Adam Fieled (Plymouth Meeting, Pennsylvania, USA): from Something Solid, Aughts Philly, "Live Forever"

We had it then— not just the embedded depth
of soul love, but glamour right on the ground,
as the formation formed by which Mary & I spent
all of our nights together. Our route— West
Philly to Logan Square and back— took two
disparate locales, made them whole, out of
a sense that they were meant to be wed, just
as we were; Logan Square with its sleek, modish
urbanity, West Philly with its rusticity, climbing
ivy, plus the obvious inversion of a well-worn
media cliché against it. By New Years Eve, 2003,
there was so much gaiety in the air, we’d pierced
a hole in the obdurate, obtrusive surface of human
life, to find ourselves in a tropical paradise—

I relate to it, now, as a clear demonstration that
Heaven on Earth happens. In Abby, we had a soul
sister; in the large co-op twin on Baltimore Ave.,
a safe haven; my flat in Logan Square created
a different, representatively recent kind of stage;
all were playgrounds where the dope, pills, every
thing else was shared by all, as all of our bodies
were for each other and no one else. The profound
ecstasy of that New Years was that a bunch of
artistic misfits found ways & means of being
completely at home in the world, against constraints
that needn’t have been there, with a serene sense
of what it might mean to live forever. We were
right, then and there, to be who we were, & we knew it—

© Adam Fieled 2022

Something Solid comes up, among other lit topics, in this new interview in TAS.

From Eoagh 3

SORRY

I can’t remember the 2nd
time I hurt you—

it was dark & someplace
in that darkness
was the thing I did.

You weren’t the target, I
know that, though
you might’ve been the bow
& the tension
I really think is love.
Nothing ever sends me away.
I’ve got your pain
in my pocket &
it glows in the dark

and in the light
it’s the softest kind
of singing woman’s voice.
That’s who you are. To me, I mean.
Let me hold your shoulders
back so you look
arrogant & beautiful
welcoming me into the warm
sad party. Let this
be the unfortunate hat
I hang outside the door
if only you will
allow me to come in.

© Eileen Myles 1979

More from moria poetry

PRECISION ENTRANCES
             (For H.D.)

Ethereal jellyfish
knotted garden
pearl vision of a
waking bridge
quiet transitory gully
screaming and sunlit
tides of dream
seeds in the ground
oyster abounding
the delphic charioteer
flies right into the mulberry symphony
trance skeleton drunk in the vineyard.

© Carrie Hunter 2004

From Dusie 5

WE’RE LOVING IT

Night arcs add to a continuous sense
of April, of this year. Please welcome.

To the pink pages, thank you;
thank you parasol, thank you fuzzy voiced
at the mike. Thank you, ice in a glass.

The road is a method, or a line joining
one possible former with a likely latter,
like a ladder.

And yes, the sky is blue,
& it can be photographed.

Our official position is class piñata.
Our innermost breaks.

© Shanna Compton 2006

From Melancholia's Tremulous Dreadlocks

METROPOLITAN AVENUE DANCE NO. 1

I will myself into a bird. I might be a sparrow
or a robin or a broken plate. I might

not be any of these things. I might hide
in the shed or sing a wicked song.

I might sing e-i-e-i-o. I will myself
an audience— everyone claps or sings or

does nothing. I will myself into a frame,
tuck in my arms, my legs. Perhaps I begin

again, this time with a partner. Partner says
you sing a wicked song.

Partner says sparrow, dish-plate, birdsong.
Partner says, no, no, you’re doing it wrong.

© Gina Myers 2006

From moria poetry

obedience: 136

there is only infinity of jealous passion
tireless devotion walled in blindness
multiple poverty of substance
a poverty of property
a discourse of laughter
an action cutting across the self
stripped of
nothing but its fiction
of a fiction
of an absolute
timeless external organ
thing least compromised

a thought between a thought
the sun
between gladly becoming
words with an always message
touching a passing touching
a moment of touching
a passing moment
touching
the moment
never missing the missing

© Kari Edwards 2005

From Caffeine Destiny

INSTABILITIES

Azaleas bloomed, inky against the fence,
and all the porch lights loosened. Women
named Alice or Ingrid smoked in clamorous
rooms with long windows, their spines opening
to back roads and folksongs. We had thought
ourselves in love with thirst, whether or not
the sky opened and showed us its teeth. We
dreamt of beheadings, antebellum skirts,
power lines crossing & recrossing; the atmosphere
frenzied as the letters of our names. All along,
we thought we were in love with the weather.

© Kristy Bowen 2006

Adam Fieled (editor, Plymouth Meeting, Pennsylvania): from Something Solid, Aughts Philly, Unhinged

Because you could cut paper with Anastasia’s cheek-bones,
& her wide hips supported no flab at all, & not to say
her carriage announced any movements but a feline strut,
a surfeit of attention is what she was used to. She paced
the polished wooden Highwire floors, knocked
back red wine, huffed nitrous, & put up the requisite
inaccessible, impervious front to those foolhardy enough
to believe they could approach her. I, for instance,
knew the ropes, & had too much to do anyway. Except,
at some point in one fateful night’s festivities, all the junk
in Anastasia’s brain, everything frozen, lazy-loafing,
shy of approach, froze— nights spent following other people
around, waiting to be signaled, signals sent back registering
ranking, surfeits of attention delivering not love but lust—

caught up with her at last, & she exploded. Gaetan
was exasperated to find her sitting in one of the windows
of the gallery’s west-facing façade, threatening to jump.
Gaetan was a cool customer, but spur him with something
unhinged, he would warp into warrior mode, brusquely
brush off those inexpert, & set to work. We all watched
as Gaetan leveled with Anastasia, whose drunkenness
was not helping her, leading her to understand that
the situation was hardly hopeless. She had a real life,
friends, purpose, & everyone here cared about her.
The party, as an entirety, you would think ceased, yet
it did not. Not all the revelers realized the drama unfolding.
Even those who did drunkenly chose to trust Gaetan. I
did, too, was right to. Philly fixed Jersey that night, as was its wont.

© Adam Fieled 2024-2025

Read more of The Spurgin Chronicles in The Seattle Star and Scud.

From As=Is

From The Book of How

how they picked their role-model companies
how you would launder money and hide it
how they help each other overcome their personal weaknesses by relying on the other’s personal strengths
how corrections were made by striking out a faulty passage in ink and stamping the correction in the margin
how private detectives make up stories on the spot and have to adjust
how to force people to download PDF documents (or other formats) rather than
how he got drunk and threw up
how the therapist evaluates and interprets dreams phantasies etc. in the absence of a personal analysis
how everything actually started
how to avoid disastrous (and embarrassing)
how ice cream came to be
how to tackle instead
how you became a travel editor
how they see them of how they interpret their gestures
how to traverse it
how your mother and everybody knows you were
how she came to write it
how the "inertia of history"
how to actually construct the park what materials you will need and how to acquire
how the various borderline thinking mechanisms work
how amphibians contribute to human medicine
how much the Air Force truly knew about the UFO phenomenon in the 1960's
how to succeed in science
how fragile he really is despite all
how pissed you were
how a sleeve should look like
how the primitive envious feelings are revived
how people see
how her life drifted into drug use and general lack
how he runs upstairs at midnight after a new show to read the reviews
how changes in the grammar of a unit within
how a university responds
how things got so messed up would be a small book

© Andrew Lundwall 2008

From Ocho #11

FIRST TO WAKE

If you are first to wake,
do me a favor, turn off the alarm,
let the dog out to pee.

I would, but I’m far away now,
standing on a bridge that hovers
above a living riverbed,

speaking Latin to someone
who speaks it back. I am turning the pages
of guilty pleasure, strolling the gardens

of invincible men, kissing as many girls
as I can before interrupted by traffic.
If you are still looking for something to do

after watering the lawn,
there are breakfast sausages in the fridge,
they need cooking or they’ll turn on us.

You could prepare them with eggs or oatmeal,
thinking all the while of the conversation we’ll have
as I make my way from the bedroom,

our comforter wrapped around my shoulders,
my stomach rumbling from the emptiness
of waking up alone. And if you haven’t already

left me for someone who wakes with you,
if you haven’t run off with one of the street men
who keep their eyes on you,

you might take a moment to turn the radio on,
something classical, or in any case,
something to soothe me back to sleep

in the event I am startled awake
by the slamming of doors.

© Chris Goodrich 2007

From Eoagh 5

MOON, INCIDENTAL

You are suffering from a cold
that has not quite arrived.
Streetlamps turn on like impractical flowers.
The light leaking from buildings

waits around the corner for you.
A shock to see trees crumbed into this.
You are the last to enter the park,
the rain is in wreckage around you.

Walking your many shadows home
the rooks are grains of truth,
their voices have the quality of darkness.
At the other end of the park

a man in a fluorescent jacket sits on a bench.
As if looking through white wine he
can see you. It is his job to lock the gate.
Geese speak of that moment of departure

as the river’s text breaks open.
The moon’s dome rises to see its page
ripple over the river’s muscles.
You walk towards the cars bleeding home,

the birds shriveling on their branches,
clouds adding the usual ramifications.
Information leaks from buildings and trees.
The night holds up a moon clear enough to show,

above the cigarette-glow of a telecom beacon,
imperfections in cloud cover, torn newsprint.
Cranes stand in sleep making the same gesture
that the wind redistributes, and a lamppost

holds a swarm of leaves in place.
Like a song about to waken
in a radio-alarm, moon manifests as a lucid
interval that evenings won't dissolve into.

© Giles Goodland 2009