl did it ever sound good

She'd laugh at the contests on the radio
while we drove on a half-moon
to half-moon
full and whole of ourselves
We'd stopped in the lobby of a cheap motel
And waltzed to background
muzak
wacked out of our minds
Sniffing in deep huffs of subliminal
divinity
Understanding
loving
that mind-numbing
monotony

muzak...
ppsh.
Who ever really listened to that?

And then she left
at the end of one fine winter day
in a cloudless sky I waved
watched her plane
skip off
towards the edge of a pale blue horizon
back south
to warmer climes
to wherever she truly stayed
The tugging on my heartstrings
chimed grotesque in
precise
D minor.

ah, christ, what a CREW:
more
poetry, always more
P O E T R Y .

if it doesn't come, coax it out with a
laxative. get your name in LIGHTS,
get it up there in
8 1/2 x 11 mimeo.

keep it coming like a miracle.

ah christ, writers are the most sickening
of all the louts!
yellow-toothed, slump-shouldered,
gutless, flea-bitten and
obvious . . . in tinker-toy rooms
with their flabby hearts
they tell us
what's wrong with the world-
as if we didn't know that a cop's club
can crack the head
and that war is a dirtier game than
marriage . . .
or down in a basement bar
hiding from a wife who doesn't appreciate him
and children he doesn't
want
he tells us that his heart is drowning in
*****. hell, all our hearts are drowning in *****,
in pork salt, in bad verse, in soggy
love.
but he thinks he's alone and
he thinks he's special and he thinks he's Rimbaud
and he thinks he's
Pound.

and death! how about death? did you know
that we all have to die? even Keats died, even
Milton!
and D. Thomas-THEY KILLED HIM, of course.
Thomas didn't want all those free drinks
all that free *****-
they . . . FORCED IT ON HIM
when they should have left him alone so he could
write write WRITE!

poets.

and there's another
type. I've met them at their country
places (don't ask me what I was doing there because
I don't know).

they were born with money and
they don't have to ***** their hands in
slaughterhouses or washing
dishes in grease joints or
driving cabs or pimping or selling ***.

this gives them time to understand
Life.

they walk in with their cocktail glass
held about heart high
and when they drink they just
sip.

you are drinking green beer which you
brought with you
because you have found out through the years
that rich ******* are tight-
they use 5 cent stamps instead of airmail
they promise to have all sorts of goodies ready
upon your arrival
from gallons of whisky to
50 cent cigars. but it's never
there.
and they HIDE their women from you-
their wives, x-wives, daughters, maids, so forth,
because they've read your poems and
figure all you want to do is **** everybody and
everything. which once might have been
true but is no longer quite
true.

and-
he WRITES TOO.
POETRY, of
course. everybody
writes
poetry.

he has plenty of time and a
postoffice box in town
and he drives there 3 or 4 times a day
looking and hoping for accepted
poems.

he thinks that poverty is a weakness of the
soul.

he thinks your mind is ill because you are
drunk all the time and have to work in a
factory 10 or 12 hours a
night.

he brings his wife in, a beauty, stolen from a
poorer rich
man.
he lets you gaze for 30 seconds
then hustles her
out. she has been crying for some
reason.

you've got 3 or 4 days to linger in the
guesthouse he says,
"come on over to dinner
sometime."
but he doesn't say when or
where. and then you find out that you are not even
IN HIS HOUSE.

you are in
ONE of his houses but
his house is somewhere
else-
you don't know
where.

he even has x-wives in some of his
houses.

his main concern is to keep his x-wives away from
you. he doesn't want to give up a
**** thing. and you can't blame him:
his x-wives are all young, stolen, kept,
talented, well-dressed, schooled, with
varying French-German accents.

and!: they
WRITE POETRY TOO. or
PAINT. or
****.

but his big problem is to get down to that mail
box in town to get back his
rejected poems
and to keep his eye on all the other mail boxes
in all his other
houses.

meanwhile, the starving Indians
sell beads and baskets in the streets of the small desert
town.

the Indians are not allowed in his houses
not so much because they are a ****-threat
but because they are
***** and
ignorant. *****? I look down at my shirt
with the beerstain on the front.
ignorant? I light a 6 cent cigar and
forget about
it.

he or they or somebody was supposed to meet me at
the
train station.

of course, they weren't
there. "We'll be there to meet the great
Poet!"

well, I looked around and didn't see any
great poet. besides it was 7 a.m. and
40 degrees. those things
happen. the trouble was there were no
bars open. nothing open. not even a
jail.

he's a poet.
he's also a doctor, a head-shrinker.
no blood involved that
way. he won't tell me whether I am crazy or
not-I don't have the
money.

he walks out with his cocktail glass
disappears for 2 hours, 3 hours,
then suddenly comes walking back in
unannounced
with the same cocktail glass
to make sure I haven't gotten hold of
something more precious than
Life itself.

my cheap green beer is killing
me. he shows heart (hurrah) and
gives me a little pill that stops my
gagging.
but nothing decent to
drink.

he'd bought a small 6 pack
for my arrival but that was gone in an
hour and 15
minutes.

"I'll buy you barrels of beer," he had
said.

I used his phone (one of his phones)
to get deliveries of beer and
cheap whisky. the town was ten miles away,
downhill. I peeled my poor dollars from my poor
roll. and the boy needed a tip, of
course.

the way it was shaping up I could see that I was
hardly Dylan Thomas yet, not even
Robert Creeley. certainly Creeley wouldn't have
had beerstains on his
shirt.

anyhow, when I finally got hold of one of his
x-wives I was too drunk to
make it.

scared too. sure, I imagined him peering
through the window-
he didn't want to give up a **** thing-
and
leveling the luger while I was
working
while "The March to the Gallows" was playing over
the Muzak
and shooting me in the *** first and
my poor brain
later.

"an intruder," I could hear him telling them,
"ravishing one of my helpless x-wives."

I see him published in some of the magazines
now. not very good stuff.

a poem about me
too: the ******.

the ****** whines too much. the ****** whines about his
country, other countries, all countries, the ******
works overtime in a factory like a fool, among other
fools with "pre-drained spirits."
the ****** drinks seas of green beer
full of acid. the ****** has an ulcerated
hemorrhoid. the ****** picks on ****
"fragile ****." the ****** hates his
wife, hates his daughter. his daughter will become
an alcoholic, a *******. the ****** has an
"obese burned out wife." the ****** has a
spastic gut. the ****** has a
"****** brain."

thank you, Doctor (and poet). any charge for
this? I know I still owe you for the
pill.

Your poem is not too good
but at least I got your starch up.
most of your stuff is about as lively as a
wet and deflated
beachball. but it is your round, you've won a round.
going to invite me out this
Summer? I might scrape up
trainfare. got an Indian friend who'd like to meet
you and yours. he swears he's got the biggest
pecker in the state of California.

and guess what?
he writes
POETRY
too!

we were mentally ill, and mad
in so many beautiful ways
we sat for years - just sat
with that garbage rotting
everything - our brains rotting

(was there a camera behind our bathroom mirror?)

then, there was that night we got lost
in a fog of angel dust
you, crawling on all four, praying to Jesus Christ
throwing up blood and whiskey
begging your Savior for mercy
and we Believed (for a few hours)

(was there a dead man looking through my window?)

the buzzing of banana-flies
buzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzz
grindin­g of teeth
and that hysterical laughter from the TV next door
all the muzak in the vestibules of hell

(were they laughing at us?)

oh, Lord! what perfect panic!
i painted. painted like my life depended on it
they were all on the canvas - friends, family, and neighbors
hundreds of white eyeballs
all looking upon us with disgust

(could they hear our thoughts?)

now,
we are two ugly, screaming faces
drifting unchecked in time
onward, paranoia!
onward, terrible fear!
onward, my dear friend!

Among pelagian travelers,
Lost on their lewd conceited way
To Massachusetts, Michigan,
Miami or L.A.,

An airborne instrument I sit,
Predestined nightly to fulfill
Columbia-Giesen-Management's
Unfathomable will,

By whose election justified,
I bring my gospel of the Muse
To fundamentalists, to nuns,
to Gentiles and to Jews,

And daily, seven days a week,
Before a local sense has jelled,
From talking-site to talking-site
Am jet-or-prop-propelled.

Though warm my welcome everywhere,
I shift so frequently, so fast,
I cannot now say where I was
The evening before last,

Unless some singular event
Should intervene to save the place,
A truly asinine remark,
A soul-bewitching face,

Or blessed encounter, full of joy,
Unscheduled on the Giesen Plan,
With, here, an addict of Tolkien,
There, a Charles Williams fan.

Since Merit but a dunghill is,
I mount the rostrum unafraid:
Indeed, 'twere damnable to ask
If I am overpaid.

Spirit is willing to repeat
Without a qualm the same old talk,
But Flesh is homesick for our snug
Apartment in New York.

A sulky fifty-six, he finds
A change of mealtime utter hell,
Grown far too crotchety to like
A luxury hotel.

The Bible is a goodly book
I always can peruse with zest,
But really cannot say the same
For Hilton's Be My Guest.

Nor bear with equanimity
The radio in students' cars,
Muzak at breakfast, or--dear God!--
Girl-organists in bars.

Then, worst of all, the anxious thought,
Each time my plane begins to sink
And the No Smoking sign comes on:
What will there be to drink?

Is this ma milieu where I must
How grahamgreeneish! How infra dig!
****** from the bottle in my bag An analeptic swig?

Another morning comes: I see,
Dwindling below me on the plane,
The roofs of one more audience
I shall not see again.

God bless the lot of them, although
I don't remember which was which:
God bless the U.S.A., so large,
So friendly, and so rich.

It was in total a fast track ticket to the moon
and I can't return to transaction dock 8 too soon
the star checkout lane at my local supermarket
tops balloons with rocket science aeronautics
that pilot's service areas binary counter perfect
exceeding expectations bent into global orbit

My items sped along to muzak her slim milky way belt
a smile beaming discount countdowns heaven sent
taking off in bit lips when her priceless item buttons
almost burst free to air with a strain of special promotions
helpfully assisting my every excess flight of fancy
made impulse buys a baggage allowance necessity

She stroked parts of her radical laser station
to fully engage hygienic wiped spills of imagination
and I felt the warp of hyperdrive tangelo engines
urging me into a dive to scan juice ripe tangerines
a last minute save fuelled by stalling flashback cavities
gyrating in tight nets as we escaped earth's gravity

With a twist of her wrist I was into fits-the-bill ecstasy
as the whirr of electronics cut loose such quality
with a lick of an index finger our mission was bagged
handled too efficiently for any danger of jet lag
no flyby chance to not exchange standby coupons
my trolley emptied of offers too galactic to pass on

STROLLING OUT OF TUNE

When the wind blows round it swirls and sweeps memories of what was once there, thoughts of an old song take longer and longer to repair

Began toe tapping almost adding in the clapping but would rather arise maybe explore to find a new prize

Stuck in a cerebral gap this tune may take a map,keeping digging in try to place that gorgeous groove

Set off out the door to not be a bore, soon found myself pacing in time to some hidden rhyme ,waiting for it to arise

Birds and buses beginning to chirp and hum adding their part, as I try to pick up more clues

Taking it in stride feeling this may be a long stroll,that unknown elegy will be a nice surprise

Rambling again, smooth echoes entering my mind hopefully helping to harmonize my next muse

Making the next strut to remove muzak from that rut, picking it up a key or two will surely bring brightness to my eyes

Lost lyrics lingering ,slowly letting go of that *******,  guitar maybe a banjo or dobro waiting with a new lick to diffuse

Back to the trail humming along listening to the sky's to drop that song,so will this shuffle bring a new ruffle or just be for the exercise

Again set to travel as the sonnets unravel,  hoping that bebop will be part of the hop desiring the dancing, breaking into upbeat prancing finally finding that new melody will be the best news. R..C.

When he went through the windshield, amid the shrill fracture of glass and above the curling guardrail, he did not think of Junebug or his mother or his boyhood summers at Lake Tenkiller. He thought only of deep-grooved ritual: get in, turn the key, press power on the radio, turn the air to 1, and buckle in.

He saw the guardrail. He saw the guardrail and knew, or half-knew, what would come next.

He headed straight for it, going sixty, sixty-five.

He used to play a game to break up the monotony of interstate travel, back when he worked the night shift at Wolverine. He'd close his eyes for as long as he could while driving. He began with five seconds then ten, no peeking, eventually making it an entire minute, speeding down I-44 alongside the eighteen-wheelers and the farming crowd. It was around 5 a.m., sure, but a minute still.

Before he cut the ignition he turned off the air and the radio, always. His dad told him it made it easier on a vehicle when you started it. A mechanic later told him that wasn't true. Not even remotely. He still did it.

He saw the guardrail and thought of it in the same realm as driving blind, a game of chicken ending inevitably in forfeit although victory and loss weren't clearly defined, only the edge tangible, the heart rate going mad, the blood rushing through the tributaries of the body.

He thought brake. He even said it out loud, alone in the car. The air was on 1. The radio was on NPR, some story about "hacking" your closet. He saw the guardrail. His foot pressed down on the gas harder. He wondered what it'd be like to fly over the edge then he was flying over the edge.

He glided above the first snag of rocks, small cuts on his cheeks burning against gravity's drag. The car did not. While the engine continued to hum, pieces fell around him, shards of glass and jagged bits of the valance and bumper. The radio played Muzak. They were between segments.

He turned the air to 1. He hit the power button on the radio. Why didn't he buckle the seatbelt?

His screams came out in long monotonal bursts, automatic and not quite human. Turn the ignition, power button, turn **** to 1, click.

He didn't think about what he'd hit first, tree or rock. There was still some fifty feet to fall before that decision was made for him. He didn't wonder if the car would land on top of him. He got in. He turned the key. Radio on. Air to 1. Then he clicked, didn't he?

Marie didn't call tonight. Marie. Her shape started to form in his mind, waiting for him on the couch in that stupid shawl, her face lit, a bright blue, by the glow of the television screen.

A tree, he hit a tree first.

The rough bark tore at his face, chest and arm. He could feel the tree bend then repel him. He took a branch to the rib and continued his fall to the stony earth. He hit the ground and kept falling.

The Gods are money sound these days.
and priests have marketing degrees -
The faithful, called to worship
by giant plasma screens,
in mega-shopping sanctuaries
selling salvation through merchandising.

At the Church of Holy Consumption
all denominations are welcome –
hundreds, twenties, tens.
All the hymns are sung by Muzak -
the readings daily specials.

A sister spritzes us with holy essence
(The bottle's 40 bucks an ounce).          
Leave your offerings at the till -
major credit cards accepted.

When worship time is up,
sign the dollar across your chest
and bend a knee to the talking head
cooing soothing benedictions,

“Go in Peace, my child. You’re worth it.”

*January,  2007

What's my name?
Take that universal,
that yeah yeah, that
ohm and play it backwards.
I'm that undercurrent,
the invisible force that pushes the hand, that pushes
the red button, that levels seven stories--for?

What's my name?
Take that post-post-modern literature,
that self-serving academia-meets-nihilism,
and think as far opposite, Herculaneum/Uruk,
and you might just find it, my name,
carved in Aramaic or Latin in a dark wet cave,
forgotten, misspelled in a dead language.

What's my name?
Look just past that buffering screen,
right before the pixelated beheading starts.
I'm between the zeroes and ones in that heaven-place,
the Internet, where people go when the final death takes.

What's my name?
Take that ever so subtle airport terminal muzak,
and listen for the counterpoint, the competing rhythm.
It, my name, swirls and mingles with that ever flowing
crowd, weary and reduced to numbered tickets and departure times,
speaking fifty different languages, a flattened and recurring Babel.
Take that ohm, and play it, play it backwards.

Tim sounds nice. I mean reads nice. By what you described, he seems like he treats you alright. Rock n' roll. Movin' on. Proud of you.

Sorry he found that letter I wrote you a few weeks ago. Though it means a lot you kept it. Aren't remnants of past lovers interesting? It's not enough for us to take pieces of each other as we press forward, but we also have to leave little trinkets to remind of the good, the bad, and indifferent times.

Tara left her favorite burnt, metallic necklace with a blue buddha charm embedded in the carpet when I lived at 2307. Thousands of hairpins were hidden throughout the place when Sam and I split. You threw that gypsy bracelet in the grass by the streetlight -- the one I got you in Colorado.

Karen didn't leave much with me. Instead certain shirts and pajama pants of mine -- became hers. She put a smell on them. I still can't wear the clothes; though I also can't get rid of them. I'm a hoarder. Keep all the memories for myself.

Do you ever dream of me?

No, I haven't seen Easter Island again. I looked Sunday night at O'Brien's. I imagine she was in one of those modern restaurants --  Japanese trees, Muzak -- with her white napkin folded neatly in her lap, drinking ice water, and humoring some fast-talking crazer who has a snowball's chance in hell with her. If I ever find the energy, I'd like to be that crazer.

Yes, I'm still night driving. I've got a big adventure planned for tomorrow. I'll tell you all about it. Tell me something honest in your next letter. Something you're afraid to tell me.

I'll learn to accept Tim. I promise.

Frisked at customs...sphere-d Muzak...
upped and away...rife, with non address.
Photonic personification...perceptible, yet...
imperceptible gestures Godspeed-ed--
sheer forgetfulness...the genius of remembrance--
Expiration Dates.

Don't ever tell me that
I need a man to ground me,
To stable me, to protect me,
To reign me in;
A man to be the bit in my mouth,
The collar at my throat,
The bars of a cage
Like I'm some wild animal.
If I did need a man,
I don't need to feel
The weight of his control
Crushing down on my ribs,
The incessant ticking of his
Calculator mind
Playing overhead like muzak.

For the love of all good,
Do not suffer me
The cautionary tales told from a lover's lips.
They slither down my throat
With their false slimy sweetness,
"I tell you this for your own good,
Baby, I promise, I love you."
But their faces twist with the words
And their hands clench,
And you know they're really just
Waiting for you to shut the hell up,
You're making a scene.

You can't pair a poet
With a grounded man,
The same way you can't pair
A lily with a flytrap,
A rhinoceros with a lapdog.
I was not meant for the life
Of a housekeeper,
Bound hands and feet
To the homestead,
My sole purpose in life
To cook and clean,
To serve and produce
Squealing piglets succeeding
In his pigheaded line.
I need more than that, so
Don't try to force feed me my "man,"
Mr. Sensibility, Mr. Every Woman's Dream,
Mr. Right,
I don't want him.

Give me a man who writes,
Ballads and sonnets and epics
With words handcrafted
By decadent Grecian gods,
Who spends his nights bent
Over an antiquated typewriter,
Rushing to get the mid-dream thought
Down on paper.
A man who paints his soul,
Turns a blank canvas
Into an emotion,
Raw and real and ravaging,
Who will wait patiently
While his model fidgets
Just so he can get
The ***** of her neck just right.
A man who plays music
Sweet and soft and slow
Serenading me to sleep
When the night is cold,
Who hears songs in
The rustle of rabbit's feet
And the whisper of slumbering breath.

I don't want a man to hold me down,
To show me how to act.
I want a man to create with,
To fight with and play with,
A man who loves with encouragement,
And not reprimand.
I am not a mistake to be corrected,
And I don't need a man
That will convince me otherwise.

Much music is like magick
Stampeding cross the mind
Drumming up a rhythm rare
Which purest passion lies behind

Musicality’s parade
Is everlasting, dear
Each note is a joy, delight
Sensuous and sheer

I yearn to bond with melody
That medicine of muse
Which heals the tender malady
My spirit sore, contused

sitting by the window.
with the sounds of some nondescript
parisian accordion sounding
bourgeoisie muzak playing overhead.
all the while I write poetry in a coffee shop.
*******
this may be the trite-est of ironies
any explanation would not be weight bearing
for this ridiculous setting.
only suitable for student films,
with a beret on top.
who by no fault of their own
originate in new york
by way of black and white paree.
cigarettes and drowsy violins,
odd bedfellows and conjoined twins.

if you are seriously listening
to genuine folk songs of the world

     not to the muzak that pervades all malls

after a while you find yourself
     floating into these worlds  of ancient tunes
     imagining an ambience  of ages past
whose melodies have kept their power over centuries
and still keep tickling legs and bodies
     in our days
     of young and old

these melodies of our ancestors
simply remind us that they,
     too,
did know a thing or two

about the joy
     of living