Featured Poet: Chris McCabe (UK), author, "The Hutton Inquiry"

It's common coin among poets (American and British) to initiate or react to complaints of a lack of fresh talent. Where are the Allen Ginsbergs, people say, (or the Corsos or the O'Haras), where are the young poets that aren't merely out to impress their teachers? The emergence of Chris McCabe on the UK (and hopefully, soon, international) stage heralds the arrival of a significant voice, one that isn't afraid to be young, express "young" virtues-- spontaneity, nerve, daring, humor (both coarse and refined), all balanced with an unflinching precision that validates the whole package. The younger batch of American poets (Kirsch, Goodyear, Gordon)simply can't compete.

Not that McCabe is unsophisticated. On the contrary, McCabe is an urban poet with a keen awareness of history, and capable of a remarkably contemporary-feeling (and politicized) pathos. He's a lyricist whose limber use of free verse invites comparison to the best writing of the New York School or the Black Mountain poets. Moreover, McCabe's willingness to work with conceptual elements links him securely to the post-modern tradition. His "Progress Poems" demonstrate a facility for glib-seeming but dead-on irony, putting our humanist notions of psycho-spiritual progress on the spit for a thorough (and hilarious) grilling.

"The Hutton Inquiry" is Chris McCabe's first book, from Salt Publishing. You can visit the Salt website (www.saltpublishing.com) to obtain a copy, and it can be ordered from any Barnes and Noble and (probably) Borders. Below is a six-poem "sampler". Also, click on "Adam Fieled" and you'll find a good-size interview with McCabe, that makes clear what his aesthetic, cultural, and poetic agenda is.

# 800: ivor cutler

see you next time he said I said not
if I'm like this (turned my back) he
said then I'll be like this (turned his
back) & there might be mirrors in front of us

he said there might be mirrors in front of us
I said not if I'm like this (turned my
back) he said then I'll be like this
(turned his back) see you next time I said

Zone

at the helm of the lightmachine bus
enter first through the on-come glass
into operating system white
heads down in handheld gadgetry
with a springing sound herein described as DIGI-BOING
we step off the bus into map zoned 2
having dogeared the tube route with the double-decker
which means now we have more money
but are in more danger
lost in the blueshrieked glass peacock's back
of South London

so every book is a car, then?

It has been published that George Bush is a reformed alcoholic with a conviction for drunk-driving, before becoming president of the United States and the driver, publisher of the middle-east 'road map'. all aboard & welcome. belt-up in the back.

# 659: cleaning habits

& for some-- to wash & clean up-- is to
piss their own shit-stains from the toilet pan

Network
(after the first person to kill themselves live on the internet)

he told you he was hardcore.
his space in the network
was at equal distances
to everyone else-- that is
immediate-- simplified
into the boolean dichotomy
of voyeurism. he was the
watched. as he eat the string
of pills he could have
explained so much about
the geo-technology of
network space being
harder quicker faster
along broadbanded
bandwidth, although in
the general sense an
analysis far short of
Dr Johnson Re. 'network'
"anything reticulated or
decussated, at equal
distances with interstices
between the intersections"
short but Johnson did
not risk life to prove a
decision compensated for
in the technical common
sense of his final words:
"if I look dead give me a call"

# 1,906: bonnie & clyde

on the run from cops this life
of crime turns me on
snakes wrapped around ankles
red indians know our evil instinctively
each town appears in green neon
& people complain of bad head
but it makes me glad yours

Becky Hilliker (USA): Catch

The wind turns the water into an animal
& the boat rides the back of swells
bucking wetly.
My legs absorb the push & pull,
thinking only of the fish,
sleek & dripping on the line,
neon green parachute ballooning
from its mouth.

I arch my back
& the rod dives.
The fish lifts, slimy as an egg,
spinning like a ballerina
on a silver thread,
its marble eye mute,
fixed on white.

How many times have you been in this world?
Suddenly blinded, terrified?
There are hands on you
& pliers in your mouth,
metallic, blood-washed.
How many times have you waited
for the water
while everything lurches around you,
brilliant white, like the inside
of a hospital, like the underbelly
of a dream, gasping
to break the surface
toward that cold & sudden light?

David Prater: Two Poems

DYING ON THE VINE(S)

what happened to you boy the future
seemed too mad for some you were a
notorious phenomenon spoken of by
girls in reverent drools weird kind of
pop star heard of back in high school
if some girls said you were cool then
you were & while I could easily sneer
& pretend I knew you personally the
fact remains that you were out there
doing what you wanted to (whether
on stage or in the recording studios
but it was your habit of returning to
that tour bus each night after those
erratic performances (this clinched
it no one understands the pain not
even you it's that trusted four track
on which you'd lay down metallic &
magnetic loops never to be heard by
any record company a confused fan
even the file-trading fiends & their
relatives those parasitic journalists
you saw horns coming out of their
heads & wished the in-stores could
be re-scheduled I guess the third &
fourth albums may be sadder affairs
compared with the highly-evolved
winning days you've shown us all
how high you can fly how low you
fell (you'll strike a chord for three
more death-defying minutes then
disappear completely just the way
you were supposed to jilting fame
throwing those stars back in their
small faces the last entries in your
missing tour diary reveal the bad
hours between gods leading up to
that weirdest decision the boot in
the heads of those whose support
you still need & whose dismissals
count for everything in this fickle
game you knew the rules & bowed
out sad screaming leave me alone
& for once this spiteful world did

EIGHT MILES HIGH


bob mould's screaming eight miles high
can you feel his sheets of pain inside yer
headphones boy take notes & duplicate
on yer long walks home through those
graveyards in yer long coat there's that
crow he's eating all yer dead mix-tapes
feature angry men & the odd soft-rock
stooge eg john cougar's song scarecrow
that's the sound of yer stadium funeral
furious bic lighters melt in unison only
stinking out the stands forcing another
evacuation pathetic really listen to yer
idol bob mould screaming eight miles
high he's not coming down (off speed
apparently that was his problem not to
mention homophobia eight (gay miles
high & he's not going back! inside that
electric closet now it's our fathers who
take the pills that were meant for the
likes of bob dressed in his incendiary
black you'll come around to this way
of thinking some day come hell's high
water mark eight miles high the flood
of fuel for bob's maniacal fire screams
eight miles high fucked if I'm coming!
fuck you sixty eight miles fucking high
& it's too late to come down now we're
in outer space bob we're still alive how
i scream six hundred & sixty six miles
higher than I've ever been higher than
rainy crow grey streets of down town
known for that sad sound never touch
down bob taking me six thousand six
hundred & sixty six point eight miles
beyond darkness at the edges of town
& nowhere is yer warmth to be found
in a stadium's steel glare fans remain
there laughing at yer shapeless forms
fucking hair metal sidewalk scenes &
headjobs in black limousines we're all
living bob & we're all standing alone
higher than the sun or even the byrds!







--

Jeffrey Side: Six Poems

SHE LEFT WITHOUT DELAY

I mark the time when I fly high.
I'll be landing very soon.

I cannot relocate my genes.
I cannot fix the balloon.

When suspicion is in your heart
the innocent are hurt too.

My ambitions are paved with
thoughts of a nature aimed at you..

I'll take you off that man one day.
I'll take you at your word.

I'll take you very far away
to somewhere you preferred.

I need you in this room dead soon.
I need you in the air.

I need you on the moon in June.
I need you everywhere.

I knew someone who looked like you.
She haunts me to this day.

She was a screamer too.
She left without delay.


LIKE EVERYTHING ELSE THIS FAR FROM THE CHTHONIAN

we are moving towards
a theory of beauty
tremenous natures veiled
butane on jehoaphat

stigmata nationalist
condensation steals redemptive
like cool alabaster twixt the
seasons of love and pornography

darkness is rechargeable
for ignition through
contemplation of stench
I was abandoned with reclaims

of the high nature and there
are no accidents except her
anatomy bred forth organism
like that time she stood me up her

dominant motherhood
wave-matron phallic surplus
condition of autonomy closing
her flesh envelope

over her minoan female tower
made me curious as I crept
towards moment maximum intensity
horizontal chain-like arranged

whereby conversation became
pointless camouflage
consumption for the sailors
was her call


DISTORTED REFLECTIONS

Make room
inside the
steaming glove
if you
have time to sell.

Keep to the right
all things
that please
and things will turn
out well.

You must come
down
upon your knees
and admit
to all your thefts.

You must come
down
upon your knees
and pay
the fine that's left.

I cannot explore anymore.
I cannot count to ten.

The downward journey
was not fair
and roads congest again.

You have your torches
and have
become the symbols
you despised.

You cannot live a lie
this way
and still keep the things
you prized.


BABY STEPS

the high kingdom beautific
go we drop bassoonist

meadow jolly congeneric
wavering candle heronry

you old heavens lenticular
love's day numinous

rubies after the kiss
trapped in brutality

river shades
lesbian celebrated

changing skin absorbed
lazarus regains the spear

destiny night reserved
uncas I heard a great voice

shell-encased turtledove
like walpurgisnacht

and tripoli like them
I'm gonna get home tonight


VOICES IN THE LIGHT

Sometimes voices
in the light
will call me back to them.

Back out of this
place where
I have spoken from.

And then I will turn my
back on you,
and on the storm-bled sea.

And even
on the sleeping faces
that will never wake for me.

I will find myself
expanded
out of limitations plight.

And no earthly cause
or battle
will keep me in this fight.

And what will seem like
nothingness to
those that have remained

to me will seem like
childhood
when in the time of May.


GREENHEYS ROAD

The vessels of love crowd in.
Their traumas hidden
among the reeds.

No love is lost or given to them
as they clutter the minds
of thieves.

Strong, sober and drunk
I come to you.
My weakness revealed
in my glee.

And book-like I pray on
your need
to comfort - sometimes.

Now there is light.
And now there is dark.

And that is the way that you
can pay
the charity you give
to men like me.

John Tranter: "Pronto"

1

No joy in this one, Bob. Would you like to be
summoned for one little blot on the record,
by a marshal? And create the indictment
today, that will be used for a demo
tomorrow? If you do that, my old friend,
the problem seems to be saying, the data
will go on the skids - it could be a fun contest
held in a field in the Boston area.

Now I don't want you to get the idea that
finding a guitar has anything to do with it.
Just dish it up like the boss wants: though
if you deal with the CIA - Hi - I'm Bob.
Can't talk now. Down in the park,
listening to the guitars, single mothers...

2

Do they need to show more, to agree to put
the data mining double digits to use?
They blame a hotel trustee ten to one.
A bang on the gong and he's off to Brooklyn
with a call for a song set from Tony, sliding to CNN,
sun blinding him, trouble in the upper airway,
cost of sales data ballooning - he cannot operate.
It is the 'FM in a Domain Name System" hazard.

A haphazard collapse they can share with the boss
who already believes that we should solve it -
that must be what the publishers want -
two weeks' extra pay, he would say that to keep me,
but I'm getting used to his lies. Sufficient unto the day
are its many small evils - Betty, comment on that pronto.

Jeffrey Ethan Lee: A Plethora

n i g h t o u t w i t h m y s i s t e r 's c o n t a c
t i m p r o v i s a t i o n a l d a n c e g i r l f r i e n d
s

1. the deal
I felt in my guts that something was up
the way Jude led me in,
"You swore
you'd take off your clothes,
do anything we want --"
(pinching my waist)
and we'll enlighten you...
(unbuttoning there)
if you just slip into this,"
and she handed me
a small black velvet dress.
(loosening lower)
"No! I'm not gonna --"
Carol measured meticulously
up under my shirt:
"It'll fit!" she burst,
(stroking my chest)
"Besides, you're a poet...
Think of this as research..."
"Unh uh."
(my buckle popped)
Carol's bourbon voice was so hot,
"But I just took if off for you..."
(my ear caught fire)
"Whoa --"
"Strip."

I should've known it was a trap
when my shoulders got stuck
halfway through with most of the narrows
still overhead and nothing below --
in the bathroom I gasped,
"Help! I'm trapped in this thing!"
They crowded in behind and slowly
tugged down the sturdy, strangling tube --
and then the taping and shaping
of the slimy, squishy balloons.
Jude poked one, jabbed the other and snapped,
"You see -- you see
what we go through for you."


2. After he said, "Hey baby"


"'Hey baby' yourself --
you're making a fatal error," I warned
shouting over the authentically retro pop.
In a muscle-bound nylon shirt
half-open to fur and cheap gold chains
he stared straight through
Carol in my clothes
and Jude in overalls.
But Jude challenged him:
"I bet my girlfriend here
could kill you arm wresting."
He sneered, "It's impossible --
I may be a moron, but things like that
just do NOT happen!"
Jude chimed, "Well, you're at least half right."
Then her eyes counted the seconds till he realized
he was being trashed (her sort-of IQ test.)
Oh no, his eyes were glazed
in soft focus, sticking to me like white glue --
Jude clasped my cheek and cracked:
"Baby, he's smitten."
"Don't kid."
"I bet his chest size is bigger than his IQ..."
My feelings were mixed --
I didn't want to laugh
but when she did the math,
"A forty-six plus four - for that deep manly, shag,"
I was shaking so hard I thought
my balloons would pop.
Not seeing what was really shaking,
he stepped close and asked, full of hope,
"So, ya wanna dance?"
"Sorry, I don't dance with men
whose tits are bigger than mine."

Finally, a frown, hostility,
maybe even violence-in-the-making.
But Jude gently slid her body up
against Mr. Rug and shrugged,
"Well, she tried to warn you...
She's not a girl who misses much."


CONTRACTUALLY OBLIGATORY MARRIAGE POEM
by Jeffrey Lee

[none of the person/ages
in this poem, living or dead,
are intended to represent anyone...]

#1

The wife says, "Why don't you write me
romantic poems? You might get laid..."

"I'm writing down realistic poems,
like what you'd actually say."

She's disgusted, "I hope you make
good friends with your hands."

"I'm writing that down!"

"Whatever."


#2

Walking down the street,
I'm massaging her neck,
which she's audibly enjoying
but just as a woman walks by she cracks,
"You're just hoping to get laid."
The woman glances over,
grins and breaks into laughter!


i r i s' p a i n t e r h e a r s t h e r a i n m u s i
c r e t u r n (o f f b r o a d w a y)

clutching pen and pad in the soaking thundershower
Mick taps the tinted limo glass

she's across the street now
sorry she wanted this autograph

while behind black glass the star says Go
and Mick spins fender-swiped loses his balance

crashes catching his knee his arm
then his face splashes asphalt

she runs across the semi-darkness
arms rising to her face in shock until she cradles

his head his face in blue-white light
lips swelling gritty eyes unfocused

he lurches up she takes his weight
becomes his crutch

they stagger as one on three legs
his right shoe fills with dark red

he'd meant to show her what
he'd still do for her traffic splatters by

despite her stupid marriage
her bittersweet life even her kids

"I'm sorry," she says
a red light casts its crimson tint

he wants to say he's okay
his lips don't work

her umbrella's gone dropped
or washed away? she looks down

sees his pant leg darkening
blood sloshing out his shoe

she leans him against a drugstore's
corrugated steel face

her eyes full of awe
he mangles the question,

"Broken glass?"
"You didn't have to-"

freed by the cold pain
in his lips his knee

his eyes gaze into hers
and hers hold him mesmerized

by what he means
and her voice can't open

her mouth trembles
and he knows

white rain through streetlight roars
a perfect excuse

to finally put her lips by his ear
"I'm sorry-"

he hears what she's never said
he tries so hard to hear

that a silence blooms between
her face and his

even the gutters go quietly
"I never told you...

I would-"
He wakes up utterly

despite his draining blood
his lips shiver but ask

"Would you, still?"
it's unbearable to think

what she might say or not
equally unbearable to not hear

then she can't hold it back
sinks her face in his neck

lips tremulous sobs opening her mouth
arms hugging too hard

and it is hopeless and he knows it
her breathing desperate

but it is a pure despair
that answers, "Always... always.

If only
we could be-"

and her breaking goes straight through him
a wave he can't stop drowning in

they have one soul
but they're submerged

until he hears the rain music
return


"Invitation to a disaster"


Skin-hungry for your hands

she comes up to your bedroom as a fan

of your poetry, but you're Nobody, you say.

It doesn't matter, she says.

She's not the woman you love and can't have,

she's the baby you can have and want

in eccentric old clothes

and she keeps you up late cuddling her blues

which is fine except she takes off everything

(complaining It's so hot!)

except her worn-out panties

and it's late but she doesn't want to

so you sleep on the floor

on something rock-hard

in your clothes

and she wails her loneliness

and jealousy of your past

But we just met (!) you say.

It doesn't matter, she cries.

How can she be mad as a wife

on a first date? you think

but it's too late and sleep

overwhelms you and recedes

only near dawn when she stumbles by casually

half-waking and mostly naked

and you reach up hungry

for her skin and tug her in

your long dark sleeping bag

and roll with her in your lust

and she steams up like dunked toast

that is, till she crumbles into dripping sobs

and then you have to stop,

soothe and hold her together

tenderly as the non-drunk dad she never had.

It begins to dawn on you then

that she really wants something else.

Ad-Rock: Two "Persona Poems"

"Ez on Baker-Bards"

"They make 'em like donuts--
middle-holes, sugar-crust, icing.
Put 'em on display, rack 'em up,

'verse sold here, hot, sweet,
disgetible'. No challenge means
no progress, no crisis means

no climax, no thrust no
penetration; baker-bards
forget this grain. Had I

wanted t' make donuts, wudda
been easy. Tom made mountains
o' donut, but always earthed,

erectile, somethin' t' climb.
Even Bob Frost gave some
veggies on the side, some

kinda sustaining green thread.
Bakers shouldn't be poets, a
simple truth. Kneadin' dough

won't make the sun rise."

"Auden on LP"

"What these poets write
is hewn from cream & air;
a limning of the Void,
a quite unfocused stare.

The size of Ariel,
the face of Caliban--
with dreams too far deferred
to reach the hearts of Men.

So let these brutes berate,
& let these fairies fly;
an Art without a root's
a newborn that must die."

Mary Jo Malo: Another from "Chansons de Geste"

lean on me

in tender camaraderie
within the sheltering
flesh & mind
i say to him
my shoulders are in my heart
no better yet
my shoulders are in my vagina
to one up me he says
mark off a spot
i’m all shoulder

Todd Swift: Live and Dangerous

Todd Swift is a poet who knows how to rock and roll. These poems show him riffing, wailing, howling, ten sheets to the wind, out on a limb, born in a crossfire hurricane, howling at his ma in the driving rain...and it's alright now. You know the rest. Ladies, hold up your skirts...this is live and dangerous.

My Universities

Debating the relative merits of Orchestral Manoeuvres In The Dark,
Or Tears For Fears, while April ice melts slowly in Westmount Park
Now appears to be less world-shaking than when, Misha G., we both
Could be smartly vehement about Richard Rorty, Boy George, Truth,
Logic & being spanked by Marianopolis twins known to us as Ruth.
Not that we were L. Cohen’s heirs, but rather a pair of young pioneers
Gazing into the Future with our smoking jackets for uniforms, sayers
Of sooth but more often faux-decadent imbibers of lascivious perfumes,
Who often drank tea (before it was Pennyroyal) on mornings as Winter
Dripped away as surely as Youth does – as children crushed on looms;
If such industrial imagery seems a tad stark, consider the Reagan Years
Were also ours in Montreal; we danced: slim Japanese New Wavers,
The Cure & The Smiths our aural neighbours if not allies; felt Time’s
Axis turn as early Eloquence (our praxis) dried up in Age’s Summer.

***

Listening In

Things are what kings hold – and let go of, once,
Learning too late that the nothing outside belongs
To the nothingness buzzing in our blood, and will
Connect to it, as a burglar will drill through
Steel locks and busy tumblers, to our blood.
The tempest of existence thrums and thunders,
Rumbling the body like a great beating of a kettle drum,
Announcing the hard hollows and stretched surfaces
Of ourselves, our groaning testimony to being present
Against our wish, presented to an audience that loves us less.
We sense the vibrancy of loss as a humming of violins
Like a surgery wild with last-minute cutting, a tuning
Up of instruments and mastery – the universe
Has a body like a dancer’s, a mind like a maggot’s.

***

Emergency Exit

(After The Song by Beck)

The junk of life sinks into the discarded sun
By the rotten neon motel that sends motes
Into the sunset like poetry no one listens to.
The last teeth I count are in the hand, not to
Mouth; truth is a dog with kittens, drunk on
Winter tequila. My mirror lost its glass, wrote
Me a Dear John note in dust. It said, look out,
And I did. Saw the night, with its one eyelid.
Fed up with detritus? Move to this vacancy.
Here, light your own. The stars go on and off
Like women turning tricks for rotgut whiskey.
Some guy named Ned came by last week, shut
The Texaco. No angel, he. Told me to buzz.
Fuzz on my face. Kog’s dead. Memory-glut.

Donna Kuhn: "WITHOUT BEING ASKED"

WITHOUT BEING ASKED

the way insomnia cares in the interim
being white glazed pottery without being asked

lacking a pancreas, an elephant avoiding a walrus
jazz session firmness giving out, extreme knock about

sudden spurt of nationalism
diary of suspicious jet stream

a jock type of happiness wth a dangerous mind
the boundary between a person who plays music

if its insufficient, being galactic and inadequate
between galaxies with each twine and a jailbird

a prisoner of removable policy with a group
of regardless, a noun or rock, the messiah of

daffodil jawbreaker, candy jetlag jitters
to bump jealous money a jeep

jerk up and down johnnycake


Donna Kuhn is the author of several poetry books and chapbooks. Her text and visual poetry is widely published nationally and internationally in print and online journals and anthologies. She is a visual artist, dancer and videographer living in Northern California. http://www.onlinewebart.com

Diana Magallon's Elegy (Rumania, not Nawlins)

Diana let me know that New Orleans ain't alone...Rumania has apparently been flooded as well. She sent me this elegy, which I think is equally applicable to Nawlins & Rumania....or could be taken other ways too....


ELEGY TO THE TERSE GOLDEN SPHERES

Let's break
the best
nuts
with
balsams

Rumpelstilksin persuades the world with ten hellos

Patient,
patient!
the verses
of the baker woman
the verses of the baker woman
rhyme sentences
through "cuaderna vía"

Rumpelstilskin persuades the world with ten hellos

I'm here c t a l line
r y s

, this ,balsams
and the best
nuts
broken

Rumpelstilskin persuades the world with ten hellos

fakir ' cracks
my kabbala,
la cábala
g o o d
b y e

Rumpelstilskin persuades the world with ten hellos

From Mary Jo Malo's "Chansons de Geste"

Mary Jo Malo is a poet I met online. She's invited me to put some poems up here. I've chosen (to start with) a poem called "Panoply" from a series she has going called "Chansons de Geste". These are poems about desire, sexuality, and communication. They're lyrical, spare, fresh, and brimming over with duende. I hope to include a few more before long...

"panoply"


after this Aliscans
float me down the Rhone
to Alychamps in Arles
where sarcophagi fell from the sky
troubadors sang of tottered graves
chansons de geste
in ever wider circles and listing a bit toward Avalon
observing a little universe after ice storms and debris
a sanctuary still greening
morning mists of solitude chronicle my seasons
a span of life's insufficiency
manacled by boundaries
meant to be violated

A New Elegy from Mary Jo Malo

down in delacroix

blue rose red brick cottage
styx nightmare
should have passed on the lethe
oblivious cnn numb
only a matter of time before my eye levees broke
carried my heart back down to delacroix
a gulf between the living and dead
stilted homes
built on silted islands
crumble down
bait and outfitters gone
fishing for babies now

fuck nature's seneschal
kyoto accord bushwacker
manchurian candidate
hope he parishes covered in black gold
mired in muck
lame duck choking on all that texas tea

no phone no tv no radio
me and my seven babies
stranded on a dilapidated rope bridge
3 of us can't carry 5
water rising above our knees
you choose

reposez dans la paix mes bébés
mes cousins acadiens

Mary Jo Malo

Must remind everyone that I am still looking for New Orleans elegies. Send 'em to me at afieled@yahoo.com.

Diana Magallon: World Poet

I discovered Diana Magallon's poems on "Great Works", an online UK journal (www.greatworks.org.uk). I was struck by her inventiveness, playful spirit, and sense of the absurd. I found her e-mail somewhere & initiated a correspondence. Turns out she's been published all over the world, from US sites like Word for Word and Shampoo, to Great Works UK, Niedergassen (Italy), la Tzara (Argentina) Starfish and elsewhere. The Net has created a new breed of "World Poets", and Diana is a salient example. These are two poems she sent me...


99.9% CANTI

followed dry clock
I follow
the driest dromedary
the driest sand
the driest storm
following me
(Conte D'Arco 1748)


Pan:
Misericordy, little shepherd!
Clemency, little shepherd!
Mercy, little shepherd!

the little shepherd sang to her lilac lilies
lilac not purple
lilac like lilies
not purple like Saint Lazarus

Pan:
Mercy, little shepherd!
aaaaa: Clemency, little shepherd!
Misericordia, little shepeherd!

s , the little shepherd ran with her liliac
lilies


GENTLEMEN WAS OUR POCKMARKED MOON IN TEXAS

Bakeries also die in Venice
thus far____friendly coats
thus roses
took roses

Bakers also die
gentle belly,
they walk fast,
and knock fast

Antinoo is at the table,
will he be able to talk
as the sublime moons shame?


kerosene?
blooms?
murmurs?


but the bakers died
and Antinoo took his chariot...

will you bring me a rose?

Laura Jaramillo (USA): "Double Trinity"

DOUBLE TRINITY

There was a procession in the florid triangle
of my garden. Dawn brought the revolt of equestrian
statues. I lay down beside my uprooted perennials
and showered empty beds with salt, ink, mascara
while one bronze statesmen extended his arms, airplane-
like. His steed ran without reigns, a bride with no veil.

The residents of the city did little to veil
their contempt for the disturbance of the everyday triangle
but vagrants kissed the empty airplane-
less sky. Traffic ceased its equestrian
stride. Billboards’ eyes propped open with mascara
and stamped out a flustered morse code, suspecting the chaos perennial.

I cultivated and talked to deaf mutes, but suspected the perennials
wore their blooms as sabotage veil,
perhaps were even passing off war paint as mascara.
I distrusted geometry (petal, a euphamism for triangle)
but liked topography (I’d slash at the ground like an equestrian).
(holes are cut into the earth by horses, runways by airplanes).

Poor ugly Eleanor was elected to beget airplane
for exodus from squares littered with empty pediments. Perennial
keeper of the wounds, tending also to Washington sore from equestrian
position. She fashioned slings from treaties and gauze from wedding veils,
while acting as the pole that holds up iscoceles tent triangle
and bearer of Hoover’s whispered penchant for mascara.

Those T.V. shrinks always flaunted the mascara
of professionalism, saying my mother’s airplane
shaped dress awoke my terrible attachments, not seeing the triangle
of small occurrences that caused my perennial
motion against early winter, spasms that tore stocking, stem, and veil.
They insisted I did this because of my father, the accomplished equestrian.

The generals and statesmen, thoughtless as only equestrians
can be, stood awash in my mascara
yet held hats to their faces, a veil
not only from me, but from a screaming wind that bore airplanes
to pacify the upheaval, the trampling of perennial
violet, sent to say democracy is a trinity, a triangle.

Civilization draws its triangle to illuminate its equestrian
and I will pit against it my perennial blossom, my mascara
to make its airplane fly within the orbit of my veil.