Painting NightsDear Emma,Painting Nights by brassteeth
The truth is I'm not a painter.
The truth is I followed you here from that flower shop on Whitmore Street, two and a half months ago. Please, keep reading.
You actually took my breath away when I glimpsed you holding a bunch of lilies in your slender hands at the flower shop counter. You stunned me. That's never happened to me before. I was watching you turning the bouquet left to right, you seemed in awe of the flowers' beauty. Your eyes, your perfect smile, the way you held yourself. It was not a conscious decision to follow you here. I think I was in a trance. I know how it looks; I know it sounds like a movie.
When Miss Vale said it was only the beginning of the painting course, lesson two, I signed up, paid my money on the spot, just to follow you into the room.
Just to keep seeing you. Just to be near you. I know it's crazy.
I stared at the back of your bobbed hair for that entire lesson. In my mind I was shouting for you to turn around
DadI turned out like my spot-skinned fatherDad by brassteeth
and I would twist and turn the dry tall-grass threads
that I found on the prairie into braids of hair
like he taught me,
and I would feed the horses blocks of salt
before they took flight in the bleak twilight of the plains.
I lived in a world of dry winds and cul-de-sacs
and reached the thinking end of things
before I knew I had no-where to go,
and I first fell in love with a girl
who’s handle is lost to that wind
but her brown eyes are sketched to my soul for eternity.
When I left home he stood on the old porch
while the wind chimes sprung chords
across the flat land like a funeral bell
as my mother walked me to the car,
and as I drove across the cattle grid for that final time
he was already inside the house and gone to me
as a shape and as an image.
He died of a stroke 6 months later
and she told me in her soft sweet voice
how much he had loved me and his pride of me
but it was always in her voice
and I had to use my imagination
Forgiveness EconomicsGenesisForgiveness Economics by brassteeth
But for the small purple stain on its border, the banknote was non-descript.
It had a value but men value things in different ways and by different means. It had a value, but its value is not it's story.
It landed on the church plate face up, coming to rest softly on the flat silver base amongst the loose change like it was tossed to the cloth of a gambling table, soundless but with a small sense of resignation. A man paying for luck, a man asking his God for a favor.
It came from the wallet of a small sad man, who feared the Good Lord daily. The banknote was the weekly price of his penance, the bill of sale for those half-remembered crimes of a misspent youth and other things unmentionable.
The small sad man's hands were fat and white and callouses sat on his thumb and forefingers, the scars of a bank teller, a money counter, a man who knew about value. The hair on his head was grey and his eyes were blue below his wrinkled forehead and tonight would be the last time he
Loss, in Five Actsi. ReturnLoss, in Five Acts by brassteeth
Through a dark tunnel
of bent birch and cedar I walk.
Soft moss on cobblestone. Home.
The tilted bird bath drips with
tea coloured rain. Vines snake up
old walls even as the sandstone crumbles.
Decaying gutters sag with sad, welcoming
smiles, heavy with dead leaves
and the fallout of terracotta tiles.
On her lap, in the evening, swinging
on the front porch chair. Humming
a lullaby, she whispers softly and
marks with a brush of her ringless finger,
magpie and minor, chicken and hen
and then, soft kisses on my cheek for bed.
At the bus stop, she is squinting and waving
and waiting. At hometime, she is feeding the
pigeons every last crumb from my lunchbox.
The garden beds sit like unkept graves,
clutching the roots of dead roses. Row after row
of thorny crucifix. Anemic and budless.
Were they red or white or pink?
That memory is dim. Perhaps something
more obscure. Champagne or chartreuse.
A sudden notion. Todays bl
Objects (as manifestations of selves)i. VaseObjects (as manifestations of selves) by brassteeth
To curve the natural world - for you -
you and kingdoms
to orbit around the chest
around the flesh - the heart
linger the earth
split the light - manifest it
cup me, hold me dear one.
Reach the grand piano - the rolling wave
white circles, dusted silver
across all my future years
you will remain
the single definition of love
so sit across from me, beautiful
lets exchange eyes.
All my indices are drunk – peyote
the raw wood of
your dark beads
we never shared religion
we forged a god
we select again (and again)
from all other possible worlds
had that god of ours
Acockalypse Nowis like loving a housing tract that may never have existed.Acockalypse Now by palaeochannel6
Sometimes the absolutes become messy,
sometimes you pronounce a name like a question and then all of a sudden it rains.
Does your night sky hollow you she writes.
Nobody comes back is the mantra of the defeated.
the end of the world is like a woman coughing in the next room.
the end of the room is like a woman coughing in the next world.
Two times i've seen a suicide broadcast live on t.v.
Equalization in this atmosphere means a vast silence that surrounds you,
and all the noise buried deep within.
According to the professionals,
getting better means be able to say Please stop showing up in my sleep.
While Driving in the Suburbs on Valentine's DayI’m sure of nothing, no one;While Driving in the Suburbs on Valentine's Day by thetaoofchaos
we’ll never be ourselves.
Our lone device is left to searching
through bins and vessels
on drives and circles
one by one, houses upon houses
secreting pills and thoughts and air
behind their stealthy doors and bellies.
I stab into each of their ugly little anthems.
What is mine?
What is mine.
Windows caught on Christmas trees
the pale hypnosis of television
bleeding through curtains drawn to a slit.
What dares to go on living in there?
Dawn comes drunk and begging
shrill and shameless, undiscerning
‘till the string breaks high above the plains
‘till it’s engorged on everything
the hairline crack in a potted blue sage
the lip of the gutters haunted by cats.
Houses are holding things close to their lungs
moistened in darkness, a glorious sadness
that no one's allowed. Left out! We're left out
of unholy communions, distensions of time.
I've only the rumors to cradle my demons
and only your face, sw
crow comes courtingresplendent in a black glosscrow comes courting by jade-pandora
of feathered robes...
crow's morning clicks of courtship
echo through downcast mists that
bead upon bowed shoreline willows
and genuflect in the wake
of his purposeful strut
one hesitant step before the next,
his head cocked this way and that,
listening as distant ticks
message back a reply-
the visage of his agenda
suddenly unfolds in a wingspread
that lifts above a watery canvas,
the guttural sound of pulled
stitching sends love notes receding
into estuaries, and ripples
where tadpoles skip and dart
beneath lily pads in the random and
rapid blink of each tiny vortex
The New BeatSpools, large and wooden, empty nowThe New Beat by Bark
The kind that used to hold industrial cable
The rhythm of the trucks have left their song
Imprinted upon them, all down the borderlands
Cryptic drawings and messages scrawled with knives
Ola, T’kia, Celestial Dawn, all have danced there
Beneath the moonlight’s unerring eye,
(I was up above it)
Redemption for a dollar, smooth-skinned,
(Now I’m down in it)
Stranglewood, gangrenous, limbs protruding
Jungle drums mixed with a wealth of tangled wire
Ghostly incantations, chanting, fires burning
All in Ohio’s darkest regions, like hell, like chainsaws
Unkempt and unclean, Guinevere drew pentagrams
Atop the spools in chalk, a candle for each corner
Beneath the stars’ cold blue eyes,
(I was up above it)
A thousand years of dead weight falls,
(Now I’m down in it)
Sally go ‘round the roses/ram/ram/ram/shake
The willows are thinking again about thickness,|
slowness, lizard skin on hot rock,
and day by day this imagining transforms them
into what we see: dragons in leaf, draped scales
alongside the river of harried, spring-stirred silt.
Short Journey Upriver
Current Residence: Annahoriasticin
Favourite genre of music: Country or Western
Favourite style of art: Literature
Favourite cartoon character: God
Let the Sparrows InI.
Blackbirds rest on the power lines,
their silhouettes form the notation
to a dawn song set on the sheet music
of telephone poles contrasted by the sun.
Curled leaves are land mines littered
on the lawn where imprints of twigs
and a nurturing robin's tracks collect.
Branchlets and leaflets stem from
porch step railings and mailboxes;
the numbers read odd on the east,
even on the west side of the asphalt:
The engraved letters on
the siding reads, "Davis."
This house is home to family
so let the sparrows in.
with its branching hallways
furniture rooted to the floor
family, friends, the occasional
out from home.
Let the sparrows in; let
Let the door's
loosen—let the door stand ajar
be let open
the night owls and
let the doves
in pairs in the iridescent
Let the sparrows in.
Framed on either side
last nightlast night, the smell of you seeped into me.
i caught it dripping from my pores
and unfurling from my hair like a sightless memory
then settling comfortably on the pillow beside me
and pooling in the creases of my sheets
like a contented water cat.
last night, the taste of you rubbed into me.
your unique spice grubbed beneath my unpainted nails,
flavoring the back of my tongue and the space between my scapula
with a sweat-salty sweet desire
that I licked from your shoulder while your stomach breathed into mine
and we balanced indelicately on coxae and cotae
like dancing bears on balls.
last night, the idea of you sailed into me.
it came silently, slowly flowing into small dark corners
so it wouldn't frighten me
and waiting for the sunrise,
waiting to be cautiously picked up and examined for solidity,
to be confirmed by the pleasure in your eyes
when i said you'd meet her at Christmas
and you didn't look away.
|"Once there were brook trout in the streams in the mountains. You could see them standing in the amber current where the white edges of their fins wimpled softly in the flow. They smelled of moss in your hand. Polished and muscular and torsional. On their backs were vermiculate patterns that were maps of the world in its becoming. Maps and mazes. Of a thing which could not be put back. Not be made right again. In the deep glens where they lived all things were older than man and they hummed of mystery." |
— Cormac McCarthy