Caustic doorway blues
The fog sets in,
and the moon doesn't glow
when brick structures crumble
Rats in worn carpeting, writhing
The screaming from pensive terminals
and insects live on dead wood
trees felled in hollow rounds
This is the end of something warm
These are days of hydrogen loneliness
and grey skies applaud the tarmac
Pornographers snap pictures
of silhouettes in garages
and the playground hears no love
when gunshots deafen the trees
and the old mattress is sodden
Stale alcohol pungency
near the alleyway, dormant today
But the lights are still glowing
in the house by the canal
where somebody's memories still linger

t'was not so long ago
in simple human years,
but eons, in poetic ones, that...

visions of fruited plains,
dimpled mountains,
candied wall-nutty natives,
easy lifted from his
eye's casual glances,
reformed to scribbled essays,
while daily walking on the
concrete steppes of his city,
gems of glass shard sidewalk sparkles
and bluest mailboxes were
raptured word tableaus,
rupturing easy with
volcanic force,
his body's planet,
mantle breaking,
crust-conquering poems,
breakout pimples waves,
molten and easy flowing...

he knew not then
what well now he knows,
the exhausted trembling
of asking,
the slowing wearing pace of
heartbeats of constant query,
the wonder of
wondering incessant,

Are You My Poem?

awoken by the body clock
in the wee, streaming,
rem sleeping hours,
asking the no longer
faithful friend,
his bathroom mirror,
is the accuracy of this
stubbled mess,
the white crusted lips and eyes,
is that my, my nowadays,
answer to

Are You My Poem?

he waits,
he, a red taillight speckle
among many, wait watching,
on a Brooklyn minor bridge
over a minor inlet
one of many, on a longer isle,
as the bridge lifts its arms,
opens its middle belly,
waving bye to a
passing-through freighter,
perhaps
destined for
happy springtime Morocco,
perhaps,
the Malay's divided isles,
wandering wondering
one more time,
if that's his etching,
line drawing poem,
passing by, bye, bye,
so each breathe forcing,
escape-asking,

Are You My Poem?

sometime ago,
a grown man,
his voice changed,
like a teenager,
writing now in but the
simplest terms,
plain jane poems,
in the cadence
of spoken words

for all the fancy phrases,
exhausted,
the sewing box of
precious alphabets,
emptied, leaving only
the tyranny of
hello, have a nice day, how are you feeling,
that's nice, goodnight sleep tight...

there were fewer poems
therein contained,
ceasing to fear,
no need for constancy of asking,
but failing in crafting to craft
even then,
trying but no one answering to

Are You My Poem?

one or two true,
asked,
are you busted,
the nib nub rusted,
your silence, long pauses,
worry us, your poem lovers,
if spent,
how deep is thy rent,
let our concern heal,
patch n' fill,
the cuttings,
the empty grooves that pockmark,
hope wishing asking,
sir sire man,
are you still hopeful,
interrogating,
asking the world,

Are You My Poem?

weeping from the
believed warmth
of their caring,
they too, knowing,
that life has its ways
of choking your voice off,
compelled to advise,
still and then and now,
the constant in my equation,
extant yet,
extant yes,
a voice that still rises
at the end of the
periodic element interrogatory of

Are You My Poem?

the poem answers,
muddled, muddied,
everyday life eats you up,
instead of you feasting upon it,
the tempo, the style,
all now humbug static interference,
but every know and every then,
a long winded answer dances
it's way from the core,
answering well
the question less asked,

Are You My Poem?

spent,
the poet
lol's,
for his truest friends here,
answer the pondering,
in deed, indeed,
you, near and dear
poet brothers and sisters,
you are the answer,
to words looking now,
a tod-toad-tad silly,

**You Are My Poem!

"Surreal skeptic, cynical cryptic! Licentious lecheries fabulist façade fantasias. Wild eyed spectral serene. Dream of catenary concoctions, ethereal salacious conjugation, bridge the gap in metaphysical mystique. Erotica erectile errantry’s exserted protuberance is a kinesiology kleptomaniac with his embark embargo extraditions and his eventuation evocative execrations, a positive amalgamated anathema android of a terminus thrall. The shadow in the shade of the silhouette sojourn. The bailiff’s rakeness rails incarnate, unicorn railway nails and all. He will paint mirador bartizan panorama tableaus all over your proximity parameter perimeter peripherals. Force the enmity to acquiesce into impunity.” “Why this is not but an ogling ogre of an oligarchy omelet” she shrieked as he continued to tickle her. “Down here at the bizarre bazaar we all believe in the blasphemous farcical fugueness,” he said. “Positive orchestration renditions of transpositional interlude.” “Come here,” she said “let my clambering clamorous clangor write you a wield wile treatise expose’.” “The legions of Chinga da are battling the hoards of Gunga din saying ‘kinetic supremacy temporize tractive fluent’ , it’s sheer genocide. That plasty goop nosed Gumby ****** Gunga doesn’t stand a chance. Coax cacophony clout, catatonic phonics, grizzly grotto grouches all”, She squealed. “Now you’re gumption dreaming”, he chimed. “Chutzpah panache spontaneous generation complicity, gambit alluvium aloof succor.”

Rose of your ear,
Lantern in your eyes,
Forest of branching hair,
In Inverness of your midlands,
I shall broach lit vernal deltas,
Kiss deep into darkling depths,
Climb the leaved trunks of thigh,
Drunk in the moisted, muted sighs
Of promise, tendered to surrender,
I shall know your ripened *******,
As bloom of moon paints moons
At night, I will be ****** in milk—
That offers itself to leeching babe,
With little, lithe fingers you rake one,
A wan vagabond, *****, homeward,
I shall know your flowing wetness,
Below my desert, with purpose,
I am lost, in sleep and dream,
May I never wake, may I
Sleep, never, may eye
Always open, keep
In tableaus of oil,
Strokes, hues,
Glittering
Of you.

.
Rose of your ear,
Lantern in your eyes,
Forest of branching hair,
In Inverness of your midlands,
I shall broach lit vernal deltas,
Kiss deep into darkling depths,
Climb the leaved trunks of thigh,
Drunk in the moisted, muted sighs
Of promise, tendered to surrender,
I shall know your ripened *******,
As bloom of moon paints moons
At night, I will be ****** in milk—
That offers itself to leeching babe,
With little, lithe fingers you rake one,
A wan vagabond, *****, homeward,
I shall know your flowing wetness,
Below my desert, with purpose,
I am lost, in sleep and dream,
May I never wake, may I
Sleep, never, may eye
Always open, keep
In tableaus of oil,
Strokes, hues,
Glittering
Of you.

The walls of my sleep have been deteriorating,
crumbling

So full of holes,
that my dreams have escaped their dark cages
to prowl the world in the greenblue day.

Outside my windshield
Morpheus transforms the landscape -

sculpting traffic, trees and sky
Into mythic tableaus
of seductive beauty - hypnotic grace.

and then I am also transformed -

Into a bullet

For an eternal moment
I become a speeding messenger of death,

until the alarm of the traffic
breaks the spell
and the dreams scurry away,

to hide once more
from the waking world

and wait.

.
Rose of your ear,
Lantern in your eyes,
Forest of branching hair,
In Inverness of your midlands,
I shall broach lit vernal deltas,
Kiss deep into darkling depths,
Climb the leaved trunks of thigh,
Drunk in the moisted, muted sighs
Of promise, tendered to surrender,
I shall know your ripened *******,
As bloom of moon paints moons
At night, I will be ****** in milk—
That offers itself to leeching babe,
With little, lithe fingers you rake one,
A wan vagabond, *****, homeward,
I shall know your flowing wetness,
Below my desert, with purpose,
I am lost, in sleep and dream,
May I never wake, may I
Sleep, never, may eye
Always open, keep
In tableaus of oil,
Strokes, hues,
Glittering
Of you.

"Surreal skeptic, cynical cryptic! Licentious lecheries fabulist façade fantasias. Wild eyed spectral serene. Dream of catenary concoctions, ethereal salacious conjugation, bridge the gap in metaphysical mystique. Erotica erectile errantry’s exserted protuberance is a kinesiology kleptomaniac with his embark embargo extraditions and his eventuation evocative execrations, a positive amalgamated anathema android of a terminus thrall. The shadow in the shade of the silhouette sojourn. The bailiff’s rakeness rails incarnate, unicorn railway nails and all. He will paint mirador bartizan panorama tableaus all over your proximity parameter perimeter peripherals. Force the enmity to acquiesce into impunity.” “Why this is not but an ogling ogre of an oligarchy omelet” she shrieked as he continued to tickle her. “Down here at the bizarre bazaar we all believe in the blasphemous farcical fugueness,” he said. “Positive orchestration renditions of transpositional interlude.” “Come here,” she said “let my clambering clamorous clangor write you a wield wile treatise expose’.  The legions of Chinga da are battling the hoards of Gunga din saying", "kinetic supremacy temporize tractive fluent" , "it’s sheer genocide. That plasty goop nosed porker of a Gumby ******* ***** monger Gunga doesn’t stand a chance. Coax cacophony clout, catatonic phonics, grizzly grotto grouches all”, She squealed. “Now you’re gumption dreaming”, he chimed. “Chutzpah panache spontaneous generation complicity, gambit alluvium aloof succor.”

Rose of your ear,
Lantern in your eyes,
Forest of branching hair,
In Inverness of your midlands,
I shall broach lit vernal deltas,
Kiss deep into darkling depths,
Climb the leaved trunks of thigh,
Drunk in the moisted, muted sighs
Of promise, tendered to surrender,
I shall know your ripened *******,
As bloom of moon paints moons
At night, I will be ****** in milk—
That offers itself to leeching babe,
With little, lithe fingers you rake one,
A wan vagabond, *****, homeward,
I shall know your flowing wetness,
Below my desert, with purpose,
I am lost, in sleep and dream,
May I never wake, may I
Sleep, never, may eye
Always open, keep
In tableaus of oil,
Strokes, hues,
Glittering
Of you.

There was, in a once upon another time a man
(His name and work
Being lost to the boot sales and dustbins of time)
Who made a reputation as a portrait painter,
One transcending his small town in Schleswig-Holstein,
Spreading among the surrounding principalities.
Gifted with curious abilities (although he would demur,
Protesting that he was simply a man with a brush and a palette)
Allowing him to secure the favor
Of the area’s more substantial citizens,
Providing him leisure to commit to canvas
The faces of the ordinary
And, if some cases, somewhat iniquitous.
His portfolio a crazy-quilt of his milieu,
Subjects back-to-back in no particular order:
Princes and flower girls, priests and ******.


The sterling reputation the painter enjoyed
Was not due simply to technical skill
(He was, to be sure, expert in matters of shading and line,
And his eye for color and detail no less than remarkable)
But also an eye for those things
Revealed in the curve of the lips or the set of the eyes
And, more importantly for fame and purse,
The virtuosity to enhance the understated gifts
Or veil those unpleasant secrets they suggested.
And so, the venality in the banker’s sneer
Was softened to intimate nothing more
Than levelheaded concern for the sanctity of the mark and guilder,
Or the gentle smile of the prince’s youngest daughter
Augmented to evoke the beatitudes of the angels themselves.

The craft and subtlety of his work
Combined to engender the most curious effects;
Oftentimes his subjects, surely without consciousness or intent,
Began to assume those qualities  
Bestowed upon them by the nuances of line and pigment,
Becoming less parsimonious or more humane,
As dictated by the brush strokes,
Carrying on from that time forward as the finest embodiments
Of that visage captured inside the gilding of the frame.

At some point in time,
Whether through the onset of some trickle of madness,
Or perhaps just sheer whimsy,
The painter made a peculiar change in his methodology,
Beginning to graft qualities onto his subjects
Which they never embodied nor hoped to possess,
Perhaps in the hope that, having pinned them to the corkboard,
His butterflies might take wing,
But his command of light and pigment
Combined power and understatement in such a manner
That no one who sat for him ever noticed
They were being mocked or enriched, as the case might be;
And still the canvases acted as tails wagging the dog about;
Priests were found dead in their rectories,
In the midst of tableaus of unspeakable debauchery,
While courtesans lit candles and kneeled in pews
Until their backs and thighs screamed
In the service of such highly unusual positions,
Or the banker flipped the urchin a coin
While gently petting the boy’s undernourished cur,
And perhaps it was all due to the machinations of the painter,
But he would, with just a hint of slyness
Playing about the corners of his eyes and mouth,
Deny any measure of culpability.
He was, after all, just a man with a brush.

Over untallied millennia,
    roiling Gunnison waters
sliced through southern Colorado
    schist and gneiss like a sabre -
carving tower walls of black rock
    ribboned with tableaus of
pegmatite and mica flakes
    flickering in the mid-day sun.

2,000 feet below, meandering
    through its stark canyon walls
like some legendary serpent,
    the Gunnison murmurs softly -
resting on its laurels.

Robert Charles Howard
September 2019

In your fond light
I could see forever.
A whisk of peace,
Frail and mighty
As lone wildflower
In rains of new sun,
The sound of your
Voice was melody,
Only I adored and so,
I listen for it in rushes
And reeds and briar
Trees where angels
Gather, always to sing,
Little wings do flutter,
Your grace held me,
In places others *****
For, of tearing shadows,
Where the lost are witness
To eyes unhinged, clean
From murky old dream
And broken promise,
Your light blinded so
My soul into vision,
There is no truer light
Ever to know once more
Like one, shimmering,
To expose and to let
Beauty paint, sublime,
Its tableaus of creation
As we are apart, done,
What light was parcel
Only yours, now past,
My eyes to break only,
Opening into darkness.

and on the air I taste the
brine of your laughter (but where is my
crown?). I can feel my skin cry out for better
days; some long-gone
error-ridden age as it
feasts on my memory with hungry teeth. Only

godlike garbage grows
here, where among the grey matter, divinity
inches its way in in
jumbled fragments. These images can't be
kept in messy tableaus for
long: entropy stops for no
man (or woman or beast or). Our
neverland is top-full of hymns:

o, full of scorpions is my mind, dear wife!

Prayer comes in bizarre
questions, and answers drawn out in
raspy breaths. I want to
see each one, smoky and staining the
teeth that asked (like they could ever
understand). I want to feel the
voluptuousness of the unknown, riding each
wave to the sandy shore. I want to never
x-out days again, never wait to hit
yet another
zero.

"'I am half-sick of shadows,' said the Lady of Shalott."
-Lord Alfred Tennyson
…but half of her bends towards them,
these whispered tableaus, her spine tilting backward.
She carefully hordes them
like granules of opal. Her hands become lacquered
in half-dreams and dyes,
and her tapestry spins into colors so rich
even she is surprised
that her fingers have laced every cross, every stitch.
She is sick of half-shadows;
she wants the thick darkness to drown her whole essence.
These sparkles and dayglows
will stir her to madness in milky-white crescents,
and she will sink into nothing
without any name on the heirlooms she weaves;
She will fade into nothing,
and no shadows will weep on the day that she leaves.

.
Rose of your ear,
Lantern in your eyes,
Forest of branching hair,
In Inverness of your midlands,
I shall broach lit vernal deltas,
Kiss deep into darkling depths,
Climb the leaved trunks of thigh,
Drunk in the moisted, muted sighs
Of promise, tendered to surrender,
I shall know your ripened *******,
As bloom of moon paints moons
At night, I will be ****** in milk—
That offers itself to leeching babe,
With little, lithe fingers you rake one,
A wan vagabond, *****, homeward,
I shall know your flowing wetness,
Below my desert, with purpose,
I am lost, in sleep and dream,
May I never wake, may I
Sleep, never, may eye
Always open, keep
In tableaus of oil,
Strokes, hues,
Glittering
Of you.
.

there are two floors
in my house
an upstairs
and a downstairs

separated by a
gray and green
concrete stairwell
where the footsteps
echo and voices bounce
against the fluorescence

i like the stairwell
it's transient and
i spend a lot of
time just running
up and down it
down and up it

there are two floors
in my house

the upstairs doesn't have
a roof. it has a white
background and blue
skies. the carpet is the fluffy
enough to sink your toes into
the wood floors are
pale. there are parachutes
hot air balloons. birds.
paper planes. kites. all things
aerial swirling around my head

the downstairs has black
ceilings and a cold concrete
floor. it stains your feet black
and sends chills up your legs and
up your spine when the chains
and cages rattle. chains. cages
are mostly what's down there
and they rattle. they rattle a lot

the upstairs has a piano and
polariod pictures. soft blankets
sweaters and a coffee fountain
right in the middle. there are
puppies and yarn and the puppies
play in the yarn. but the yarn
never gets tangled or linty and
there's always a sunset or sunrise
a fresh start or a peaceful end
depending. hot tea twinkly lights
candles and old movies or shows
oh and a lake. my very own lake
and the colors! there is every
color imaginable upstairs

but the downstairs is very quiet
very dark. no windows or sun
and the only creatures playing
are the ones in the cages
knitting shadows into gray
monochrome striped ski masks

there are more things upstairs
things even more pleasant than i
even just described. like fish tanks
and umbrellas. bicycles and
brightly painted cows. but i often
forget the lovely tableaus up there

when the groaning and clanking
from the basement echoes up
the stairs and i creep down
to see what's happening

and the black
begins to seep
i get trapped
down there sometimes
down in the musty damp
with the ghosts and fear

and i wish i had
a yellow helium balloon
tied to my wrist
to pull me back upwards
back to my safe world
of fresh paint and denim

there are two floors
in my house
an upstairs
and a downstairs

where shall
i sleep tonight?

carnivorous portraiture
symbol of power
like waves crashing over the breakwater
or the moment in which dinner-table and silverware are upended
a very nice rug to cover a very deep hole

inside that hole;
look inside the darkest recesses
inside the vault of stolid self-irreverence
underground railroad adorned with tableaus for selves no longer embodied
hang yourself
be your own ideal hang man
be your own ideal hang man's own ideal hang man
be your own ideal hang man's own ideal hang man's own ideal hang man

parasuicidal ego-death impotentiate
look into that hole
do not step on the rug

We’d made things once, things of substance:
Copiers, straight-sixes for Chevelles, Novas, Impalas,
And tons of film, of course, loaded into tiny Instamatics
Which accompanied us to everywhere and everything
(Unless they mystifyingly scampered away from pocket or purse,
In which case we drove, cursing and volleying blame to and fro,
Fifteen, twenty, maybe more miles to retrieve them
From the kitchen table or back of the toilet)
To document births and baptisms and weddings,
The in-betweens and hereafters,
(Renderings of children and dogs
Sitting under trees with blossoms of pink and red
The blooms implausibly bright, child and beast stolid yet smiling,
Or tableaus of tux-clad cousins and brothers,
Squinting blankly in the aftermath of a visual right-cross
Courtesy of the supernova-esque emanation
From the blue cube perched on the camera’s top)
So they would not be victims of the vagaries of memory.

All of that is gone--no, taken--from us now,
The means of production having embarked for Memphis or Mumbai,
Those things which sustained us now simply vestigial curiosities,
Like hand-cranked presses or ancient milking machines
We’d tittered at on long-ago school field trips.
The march of time and technology, to be fair,
But it has left us obsolescent as well,
Stranding us without context or clarity,
With access to neither advance or retreat
(The old photographs simply mock us now,
The red-eyed images fading to the soft tones
Of a rose at the end of its summer,
The name of the third man on the left,
Who’d worked on the line with us nearly three full decades,
Refusing to be conjured out of the thin air)
Leaving us diffuse and unordered
As the old and cracked negatives
Stuffed higgledy-piggledy between old snapshots
In an enveloped at the back of an old file drawer.

"Surreal skeptic, cynical cryptic! Licentious lecheries fabulist façade fantasias. Wild eyed spectral serene. Dream of catenary concoctions, ethereal salacious conjugation, bridge the gap in metaphysical mystique. Erotica erectile errantry’s exserted protuberance is a kinesiology kleptomaniac with his embark embargo extraditions and his execratory eventuation evocative expletives, a positive amalgamated anathema android of a terminus thrall. The shadow in the shade of the silhouette sojourn. The bailiff’s rakeness rails incarnate, unicorn railway nails and all. He will paint mirador bartizan panorama tableaus all over your proximity parameter perimeter peripherals. Force the enmity to acquiesce into impunity.” “Why this is not but an ogling ogre of an oligarchy omelet” she shrieked as he continued to tickle her. “Down here at the bizarre bazaar we all believe in the blasphemous farcical fugueness,” he said. “Positive orchestration renditions of transpositional interlude.” “Come here,” she said “let my clambering clamorous clangor write you a wield wile treatise expose’.  The legions of Chinga da are battling the hoards of Gunga din saying", "kinetic supremacy temporize tractive fluent" , "it’s sheer genocide. That plasty goop nosed porker of a Gumby ******* ***** monger Gunga doesn’t stand a chance. Coax cacophony clout, catatonic phonics, grizzly grotto grouches all”, She squealed. “Now you’re gumption dreaming”, he chimed. “Chutzpah panache spontaneous generation complicity, gambit alluvium aloof succor.”

It is the one part
That does not
Matter
Veins strangle
The pulsing mass
Squeezing till
It is a pulpy goo
Unrequited affections
Scream their torment
Wake me harshly
From dark day dreams
See painted fingernails
Press my flesh
Until skin gives way
To a ****** Sunday
Till my pen is spent
Red ink dripping in
Ancient tableaus
Finds me longing
To do what lovers do
Poisonous asp, or dagger
Skyscraper, or fire
To silence desire’s
Unfair punishment

I recollect the whole thing as clearly as if I had awoke with the sun,
Dispensing with any alarm, fully awake and engaged.
I am on a gurney being wheeled slowly down a hospital hallway
(For it is clear to that workaday hustle and bustle
Is no longer of concern to me)
Which is all silence,
Save for the squeak and bump of my carriage’s wheels
As it crosses from tile to tile,
And the sheet which covers me is seemingly made of gauze,
For I can, as I pass by one to the next,
See clearly inside each of the rooms,
The tableaus being what you might expect in such a place:
A young man and small child
Fluttering about a mother and her newborn,
A middle-aged woman reading aloud
(But softly, almost mechanically)
To an ancient and clearly unheeding man,
Another woman, aged and frail to the point of being insubstantial,
Dabbing at her eyes with a frayed, damp tissue,
Exiting a room as an orderly closes the blinds.
At this point the scenes become incongruous, almost surreal,
As if another director has suddenly assumed control of the film;
There is a room where a Marlowe-esque priest,
All harlequin-outfitted and codpiece-clad,
Bumbles drunkenly about the room,
Banging his censer against the walls as he speaks in tongues.
But just as suddenly the settings become gentle, pastoral:
In one room there are no walls at all,
Only a quiet valley with dirt roads and small streams
And the sound, disembodied but palpable and oddly familiar,
Of bells tolling faintly and melodiously in the distance,
While in the next there is nothing save
A young woman with angels bending over her.
At this point, I have clearly reached my final destination,
And I expect to find a chilly and spartan space,
Harshly lit and sparsely furnished with metallic chairs and tables,
So I am caught unawares for what awaits through the doors:
Light, just light making everything below it a toy world.
The dream abruptly ends, as they are wont to do,
But it seems I found it oddly comforting,
And it is that which makes me so apprehensive.

We hadn’t seen it for a couple years,
The film being a bit difficult to watch
Without dropping a few bucks
To stream it in all its black-and-white glory,
(A prospect which would have brought a grim smile
To a certain white-haired small-town banker)
Our laser disc scratched, our VCR beyond obsolete,
But there have been enough viewings
That certain tableaus
(Flower petals strewn, the glycerin tears)
Remain as familiar as the views out the front door,
And so on a whim we drove up to the quaint burg
Which espouses its claim to be Capra’s inspiration
With a tenacity which belies the season
(Though one look at the bridge which sits astride
A wan offshoot of the Erie Canal
Is sufficient for a startling bit of déjà vu)
Finding ourselves by ourselves in a restaurant
(The times after all, and it a weeknight to boot)
Surprisingly open, even though the town fathers
Had opted hopefully to decorate, as per usual,
The village streets to be as Bedford Falls-esque as possible,
And as we sipped our soup and munched our salads
We mused on how wonder and anxiety
Could walk hand-in-hand
(As we did on the way in and again on the way out)
And though our laughter was a soft, muted thing,
It tinkled in the manner of such things
Which enabled seraphim to gain their wings.

It is an undertaking to be done with some trepidation,
As the arrival of June-like warmth and sunshine
Can lead us to an unwise giddiness,
A disregard for what we instinctually know
Concerning the introduction of basil and succulents
While the spectre of an unwelcome late-season freeze
Lurks some days westward in Calgary or Winnipeg,
But this is mostly the grunt work
One puts in for preparation for summer's bounty,
The shoveling and hoeing and grunting
Which one performs with pro forma grunting and *******
There is a certain reflexive restoration in this task
Which belies our outward irritation
And though we cast the odd sideways glance
Toward the shadows at the back of the lot
Where rabbits and chipmunks
And other less tangible potential enemies lie in wait
There is a warmth which permeates marrow and memory,
A thing which recalls a child running
Through torrents of October leaves
Or sitting wordlessly with a loved one on the porch
Or any number of tableaus from this thing
Of worry and wonder.

In his reveries, there is no furtive glancing around corners,
No skulking and scraping to hide from scowling gendarmes.
He is huge, *******, a proto-Kong of the wrong side of the tracks,
(Indeed, more than that—beyond the corporeal,
Something elemental, Master of Nature’s laws
Yet subservient to none of them)
Strutting down the boulevards and byways,
Marching through the very midst of graveside services,
Feasting on the floral tributes,
Fornicating with the freshly dug earth.
And he races onward, unconstrained and uncontrollable,
Forcing himself upon matchstick girl and street urchin,
Misusing them in horrible, unspeakable ways,
(His appetites creatures unto themselves,
Not subject by the boundaries of propriety or biology)
Taking for himself their sad collections of pennies,
Tossing them heavenward to rain down in a copper cacophony
Before he steals upon an unsuspecting bobby,
Slitting his throat and setting the corpse afire,
Proceeding then to urinate upon the ashes.
As these tableaus unfold in the nickelodeon of his sleep
(Not accompanied by some tinkling version of Hurry No. 26
Jangling uncertainly on some hayseed the-ay-ter untuned upright
But rather by some Dada-esque concoction
Bereft of consistent key or time signature)
He laughs unrestrainedly, bereft of cause or context
Without a trace of mirth or simple humanity.

Statements flow on the wire
complete strangers sharing life
whispered honesty on the wind
all too raw for most men
both by picture and by text
sent there by the desperate
I’ll receive them with a heart
heavy with the like ailments

digital voices in their bottles
matched to faces of the past
they’re not the same as the now
it matters not for what’s been done
tableaus of their suffering
echo on my inner shell
not the same but close enough
to resonate inside my head

these are bubbles that some hate
thinking they lock in the hurt
I’ll disagree from my core
it’s really good to see the door
this room now filled by the same
seeing hope and answers both
the latter comes from company
distress conveyed and then heard

knowing that I am not alone
others suffer in this life
the joke of God is spread afar
with statements coming on the wire
those afflicted are still worthy
by their example I’m relieved
that the sharing salves my soul
perhaps one day I’ll do the same.

© 2018. Sean Green. All Rights Reserved. 20180311.