Adam Fieled (Henniker, New Hampshire): from Beams: "eye eye eye"

for Maggie Mangual

nile-wide, eye eye eye.
a sylph, bee low my buzz.
it wants, to do, at mouth.
no. not every one. can end,
dare-a-licked, like is. or:
put it, porn again. dew wit
like its done, on, cyber.
space, opened, bee twain. no,
went in sight. tight tight.

© Adam Fieled 2006

Beams rides again on Blazevox

More from No Tell Motel

SOUND WAVES, LASER BEAMS, IMPULSES, AND SIGNALS

I feel like a mother when I wear some
one else's shoes, when I tie someone else's
laces into rabbits' feet in darkness
on the front stairs at dawn, waiting
for the mailman to come and rub
my heels together til we're home, I feel
like a mother talking loudly around
young boys and their fragrant tufts
of armpit hair on the subway, I feel like
a mother revving my engine on the highway,
in the yard, and when I am not behind
the wheel making
horn noises with my
nose and mouth, I feel like a mother
who has forgotten how to breathe water,
insisting that everyone
ought to be breathing
air by now, I feel like a mother when
my mother is dead although it hasn't happened
yet that I feel like a motherless child, I
feel like a mother when I make a list of names
that calls all my enemies out and I post the list
on a grocery store bulletin board, the T's
all crossed as ugly moustaches, I feel like a mother
when I shave my beard and all my children tiptoe
around the kitchen sink giggling
and swinging from their blades,
I feel like a mother when I am offered
glasses of wine without pieces of bread
soaking in them, when I transmit my own
signals from antennas from a jar
in the earth to a cage full of animals
in the living room, I feel like a mother
for cooking those books
for you, but that wasn't love,
it was history.

© Jen Tynes 2008

from No Tell Motel

HORN OF PLENTY

The boy is a girl with a strap-on,
the girl is a boy with hips and a hole.
Are you ready to play your role?

Love came and now is gone
like an intimate disease.
Get your hands up. Freeze!

Love came and went.
The bee, the lips of tulips, how fragrant.
He was a motherfucker. Or a mother,

and nothing's as nowhere as another,
Mother's climax fantasy in flagrante.
So let's have a party in my panties;

we'll grab the horn of plenty
and climb the greasy pole.
Are you ready to play your role?

© Molly Arden 2008

from Borrowed House

FLIRTATIONS
Drunk beside the pond, we play
with ultimatums...

:if you cannot fathom this thick mud.

:if you cannot pull the legs from this daddy-long.

:if you cannot stew this prepubescent carrot
in your own blood.

:if you cannot hitch the butterfly with your sugared thumb.

:if you cannot look me in the eye
when you recite


the filthiest passage in the grassiest language.

© Brooklyn Copeland 2008

Tammy Armstrong (Fredericton, New Brunswick, Canada): "Reparations"

We dressed too early for the funeral:
at the card table, third pot of coffee
killing time
with button talk,
how stitches never match eyelets
and you as small boy
taught in French how to repair a torn knee . . .

thick fingered, you thread a needle
tighten each button on the suit jacket
tailored in Thailand
asking if the weave
is worn too shiny
from months in your backpack.

Hours from now I’ll gather the suit
from the kitchen tiles—
stripped as though in flames.
I’ll smooth the shoulder pads
to the wooden hanger
align the buttons
while you stand, near naked
in the living room
Standard Muffler sign
our only light.

© Tammy Armstrong 2006

From X-Peri

bottoms

a line has two sides
as hand, as work, as beam
without which I have
no line to follow,
so i
stay
hoping for direction from words
thrown up as down,
as cursive on water where
i hope to stand
but do not.

in sinking i could ask
for help, but i am
curious about the
dark shapes moving
below me.

© William Allegrezza 2016

More from Equations (Thesis: Julie Hayes)

Time and sex: sex chronology is not linear. Sex and time are both conversant with strange leaps. It is the first day of the first class I will ever teach. Julie looks at me with big round black eyes, soulfully. She has long wavy black hair and her looks are dark, foreboding. We often want what wants us; Julie makes a habit of following me, from the classroom to the subway, from the subway to the Last Drop. As a student, she’s haphazard. What she teaches me is that when someone follows you, they can make you follow them; on the walk home from the Drop, I realize my mind is following her, into her apartment, onto her bed, underneath the sheets, underneath her folds, into her little stomach. But I can’t. So I let her follow me, knowing that this will lead (eventually) to a culminating moment. My hunger is for continuance. Julie wants the thrill of picking up a hot potato and dropping it back into the pot. But these early weeks are all titillation, so that every soulful look to me is the countenance of continuance, has endurance written into it. Is this my wife? Marriages have been initiated in stranger fashions. Julie is as pale as Marie, but much flintier, so I know strife will be a feature of my daily existence, after we are married. I think this as I stand before the class, discoursing on Chaucer, gazing at this little wife of Bath.
…………………………………………………………………………………………………............................
The semester is over, almost. I am making a pact with Satan to get away with this. It is all fine and feisty as I bite the bullet, walk the knife edge, get in touch with my renegade parts. But I never lose sight of the hunger for permanence, which is by no means Julie’s. Her hunger is just to have what cannot be had, so that she can be a special person. Two hungers collide into nakedness, and neither seems to care that they don’t coalesce. We are separate via our separate hungers, and human in our desperate need to pursue them, singularly, and only marginally together. Her apartment is a mess, but with high ceilings, who cares? So we climb into our bed of separate hungers and square off. I learn nothing because I do not see what her hunger is. I think she’s just like me. Of course, she wants what I want. Of course, she thinks, he wants what I want, to do something to make himself a special person. What neither knows is that we’re both not special, we are both (and more than we realize), lusterless in our separate lusts. There is no innocence lost because raw hungers remain innocent until proven otherwise. You can pound away a hunger, but each thrust by no means puts you deeper into the other person. You move deeper into privations of private passions, unexpressed. But Julie looks so young and callow that I don’t notice these things. This, I think, is the beginning; but Julie has already become a special person, and wants a way out. We sleep topless in the May heat.
……………………………………………………………………………………………………………...................
Something holds Julie back so that there can’t be too much of this. While I am with her, she controls everything, from my sensations to my destiny. She can bite me off, permanently cripple me, or please me if she wants. As master, she decides how much hunger she will or will not assuage. She uses her hands as well as her mouth, doing little twists like she’s learned to do from Internet porn. It’s delicious, my legs shake from the unbearable nature of the sensations. The problem is, she then freezes, which means she is deliberately effacing my most overwhelming pulses. So I come in her frozen, static mouth, with a sense of intense anti-climax, and I am too bashful to instruct her as to how to do this properly. Yet any woman who brings me to this must be a darling and an angel. Julie, this darling angel, stands on the threshold of womanhood, and her hunger is merely to control. There is no sense of service, and since we are in my apartment there is no sense of comfort for her. What she wants to take home with her is a sense of having bested me. As she gazes at my closed eyes and opened mouth, there is (I imagine now) a sense of bitterly held contempt for my weakness, my humanity. We never fuse our different stupidities, so that I see no depths in those rounded eyes of jet, and she knows that she has now gotten what she wants from me; there is no more specialness.

© Adam Fieled 2011

More from The Argotist Online (poetry archive)

WHAT WE ARE MISSING

Within a rhizomatic structure
having accepted the orchid of immanence
in its sole— one life— present
knots and knots abound & intensify
reflected on the carefully drawn & cut facets
of the transparent topaz,

from apocalypse to resurgence
from maelstroeming downward movements
to enlightened atemporal breaks
an outside timetable diligently recorded
on scraps of paper/ pocketbooks/ agendas,
collected in tel. #/ email addresses,
grants an order or madness,
stress or a safe ground on which to gather
the body without organs

a tired Santa Claus
with a burdensome bag on his shoulders
or a clumsy diver with oxygen bottles,
an astronaut stumbling on the barren surface of the moon
or a Michelin man stuck on the roof of a building,
we think we are thinking
we think we are overlooking towns

bodies and bodies
ants in the traffic
blindly rushing
without perception.

© Anny Ballardini 2006