emotionally im doing the laminated paper wobbling sound
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@anestforpoetry
emotionally im doing the laminated paper wobbling sound
we broke! you won; our bodies we threw down the church steps or out onto streets or government buildings. we ripped open our guts, painted our blood on the ceiling. you got us good. we spent years afraid, badger-like, buried, clawing into ourselves to detect sin, unholy, ugly, catastrophe, and we broke! you won. we spat out our teeth or hung ourselves or were shot in nightclubs and you won. but us rusty-ass motherfuckers, us dime-a-dozen gay sons of bitches, us broke-up and broke-down spiny bastards - you sent too many of our brothers and sisters down here and the weight of the bodies turned us diamond, baby
you know what happens when you got nothing left to take from me? when you got all these people all ripe with strife and death and so used to it that our tongues are rotting with it? you know what happens when all us monsters, all us angry-ass goblins that aren’t afraid anymore, all us tired half-skeleton motherfuckers, all us ghost-white barely-made-it-out-alive motherfuckers stop using our own bodies as graveyards, stop flinching do you know what happens when a bone breaks? it grows back stronger, bitch. it grows back wiser, bitch. it grows back unafraid of blood, of bruising, of being told to un-exist because FUCK YOU!!!!! you killed my friends! you killed the good sunny parts of me! you killed my love, my romance, my free! you killed my hope, but bitch! you didn’t kill me!
life is short, though I keep this from my children
This poem.
this place could be beautiful, right? you could make this place beautiful.
Love and Space Dust
Poems from my anthology, Love and Space Dust. The full book is out now and available as:
** Amazon.com Paperback - Amazon.com Kindle - Lulu Publishers Paperback - Amazon.co.uk Kindle - Amazon.co.uk Paperback - Signed Direct from Author **
“I shut my eyes and all the world drops dead; I lift my lids and all is born again. (I think I made you up inside my head.) The stars go waltzing out in blue and red, And arbitrary blackness gallops in: I shut my eyes and all the world drops dead. I dreamed that you bewitched me into bed And sung me moon-struck, kissed me quite insane. (I think I made you up inside my head.) God topples from the sky, hell’s fires fade: Exit seraphim and Satan’s men: I shut my eyes and all the world drops dead. I fancied you’d return the way you said, But I grow old and I forget your name. (I think I made you up inside my head.) I should have loved a thunderbird instead; At least when spring comes they roar back again. I shut my eyes and all the world drops dead. (I think I made you up inside my head.)”
Mad Girl’s Love Song
Sylvia Plath
(via meatthebottomofthesea)
We, the naturally hopeful, Need a simple sign For the myriad ways we’re capsized. We who love precise language Need a finer way to convey Disappointment and perplexity. For speechlessness and all its inflections, For up-ended expectations, For every time we’re ambushed By trivial or stupefying irony, For pure incredulity, we need The inverted exclamation point. For the dropped smile, the limp handshake, For whoever has just unwrapped a dumb gift Or taken the first sip of a flat beer, Or felt love or pond ice Give way underfoot, we deserve it. We need it for the air pocket, the scratch shot, The child whose ball doesn’t bounce back, The flat tire at journey’s outset, The odyssey that ends up in Weehawken. But mainly because I need it – here and now As I sit outside the Caffe Reggio Staring at my espresso and cannoli After this middle-aged couple Came strolling by and he suddenly Veered and sneezed all over my table And she said to him, “See, that’s why I don’t like to eat outside.”
“Appeal to the Grammarians”, Paul Violi
I. Blood We wondered if the rumors got to her. I’d seen her with that other girl behind The Stop and Shop when I was walking home from school one day. I swear, the two of them were kissing, plain as that, the grass so high it brushed their cheeks. I told my teacher so, and maybe it was her who called their folks. Before too long, it was like everyone in town had heard. We waited for them at the dime store once, where Cedric grabbed her tits and said I’ll learn you how to love how God intended it, you ugly fucking dyke. Thing was, she wasn’t ugly like you’d think. She had a certain quality, a shyness maybe, and I’d describe the way she laughed as kind of gentle. Anyway, we never saw her with that girl again. They say she got depressed— shit, at the service all of us got tearful. I got to thinking what an awful sight it was, all that red blood—it wasn’t in the papers, but I heard Melissa’s mother, who was the nurse in the Emergency that night, say how she was just covered up in blood. I can’t think how you bring yourself to cut your throat like that yourself—I asked the counselor they called in to the school, and she said something like, What better ink to write the language of the heart? I guess it proves that stuff from Bible school they say, that such a life of sin breeds misery. II. Phlegm “My brain is draining from my head,” he said as once again he blew his nose. The clock read 3 A.M.; its second hand swept slowly through another viscous minute. Dead to even nurses sticking them for new IVs, the other ones slept off their benders soundlessly. “I’m losing my intelligence,” he said, and blew. My patience waned. He thought he was the president: Dementia, KS, HIV were printed in his problem list. “And plus, I’m getting feverish.” I can’t recall his name, but I remember hating him—grim wish that he would hurry up and die. Just then, he took my hand, and kissed the back of it as though I were a princess in his foreign land. “My lady, you are beautiful,” he said, and coughed again. Unsure of what to say, my own throat burned. He said, “You can’t know what I feel.” III. Bile A gun went off and killed a little girl The day my friend was diagnosed with cancer. I walked through Central Park; a black dog snarled At squirrels chattering like they had answers. The day my friend was diagnosed with cancer I dreamed of killing someone with a knife. The squirrels, chattering, had likely answers To all my angry questions about life— A homeboy threatened someone with a knife Not far from where a cop showed off his gun, An angry answer to most questions about life. I watched the squirrels hop, the yuppies run; The cop approached the black kids with his gun. I wondered how much longer she would live; The squirrels scattered when the homeboy ran. I wondered if she’d ever been in love, I wondered who would pray for her to live, Forgive her for her anger and her weaknesses. I wondered why it hurt to fall in love. The cop tried aiming past me, towards the woods. Forgive us for our anger, for our weaknesses: Through Central Park, past the black dog’s snarls, The cop gave chase. A skirmish in the woods. The gun went off—No! shrieked a little girl. IV. Melancholy We picked at it with sticks at first, until an older kid named Samuel arrived. He dropped a heavy rock right on its skull; we watched as thick black slime began to ooze from somewhere just below its heart—or where we thought its heart should be. “Raccoon,” said someone solemnly. The landscaper— sweat gleaming, like the polished figurines my mother wouldn’t ever let me touch— regarded us with keen suspicion from across the street. We learned what it could teach; like any body’s secrets, the sublime receded toward the fact of death. I knew both sadness, and disgust in love’s untruths.
“The Four Humors”, Rafael Campo
Other-lips whispering between my legs. What they called black hole not-thing is really packed full of secrets. A rebel mouth testifying from the underside. Careful not to let it speak too loudly. Only hum demure in polite company — never laugh or spit on the sidewalk or complain lest we both be dragged under the wheels of one of those. Or worse coddled smiled at as at a lapdog acting wolf. Or worse called ugly a cruel joke. Or — there are always worse things. Too many messengers shot. But then who wouldn’t fear an eyeless face whose ghost stories always come true?
“Second Mouth”, Franny Choi
We are walking our very public attraction through eighteenth-century Philadelphia. I am simultaneously butch girlfriend and suburban child on a school trip, Independence Hall, 1775, home to the Second Continental Congress. Although she is wearing her leather jacket, although we have made love for the first time in a hotel room on Rittenhouse Square, I am preparing my teenage escape from Philadelphia, from Elfreth’s Alley, the oldest continuously occupied residential street in the nation, from Carpenters’ Hall, from Congress Hall, from Graff House where the young Thomas Jefferson lived, summer of 1776. In my starched shirt and waistcoat, in my leggings and buckled shoes, in postmodern drag, as a young eighteenth-century statesman, I am seventeen and tired of fighting for freedom and the rights of men. I am already dreaming of Boston— city of women, demonstrations, and revolution on a grand and personal scale. Then the maître d’ is pulling out our chairs for brunch, we have the surprised look of people who have been kissing and now find themselves dressed and dining in a Locust Street townhouse turned café, who do not know one another very well, who continue with optimism to pursue relationship. Eternity may simply be our mortal default mechanism set on hope despite all evidence. In this mood, I roll up my shirtsleeves and she touches my elbow. I refuse the seedy view from the hotel window. I picture instead their silver inkstands, the hoopskirt factory on Arch Street, the Wireworks, their eighteenth-century herb gardens, their nineteenth-century row houses restored with period door knockers. Step outside. We have been deeded the largest landscaped space within a city anywhere in the world. In Fairmount Park, on horseback, among the ancient ginkgoes, oaks, persimmons, and magnolias, we are seventeen and imperishable, cutting classes May of our senior year. And I am happy as the young Tom Jefferson, unbuttoning my collar, imagining his power, considering my healthy body, how I might use it in the service of the country of my pleasure.
“A History of Sexual Preference”, Robin Becker
It’s mostly someone long dead who gets curious all over again, who once told a book, the book picked clean to glow on a website now, an address with double slashes in it. Suddenly I love one detail: the way they harnessed horses or hammered copper, what seed — cardamom, rye — kept its small heart aloft for a millennium. Voices in that dark ago when I open to room light, lamp or window on book — old friend — or the new computer screen. It’s not technology, either way. It’s something in the brain first, an inkling. Not yet yours to know. Behind that little hallways in sleep. The walking, every door.
“Book and Screen”, Marianne Boruch
you want to eat me out. right. what does it taste like you want to eat me right out of these jeans & into something a little cheaper. more digestible. more bite-sized. more thank you come: i am greasy for you. i slick my hair with msg every morning. i’m bad for you. got some red-light district between your teeth . what does it taste like: a takeout box between my legs. plastic bag lady. flimsy white fork to snap in half. dispose of me. taste like dried squid. lips puffy with salt. lips brimming with foreign so call me pork. curly-tailed obscenity been playing in the mud. dirty meat. worms in your stomach. give you a fever. dead meat. butchered girl chopped up & cradled in styrofoam. you candid cannibal. you want me bite-sized no eyes clogging your throat. but i’ve been watching from the slaughterhouse. ever since you named me edible. tossed in a cookie at the end. lucky man. go & take what’s yours. name yourself archaeologist but listen carefully to the squelches in your teeth & hear my sow squeal scream murder between molars. watch salt awaken writhe, synapse. watch me kick back to life. watch me tentacles & teeth. watch me resurrected electric. what does it taste like: revenge squirming alive in your mouth strangling you quiet from the inside out.
“To the Man Who Shouted “I Like Pork Fried Rice” at Me on the Street”, Franny Choi
The night we got bashed we told Rusty how they drove up, yelled QUEER, threw a hot dog, sped off. Rusty: Now, is that gaybashing? Or are they just calling you queer? Good point. Josey pitied the fools: who buys a perfectly good pack of wieners and drives around San Francisco chucking them at gays? And who speeds off? Missing the point, the pleasure of the bash? Dear bashers, you should have seen the hot dog hit my neck, the scarf Josey sewed from antique silk kimonos: so gay. You missed laughing at us, us confused, your raw hot dog on the ground. Josey and Rusty and Bob make fun of the gaybashers, and I wash my scarf in the sink. I use Woolite. We worry about insurance, interest rates. Not hot dogs thrown from F-150s, homophobic freaks. After the bashing, we used the ATM in the sex shop next to Annie's Social Club, smiled at the kind owner, his handlebar mustache. Astrud Gilberto sang tall and tan and young and lovely, the girl from Ipanema... and the dildos gleamed from the walls, a hundred cheerful colors. In San Francisco it rains hot dogs, pity-the-fool. Ass-sized penguins, cock after cock in azure acrylic, butterscotch glass, anyone's flesh-tone, chrome.
“Dear Gaybashers”, Jill McDonough
Our cabdriver tells us how Somalia is better than here because in Islam we execute murderers. So, fewer murders. But isn't there civil war there now? Aren't there a lot of murders? Yes, but in general it's better. Not now, but most of the time. He tells us about how smart the system is, how it's hard to bear false witness. We nod. We're learning a lot. I say—once we are close to the house—I say, What about us? Two women, married to each other. Don't be offended, he says, gravely. But a man with a man, a woman with a woman: it would be a public execution. We nod. A little silence along the Southeast Corridor. Then I say, Yeah, I love my country. This makes him laugh; we all laugh. We aren't offended, says Josey. We love you. Sometimes I feel like we're proselytizing, spreading the Word of Gay. The cab is shaking with laughter, the poor man relieved we're not mad he sort of wants us dead. The two of us soothing him, wanting him comfortable, wanting him to laugh. We love our country, we tell him. And Josey tips him. She tips him well.
“Three a.m.”, Jill McDonough
First, are you our sort of a person? Do you wear A glass eye, false teeth or a crutch, A brace or a hook, Rubber breasts or a rubber crotch, Stitches to show something's missing? No, no? Then How can we give you a thing? Stop crying. Open your hand. Empty? Empty. Here is a hand To fill it and willing To bring teacups and roll away headaches And do whatever you tell it. Will you marry it? It is guaranteed To thumb shut your eyes at the end And dissolve of sorrow. We make new stock from the salt. I notice you are stark naked. How about this suit—— Black and stiff, but not a bad fit. Will you marry it? It is waterproof, shatterproof, proof Against fire and bombs through the roof. Believe me, they'll bury you in it. Now your head, excuse me, is empty. I have the ticket for that. Come here, sweetie, out of the closet. Well, what do you think of that? Naked as paper to start But in twenty-five years she'll be silver, In fifty, gold. A living doll, everywhere you look. It can sew, it can cook, It can talk, talk, talk. It works, there is nothing wrong with it. You have a hole, it's a poultice. You have an eye, it's an image. My boy, it's your last resort. Will you marry it, marry it, marry it.
“The Applicant”, Sylvia Plath
I came into the world a young man Then I broke me off Still the sea and clouds are Pegasus colors My heart is Pegasus colors but to get there I must go back Back to the time before I was a woman Before I broke me off to make a flattened lap And placed thereon a young man Where I myself could have dangled And how I begged him enter there My broken young man parts And how I let the mystery collapse With rugged young man puncture And how I begged him turn me Pegasus colors And please to put a sunset there And gone forever was my feeling snake And in its place dark letters And me the softest of all And me so skinless I could no longer be naked And me I had to de-banshee And me I dressed myself I made a poison suit I darned it out of myths Some of the myths were beautiful Some turned ugly in the making The myth of the slender girl The myth of the fat one The myth of rescue The myth of young men The myth of the hair in their eyes The myth of how beauty would save them The myth of me and who I must become The myth of what I am not And the horses who are no myth How they do not need to turn Pegasus They are winged in their un-myth They holy up the ground I must holy up the ground I sanctify the ground and say fuck it I say fuck it in a way that does not invite death I say fuck it and fall down no new holes And I ride an unwinged horse And I unbecome myself And I strip my poison suit And wear my crown of fuck its
“Lunar Shatters”, Melissa Broder
My sister died. He raped me. They beat me. I fell to the floor. I didn’t. I knew children, their smallness. Her corpse. My fingernails. The softness of my belly, how it could double over. It was puckered, like children, ugly when they cry. My sister died and was revived. Her brain burst into blood. Father was driving. He fell asleep. They beat me. I didn’t flinch. I did. It was the only dance I knew. It was the kathak. My ankles sang with 100 bells. The stranger raped me on the fitted sheet. I didn’t scream. I did not know better. I knew better. I did not live. My father said, I will go to jail tonight because I will kill you. I said, She died. It was the kathakali. Only men were allowed to dance it. I threw a chair at my mother. I ran from her. The kitchen. The flyswatter was a whip. The flyswatter was a flyswatter. I was thrown into a fire ant bed. I wanted to be a man. It was summer in Texas and dry. I burned. It was a snake dance. He said, Now I’ve seen a Muslim girl naked. I held him to my chest. I held her because I didn’t know it would be the last time. I threw no punches. I threw a glass box into a wall. Somebody is always singing. Songs were not allowed. Mother said, Dance and the bells will sing with you. I slithered. Glass beneath my feet. I locked the door. I did not die. I shaved my head. Until the horns I knew were there were visible. Until the doorknob went silent.
“100 Bells”, Tarfia Faizullah