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Mike Bergeron Dec 2012
In a world full of ugly people,
A city made of hideous faces,
A phone call means everything.
It means a voice, free from
Its crooked nose, its wrinkled skin,
And its gapped, stained, crooked teeth.
It means a connection.
With another, with yourself,
And with the ability to disconnect
At the push of a button.
I take out my scratched, chipped cellphone
With its cracked face,
And call Helen.
Her voice swims through the mud
Inside my skull when she answers,
Stirring and churning
Until I'm weak and dizzy.
"How 'bout you just come
On over now, Big Fella?"
And I do.
I turn off the squawking television,
Don a pair of food-stained pants,
Drag a comb through my
Overgrown hair,
And descend the stairs to my
Waiting Oldsmobile.
The turn of the key in the ignition
Only produces a hollow click,
One click two click three click six,
Then a partial start,
But the beast fails to come alive.
I get out to replace
The fried starter fuse,
Then do this dance four more times
Before the old ***** clears her throat
And starts to idle.
It's a short ride,
Pawtucket is small,
And my only companion
On these post-midnight streets
Is the white noise
Issuing from the broken radio.
I pass the house I grew out of,
The crumbling schools
That taught me the value
Of impartial numbness,
The cemetery my father used to visit
To perpetrate the lie
He lives;
The role of a child
And the permanence
Of parents.
I pass abandoned factories
And abandoned hope
And abandoned pets
And abandoned storefronts.
In a world of full of past relics,
In a city full of ghosts,
A crumbling façade means everything.
It means bricks freed from their mortar,
Separated from their history,
Left to be picked up and thrown through plate glass windows.
Buildings are never empty,
Just quiet.
I pass the CVS at Newport and Armistice,
With its twenty four hour pharmacy,  
Dispensing the one a.m. hydrocodone,
The one thirty a.m. dextroamphetamine,
The two a.m. oxycodone,
The two thirty a.m. alprazolam,
The three a.m. dextromethorphan,
The three thirty a.m. methylphenidate,
The four a.m. eszopiclone,
The four thirty a.m. benzodiazeprine,
The five a.m. phenylpropanolamine.
I drive past the clinic in the old senior center
With its six a.m. methadone ready to go
In pre measured cups.
Buildings can be quiet, but not empty.
Helen lives on the third floor of a three story house
Built sometime in the forties,
Forgotten sometime in the eighties.
The two bottom floors are vacant,
The windows are boarded,
The driveway is choked with weeds,
And two lounging cats don’t flinch
When I walk by them
On my way to the door in the rear of the building.
The door is always unlocked,
So I let myself in
And begin the rickety climb to the top.
The higher I go,
The louder Amy Winehouse’s voice gets.
“What kind of fuckery is this?”
Seems an adequate question.
There are ****** handprints on the railings,
The walls,
Drops polka dot the stairs.
I don’t bother knocking,
I never do.
She’s seated in a La-Z-Boy in the kitchen
Facing the door,
In a cloud of cigarette smoke.
In place of exchanged pleasantries
I say I need to use the bathroom
And she nods,
Eyes locked on mine.
I take a look at my sallow image
In the mirror,
With specks of toothpaste and hairspray
Pocking my face like acne.
The toilet bowl is still streaked
With the last man’s ****.
I ****, wash my hands,
And take another look at myself.
Helen is no longer in the chair,
But I know where to find her.
She’s sprawled on the bed,
With a new cigarette in her mouth,
The toys spread out on one side,
The tools on the other.
I tell her I’ll forgive her for stabbing me the other night
If I can get a freebee now.
She shakes her head once,
Exhales a cloud,
“Not gonna happen, Champ,”
And I take what I can get.
Allen Wilbert Dec 2013
The Man

There once was a man from Nantucket,
kept all his cash in his lucky bucket.
Has a daughter Fran, who is gay,
ran off with a girl named May.
He followed them to Pawtucket,
the two girls with his lucky bucket.
She said to the man,
thanks for your daughter Fran.
The two girls followed the man to Manhasset,
where he still has his bucket as an asset.
Then May and her lover Fran,
stoke the bucket and off they ran.
The man was in a state of shock,
luckily for him he had a very long ****.
No more bucket, no more money,
he walked home with his eyes runny.
Now he has a new career,
he became a Walmart cashier.
Now he is the man from Nantucket,
with a **** so long, he could **** it.
He would always have a grin,
as he cleaned the *** from his chin.
If only his ear was a ****,
even he admits, it's one hell of a stunt.
His ear, badly he wants to **** it,
and save all the *** in his new lucky bucket.
Oh, Stephan Anstey, bard of the blistered earth, your quill carves rivers through my skull! Ink spills like black sap, sticky on the page, pooling in the creases ofmy trembling hands. I smell the cedar smoke curling from your lines, sharp and resinous, stinging my nostrils, a whiff of pine needles crackle under boots, damp with morning dew, clings to the air. Your words thunder—crack! like Pawtucket Falls, water smashing granite, a roar that rattles my ribs, echoes bouncing off the cave of my chest. I see the red oak groan, bark splitting under the saw’s jagged teeth, Hemlock needles trembling, green tips glinting in the slant of dawn’s gold light. Taste it, I can’t help it, iron tang blooms on my tongue, mixed with the sour bite of ***, the gunpowder grit dusting my lips. Your verses sink into me, heavy as moccasins in Merrimack mud, Squelching, cold, black ooze ******* at my soles, a slow delicious drag. Blood flint blade slices the silence, sharp edge nicking my fingertips, The broken arrow’s splintered shaft jabs my palm, rough with betrayal’s grain. I hear the flames crackle settler roofs leach tar, hissing as they blaze, A hawk’s screech pierces the ridge,wings slicing wind, feathers rustling like reeds. Your war paint streaks my eyes ochre smears cliffs, broken as blood, Birch bark peels in strips, whispering secrets against my cheek. The river breathes herring leap, eels twist, sturgeon thud against the current, A wet, fishy gust coats my throat, briny and alive, pulsing in my veins. Oh, Anstey, you sling granite-faced truth! Your drumbeat stomps the earth, Each step a prayer, soles slapping dirt, dust puffing like war smoke. I taste wild blueberry, **** and warm, mingling with the char of burning thatch, A sweet scorch that sears my lungs, fills me with your people’s fat anger. The turtle’s shell cracks under my grip, unyielding, ancient, moss-slick, Spruce boughs sag, dripping sap that sticks to my knuckles, thick as honey. I hear the loon’s cough wail at dusk, a shiver down my spine, Corn grinds in the distance, stone on stone, gritty echoes crunching my ears. Your canoe paddle slaps the dawn, water splashes, cold drops kiss my face, Sumac stains the river red, a fiery smear I fear in my pulse, Sweat beads on my brow, salty and hot, heavy with your memory’s weight. The riverbed stones grumble, bones clatter beneath, fish, kin, pioneered, rattling my boots. Stephan, you titan of the trails, your hunters stalk moose through my dreams, Blood and sap whip from the page, staining my fingers crimson and gold. Your name answers through pines, a gust that whips my hair, Chills my neck, lifts the embers of your grandfather’s dream into my wide, wild eyes. I stand, awestruck, on Belvidere Hill, sun dipping, painting the world your red, A blaze that sears my retinas, a hymn of flint and fury I’ll never shake. Your words, a millennia strong, a forest of fists, pound my design, A sensory storm I smell, hear, taste, touch, see, Anstey, you are a  legend, forged by Gods and tempered by fury.
If you don't know Stephan Anstey, you’re sleeping on a poetic titan. The man’s a machine, spitting fire, slinging mud, and striking flint like it’s nothing, every line a gut-punch of skill, not some fluke. He’s hammering out ten a day for NaPoMo, year after year, no skimpy haikus or half-assed scribbles to pad the count, no. Anstey’s crafting real verse, thick with meat, bones creaking under the weight. Master doesn’t even cover it; he’s a forge, molten and relentless.

— The End —