War of the Foxes

poetry archive for Richard Siken

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Snow and Dirty Rain

Close your eyes. A lover is standing too close to focus on. Leave me blurry and fall toward me with your entire body. Lie under the covers, pretending to sleep, while I'm in the other room. Imagine my legs crossed, my hair combed, the shine of my boots in the slatted light. I'm thinking My plant, his chair, the ashtray that we bought together. I'm thinking This is where we live. When we were little we made houses out of cardboard boxes. We can do anything. It's not because our hearts are large, they're not, it's what we struggle with. The attempt to say Come over. Bring your friends. It's a potluck, I'm making pork chops, I'm making those long noodles you love so much. My dragonfly, my black-eyed fire, the knives in the kitchen are singing for blood, but we are the crossroads, my little outlaw, and this is the map of my heart, the landscape after cruelty which is, of course, a garden, which is a tenderness, which is a room, a lover saying Hold me tight, it's getting cold. We have not touched the stars, nor are we forgiven, which brings us back to the hero's shoulders and the gentleness that comes, not from the absence of violence, but despite the abundance of it. The lawn drowned, the sky on fire, the gold light falling backward through the glass of every room. I'll give you my heart to make a place for it to happen, evidence of a love that transcends hunger. Is that too much to expect? That I would name the stars for you? That I would take you there? The splash of my tongue melting you like a sugar cube? We've read the back of the book, we know what's going to happen. The fields burned, the land destroyed, the lovers left broken in the brown dirt. And then it's gone. Makes you sad. All your friends are gone. Goodbye Goodbye. No more tears. I would like to meet you all in Heaven. But there's a litany of dreams that happens somewhere in the middle. Moonlight spilling on the bathroom floor. A page of the book where we transcend the story of our lives, past the taco stands and record stores. Moonlight making crosses on your body, and me putting my mouth on every one. We have been very brave, we have wanted to know the worst, wanted the curtain to be lifted from our eyes. This dream going on with all of us in it. Penciling in the bighearted slob. Penciling in his outstretched arms. Our father who art in Heaven. Our father who art buried in the yard. Someone is digging your grave right now. Someone is drawing a bath to wash you clean, he said, so think of the wind, so happy, so warm. It's a fairy tale, the story underneath the story, sliding down the polished halls, lightning here and gone. We make these ridiculous idols so we can pray to what's behind them, but what happens after we get up the ladder? Do we simply stare at what's horrible and forgive it? Here is the river, and here is the box, and here are the monsters we put in the box to test our strength against. Here is the cake, and here is the fork, and here's the desire to put it inside us, and then the question behind every question: What happens next? The way you slam your body into mine reminds me I'm alive, but monsters are always hungry, darling, and they're only a few steps behind you, finding the flaw, the poor weld, the place where we weren't stitched up quite right, the place they could almost slip right through if the skin wasn't trying to keep them out, to keep them here, on the other side of the theater where the curtain keeps rising. I crawled out the window and ran into the woods. I had to make up all the words myself. The way they taste, the way they sound in the air. I passed through the narrow gate, stumbled in, stumbled around for a while, and stumbled back out. I made this place for you. A place for you to love me. If this isn't a kingdom then I don't know what is. So how would you catalog it? Dawn in the fields? Snow and dirty rain? Light brought in in buckets? I was trying to describe the kingdom, but the letters kept smudging as I wrote them: the hunter's heart, the hunter's mouth, the trees and the trees and the space between the trees, swimming in gold. The words frozen. The creatures frozen. The plum sauce leaking out of the bag. Explaining will get us nowhere. I was away, I don't know where, lying on the floor, pretending I was dead. I wanted to hurt you but the victory is that I could not stomach it. We have swallowed him up, they said. It's beautiful. It really is. I had a dream about you. We were in the gold room where everyone finally gets what they want. You said Tell me about your books, your visions made of flesh and light and I said This is the Moon. This is the Sun. Let me name the stars for you. Let me take you there. The splash of my tongue melting you like a sugar cube... We were in the gold room where everyone finally gets what they want, so I said What do you want, sweetheart? and you said Kiss me. Here I am leaving you clues. I am singing now while Rome burns. We are all just trying to be holy. My applejack, my silent night, just mash your lips against me. We are all going forward. None of us are going back.

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Meanwhile

Driving, dogs barking, how you get used to it, how you make the new street yours. Trees outside the window and a big band sound that makes you feel like everything's okay, a feeling that lasts for one song maybe, the parentheses all clicking shut behind you. The way we move through time and space, or only time. The way it's night for many miles, and then suddenly it's not, it's breakfast and you're standing in the shower for over an hour, holding the bar of soap up to the light. I will keep watch. I will water the yard. Knot the tie and go to work. Unknot the tie and go to sleep. I sleep. I dream. I make up things that I would never say. I say them very quietly. The trees in wind, the streetlights on, the click and flash of cigarettes being smoked on the lawn, and just a little kiss before we say goodnight. It spins like a wheel inside you: green yellow, green blue, green beautiful green. It's simple: it isn't over, it's just begun. It's green. It's still green.

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You Are Jeff

1 There are two twins on motorbikes but one is farther up the road, beyond the hairpin turn, or just before it, depending on which twin you are in love with at the time. Do not choose sides yet. It is still to your advan- tage to remain impartial. Both motorbikes are shiny red and both boys have perfect teeth, dark hair, soft hands. The one in front will want to take you apart, and slowly. His deft and stubby fingers searching every shank and lock for weaknesses. You could love this boy with all your heart. The other brother only wants to stitch you back together. The sun shines down. It's a beautiful day. Consider the hairpin turn. Do not choose sides yet. 2 There are two twins on motorbikes but one is farther up the road. Let's call them Jeff. And because the first Jeff is in front we'll consider him the older, and therefore responsible for lending money and the occa- sional punch in the shoulder. World-wise, world-weary, and not his mother's favorite, this Jeff will always win when it all comes down to fisticuffs. Unfortunately for him, it doesn't always all come down to fisticuffs. Jeff is thinking about his brother down the winding road be- hind him. He is thinking that if only he could cut him open and peel him back and crawl inside this second skin, then he could relive that last mile again: reborn, wild-eyed, free. 3 There are two twins on motorbikes but one is farther up the road, beyond the hairpin turn, or just before it, depending on which Jeff you are. It could have been so beautiful—you scout out the road ahead and I will watch your back, how it was and how it will be, memory and fantasy— but each Jeff wants to be the other one. My name is Jeff and I'm tired of looking at the back of your head. My name is Jeff and I'm tired of seeing my hand me down clothes. Look, Jeff, I'm telling you, for the last time, I mean it, etcetera. They are the same and they are not the same. They are the same and they hate each other for it. 4 Your name is Jeff and somewhere up ahead of you your brother has pulled to the side of the road and he is waiting for you with a lug wrench clutched in his greasy fist. 0 how he loves you, darling boy. 0 how, like always, he invents the monsters underneath the bed to get you to sleep next to him, chest to chest or chest to back, the covers drawn around you in an act of faith against the night. When he throws the wrench into the air it will catch the light as it spins toward you. Look—it looks like a star. You had expected something else, anything else, but the wrench never reaches you. It hangs in the air like that, spinning in the air like that. It's beautiful. 5 Let's say God in his High Heaven is hungry and has decided to make himself some tuna fish sandwiches. He's already finished making two of them, on sourdough, before he realizes that the fish is bad. What is he going to do with these sandwiches? They're already made, but he doesn't want to eat them. Let's say the Devil is played by two men. We'll call them Jeff. Dark hair, green eyes, white teeth, pink tongues—they're twins. The one on the left has gone bad in the middle, and the other one on the left is about to. As they wrestle, you can tell that they have forgotten about God, and they are very hungry. 6 You are playing cards with three men named Jeff. Two of the Jeffs seem somewhat familiar, but the Jeff across from you keeps staring at your hands, your mouth, and you're certain that you've never seen this Jeff before. But he's on your team, and you're ahead, you're winning big, and yet the other Jeffs keep smiling at you like there's no tomorrow. They all have perfect teeth: white, square, clean, even. And, for some reason, the lighting in the room makes their teeth seem closer than they should be, as if each mouth was a place, a living room with pink carpet and the window's open. Come back from the window, Jefferson. Take off those wet clothes and come over here, by the fire. 7 You are playing cards with three Jeffs. One is your father, one is your brother, and the other is your current boyfriend. All of them have seen you naked and heard you talking in your sleep. Your boyfriend Jeff gets up to answer the phone. To them he is a mirror, but to you he is a room. Phone's for you, Jeff says. Hey! It's Uncle Jeff, who isn't really your uncle, but you can't talk right now, one of the Jeffs has put his tongue in your mouth. Please let it be the right one. 8 Two brothers are fighting by the side of the road. Two motorbikes have fallen over on the shoulder, leaking oil into the dirt, while the interlocking brothers grapple and swing. You see them through the backseat window as you and your parents drive past. You are twelve years old. You do not have a brother. You have never experienced anything this ferocious or intentional with another person. Your mother is pretending that she hasn't seen anything. Your father is fiddling with the knobs of the radio. There is an empty space next to you in the backseat of the station wagon. Make it the shape of everything you need. Now say hello. 9 You are in an ordinary suburban bedroom with bunk beds, a bookshelf, two wooden desks and chairs. You are lying on your back, on the top bunk, very close to the textured ceiling, staring straight at it in fact, and the room is still dark except for a wedge of powdery light that spills in from the adjoining bathroom. The bathroom is covered in mint green tile and someone is in there, singing very softly. Is he singing to you? For you? Black cherries in chocolate, the ring around the moon, a bee- tle underneath a glass—you cannot make out all the words, but you're sure he knows you're in there, and he's singing to you, even though you don't know who he is. 10 You see it as a room, a tabernacle, the dark hotel. You're in the hallway again, and you open the door, and if you're ready you'll see it, but maybe one part of your mind decides that the other parts aren't ready, and then you don't remember where you've been, and you find yourself down the hall again, the lights gone dim as the left hand sings the right hand back to sleep. It's a puzzle: each piece, each room, each time you put your hand to the knob, your mouth to the hand, your ear to the wound that whispers. You're in the hallway again. The radio is playing your favorite song. You're in the hallway. Open the door again. Open the door. 11 Suppose for a moment that the heart has two heads, that the heart has been chained and dunked in a glass booth filled with river water. The heart is monologing about hesitation and fulfillment while behind the red brocade the heart is drowning. Can the heart escape? Does love even care? Snow falls as we dump the booth in the bay. Suppose for a moment we are crowded around a pier, waiting for something to ripple the water. We believe in you. There is no danger. It is not getting dark, we want to say. 12 Consider the hairpin turn. It is waiting for you like a red door or the broken leg of a dog. The sun is shining, O how the sun shines down! Your speedometer and your handgrips and the feel of the road below you, how it knows you, the black ribbon spread out on the greens be- tween these lines that suddenly don't reach to the horizon. It is waiting, like a broken door, like the red dog that chases its tail and eats your rose- bushes and then must be forgiven. Who do you love, Jeff? Who do you love? You were driving toward something and then, well, then you found yourself driving the other way. The dog is asleep. The road is be- hind you. O how the sun shines down. 13 This time everyone has the best intentions. You have cancer. Let's say you have cancer. Let's say you've swallowed a bad thing and now it's got its hands inside you. This is the essence of love and failure. You see what I mean but you're happy anyway, and that's okay, it's a love story after all, a lasting love, a wonderful adventure with lots of action, where the mirror says mirror and the hand says hand and the front door never says Sorry Charlie. So the doctor says you need more stitches and the bruise cream isn't working. So much for the facts. Let's say you're still completely in the dark but we love you anyway. We love you. We really do. 14 After work you go to the grocery store to get some milk and a carton of cigarettes. Where did you get those bruises? You don't remember. Work was boring. You find a jar of bruise cream and a can of stewed tomatoes. Maybe a salad? Spinach, walnuts, blue cheese, apples, and you can't decide between the Extra Large or Jumbo black olives. Which is bigger anyway? Extra Large has a blue label, Jumbo has a purple label. Both cans cost $1.29. While you're deciding, the afternoon light is streaming through the windows behind the bank of checkout coun- ters. Take the light inside you like a blessing, like a knee in the chest, holding onto it and not letting it go. Now let it go. 15 Like sandpaper, the light, or a blessing, or a bruise. Blood everywhere, he said, the red light hemorrhaging from everywhere at once. The train station blue, your lips blue, hands cold and the blue wind. Or a horse, your favorite horse now raised up again out of the mud and galloping galloping always toward you. In your ruined shirt, on the last day, while the bruise won't heal, and the stain stays put, the red light streaming in from everywhere at once. Your broken ribs, the back of your head, your hand to mouth or hand to now, right now, like you mean it, like it's split- ting you in two. Now look at the lights, the lights. 16 You and your lover are making out in the corner booth of a seedy bar. The booths are plush and the drinks are cheap and in this dim and smoky light you can barely tell whose hands are whose. Someone raises their glass for a toast. Is that the Hand of Judgment or the Hand of Mercy? The bartender smiles, running a rag across the burnished wood of the bar. The drink in front of you has already been paid for. Drink it, the bartender says. It's yours, you deserve it. It's already been paid for. Somebody's paid for it already. There's no mistake, he says. It's your drink, the one you asked for, just the way you like it. How can you refuse Hands of fire, hands of air, hands of water, hands of dirt. Someone's doing all the talking but no one's lips move. Consider the hairpin turn. 17 The motorbikes are neck and neck but where's the checkered flag we all expected, waving in the distance, telling you you're home again, home? He's next to you, right next to you in fact, so close, or. . . he isn't. Imagine a room. Yes, imagine a room: two chairs facing the window but nobody moves. Don't move. Keep staring straight into my eyes. It feels like you're not moving, the way when, dancing, the room will suddenly fall away. You're dancing: you're neck and neck or cheek to cheek, he's there or he isn't, the open road. Imagine a room. Imagine you're danc- ing. Imagine the room now falling away. Don't move. 18 Two brothers: one of them wants to take you apart. Two brothers: one of them wants to put you back together. It's time to choose sides now. The stitches or the devouring mouth? You want an alibi? You don't get an alibi, you get two brothers. Here are two Jeffs. Pick one. This is how you make the meaning, you take two things and try to define the space between them. Jeff or Jeff? Who do you want to be? You just wanted to play in your own backyard, but you don't know where your own yard is, exactly. You just wanted to prove there was one safe place, just one safe place where you could love him. You have not found that place yet. You have not made that place yet. You are here. You are here. You're still right here. 19 Here are your names and here is the list and here are the things you left behind: The mark on the floor from pushing your chair back, your un- derwear, one half brick of cheese, the kind I don't like, wrapped up, and poorly, and abandoned on the second shelf next to the poppyseed dress- ing, which is also yours. Here's the champagne on the floor, and here are your house keys, and here are the curtains that your cat peed on. And here is your cat, who keeps eating grass and vomiting in the hall- way. Here is the list with all of your names, Jeff. They're not the same name, Jeff. They're not the same at all. 20 There are two twins on motorbikes but they are not on motorbikes, they're in a garden where the flowers are as big as thumbs. Imagine you are in a field of daisies. What are you doing in a field of daisies? Get up! Let's say you're not in the field anymore. Let's say they're not brothers anymore. That's right, they're not brothers, they're just one guy, and he knows you, and he's talking to you, but you're in pain and you can- not understand him. What are you still doing in this field? Get out of the field! You should be in the hotel room! You should, at least, be try- ing to get back into the hotel room. Ah! Now the field is empty. 21 Hold onto your voice. Hold onto your breath. Don't make a noise, don't leave the room until I come back from the dead for you. I will come back from the dead for you. This could be a city. This could be a graveyard. This could be the basket of a big balloon. Leave the lights on. Leave a trail of letters like those little knots of bread we used to dream about. We used to dream about them. We used to do a lot of things. Put your hand to the knob, your mouth to the hand, pick up the bread and devour it. I'm in the hallway again, I'm in the hallway. The radio's playing my favorite song. Leave the lights on. Keep talking. I'll keep walking toward the sound of your voice. 22 Someone had a party while you were sleeping but you weren't really sleeping, you were sick, and parts of you were burning, and you couldn't move. Perhaps the party was in your honor. You can't remem- ber. It seems the phone was ringing in the dream you were having but there's no proof. A dish in the sink that might be yours, some clothes on the floor that might belong to someone else. When was the last time you found yourself looking out of this window. Hey! This is a beautiful window! This is a beautiful view! 1 hose trees lined up like that, and the way the stars are spinning over them like that, spinning in the air like that, like wrenches. 23 Let's say that God is the space between two men and the Devil is the space between two men. Here: I'll be all of them-Jeff and Jeff and Jeff and Jeff are standing on the shoulder of the highway, four motorbikes knocked over, two wrenches spinning in the ordinary air. Two of these Jeffs are windows, and two of these Jeffs are doors, and all of these Jeffs are trying to tell you something. Come closer. We'll whisper it in your ear. It's like seeing your face in a bowl of soup, cream of potato, and the eyes shining back like spoons. If we wanted to tell you everything, we would leave more footprints in the snow or kiss you harder. One thing. Come closer. Listen . . . 24 You're in a car with a beautiful boy, and he won't tell you that he loves you, but he loves you. And you feel like you've done something terr- ible, like robbed a liquor store, or swallowed pills, or shoveled yourself a grave in the dirt, and you're tired. You're in a car with a beautiful boy, and you're trying not to tell him that you love him, and you're trying to choke down the feeling, and you're trembling, but he reaches over and he touches you, like a prayer for which no words exist, and you feel your heart taking root in your body, like you've discovered something you don't even have a name for.

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The Dislocated Room

It was night for many miles and then the real stars in the purple sky, like little boats rowed out too far, begin to disappear. And there, in the distance, not the promised land, but a Holiday Inn, with bougainvillea growing through the chain link by the pool. The door swung wide: twin beds, twin lamps, twin plastic cups wrapped up in cellophane and he says No Henry, let's not do this. Can you see the plot like dotted lines across the room? Here is the sink to wash away the blood, here's the whiskey, the ripped-up shirt, the tile of the bathroom floor, the disk of the drain punched through with holes. Here's the boy like a sack of meat, here are the engines, the little room that is not a room, the Henry that is not a Henry, the Henry with a needle and thread, hovering over the hollow boy passed out on the universal bedspread. Here he is again, being sewn up. So now we have come to a great battlefield, the warmth of the fire, the fire still burning, the heat escaping like a broken promise. This is the part where you wake up in your clothes again, this is the part where you're trying to stay inside the building. Stay in the room for now, he says. Stay in the room for now. This is the place, you say to yourself, this is the place where everything starts to begin, the wounds reveal a thicker skin and suddenly there is no floor. Meanwhile, there is something underneath the building that is trying very hard to get your attention--- a man with almond eyes and a zipper that runs the length of his spine. You can see the shadow that the man is throwing across the linoleum, how it resembles a boat, how it crosses the tiles just so, the masts of his arms rasping against the windows. He's pointing at you with a glass of milk as if he's trying to tell you that there is some sort of shining star now buried deep inside you and he has to dig it out with a knife. The bell rings, the dog growls, and then the wind picking up, and the light falling, and the window closing tight against the dirty rain. Here is the hallway and here are the doors and here is the fear of the other thing, the relentless thing, your body drowning in gravity. This is the in-between, the waiting that happens in the space between one note and the next, the place where you confuse his hands with the room, the dog with the man, the blood with the ripped-up sky. He puts his hands all over you to keep you in the room. It's night. It's noon. He's driving. It's happening all over again. It's love or it isn't. It isn't over. You're in a car. You're in the weeds again. You're on a bumpy road and there are criminals everywhere, longing for danger. Henry, he's saying. Who is it that's talking? I thought I heard the clink of ice to teeth. I thought I heard the clink of teeth to glass. Open the door and the light falls in. Open your mouth and it falls right out again. He's on top of you. He's next to you, right next to you in fact. He has the softest skin wrapped entirely around him. It isn't him. It isn't you. You're falling now. You're swimming. This is not harmless. You are not breathing. You're climbing out of the chlorinated pool again. We have not been given all the words necessary. We have not been given anything at all. We've been driving all night. We've been driving a long time. We want to stop. We can't. Is there an acceptable result? Do we mean something when we talk? Is it enough that we are shuddering from the sound? Left hand raising the fork to the mouth, feeling the meat slide down your throat, thinking My throat. Mine. Everything in this cone of light is mine. The ashtray and the broken lamp, the filthy orange curtains and his ruined shirt. I've been in your body, baby, and it was paradise. I've been in your body and it was a carnival ride. They want to stop but they can't stop. They don't know what they're doing. This is not harmless, the how to touch it, we do not want the screen completely lifted from our eyes, just lifted long enough to see the holes. Tired and sore and rubbed the wrong way, rubbed raw and throbbing in the light. They want to stop but they don't stop. They cannot get the bullet out. Cut me open and the light streams out. Stitch me up and the light keeps streaming out between the stitches. He cannot get the bullet out, he thinks, he can't, and then he does. A little piece of grit to build a pearl around. Midnight June. Midnight July. They've been going at it for days now. Getting the bullet out. Digging out the bullet and holding it up to the light, the light. Digging out the bullet and holding it up to the light.

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Road Music

1 The eye stretches to the horizon and then must continue up. Anything past the horizon is invisible, it can only be imagined. You want to see the future but you only see the sky. Fluffy clouds. Look—white fluffy clouds. Looking back is easy for a while and then looking back gets murky. There is the road, and there is the story of where the road goes, and then more road, the roar of the freeway, the roar of the city sheening across the city. There should be a place. At the rest stop, in the restaurant, the overpass, the water's edge... 2 He was not dead yet, not exactly— parts of him were dead already, certainly other parts were still only waiting for something to happen, something grand, but it isn't always about me, he keeps saying, though he's talking about the only heart he knows— He could build a city. Has a certain capacity. There's a niche in his chest where a heart would fit perfectly and he thinks if he could just maneuver one into place— well then, game over. 3 You wonder what he's thinking when he shivers like that. What can you tell me, what could you possibly tell me? Sure, it's good to feel things, and if it hurts, we're doing it to ourselves, or so the saying goes, but there should be a different music here. There should be just one safe place in the world, I mean this world. People get hurt here. People fall down and stay down and I don't like the way the song goes. You, the moon. You, the road. You, the little flowers by the side of the road. You keep singing along to that song I hate. Stop singing.

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Driving, Not Washing

It starts with bloodshed, always bloodshed, always the same running from something larger than yourself story, shoving money into the jaws of a suitcase, cutting your hair with a steak knife at a rest stop, and you're off, you’re on the run, a fugitive driving away from something shameful and half-remembered. They're hurling their bodies down the freeway to the smell of gasoline, which is the sound of a voice saying I told you so. Yes, you did dear. Every story has its chapter in the desert, the long slide from kingdom to kingdom through the wilderness, where you learn things, where you're left to your own devices. Henry’s driving, and Theodore's bleeding shotgun into the upholstery. It's a road movie, a double-feature, two boys striking out across America, while desire, like a monster, crawls up out of the lake with all of us watching, with all of us wondering if these two boys will find a way to figure it out. Here is the black box, the shut eye, the bullet pearling in his living skin. This boy, half-destroyed, screaming Drive into that tree, drive off the embankment. Henry, make something happen. But angels are pouring out of the farmland, angels are swarming over the grassland, Angels rising from their little dens, arms swinging, wings aflutter, dropping their white-hot bombs of love. We are not dirty, he keeps saying. We are not dirty... They want you to love the whole damn world but you won't, you want it all narrowed down to one fleshy man in the bath, who knows what to do with his body, with his hands. It should follow, you know this, like the panels of a comic strip, we should be belted in, but you still can't get beyond your skin, and they're trying to drive you into the ground, to see if anything walks away.

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Wishbone

You saved my life he says. I owe you everything. You don’t, I say, you don’t owe me squat, let’s just get going, let’s just get gone, but he’s relentless, keeps saying I owe you, says Your shoes are filling with your own damn blood, you must want something, just tell me, and it’s yours. But I can’t look at him, can hardly speak, I took the bullet for all the wrong reasons, I’d just as soon kill you myself, I say. You keep saying I owe you, I owe... but you say the same thing every time. Let’s not talk about it, let’s just not talk. Not because I don’t believe it, not because I want it any different, but I’m always saving and you’re always owing and I’m tired of asking to settle the debt. Don’t bother. You never mean it anyway, not really, and it only makes me that much more ashamed. There’s only one thing I want, don’t make me say it, just get me bandages, I’m bleeding, I’m not just making conversation. There’s smashed glass glittering everywhere like stars. It’s a Western, Henry. It’s a downright shoot-em-up. We’ve made a graveyard out of the bone white afternoon. It’s another wrong-man-dies scenario and we keep doing it, Henry, keep saying until we get it right... but we always win and we never quit. See, we’ve won again, here we are at the place where I get to beg for it where I get to say Please, for just one night, will you lay down next to me, we can leave our clothes on, we can stay all buttoned up? But we both know how it goes––I say I want you inside me and you hold my head underwater, I say I want you inside me and you split me open with a knife. I’m battling monsters, I’m pulling you out of the burning buildings and you say I’ll give you anything but you never come through. Even when you’re standing up you look like you’re lying down, but will you let me kiss your neck, baby? Do I have to tie your arms down? Do I have to stick my tongue in your mouth like the hand of a thief, like a burglary, like it’s just another petty theft? It makes me tired, Henry. Do you see what I mean? Do you see what I’m getting at? I swear, I end up feeling empty, like you’ve taken something out of me, and I have to search my body for the scars, thinking Did he find that one last tender place to sink his teeth in? I know you want me to say it, Henry, it’s in the script, you want me to say Lie down on the bed, you’re all I ever wanted and worth dying for too... but I think I’d rather keep the bullet. It’s mine, see, I’m not giving it up. This way you still owe me, and that’s as good as anything. You can’t get out of this one, Henry, you can’t get it out of me, and with this bullet lodged in my chest, covered with your name, I will turn myself into a gun, because I’m hungry and hollow and just want something to call my own. I’ll be your slaughterhouse, your killing floor, your morgue and final resting, walking around with this bullet inside me like the bullet was already there, like it’s been waiting inside me the whole time. Do you want it? Do you want anything I have? Will you throw me to the ground like you mean it, reach inside and wrestle it out with your bare hands? If you love me, Henry, you don’t love me in a way I understand. Do you know how it ends? Do you feel lucky? Do you want to go home now? There’s a bottle of whiskey in the trunk of the Chevy and a dead man at our feet staring up at us like we’re something interesting. This is where the evening splits in half, Henry, love or death. Grab an end, pull hard, and make a wish.

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Planet of Love

Imagine this: You're driving. The sky's bright. You look great. In a word, in a phrase, it's a movie, you're the star. so smile for the camera, it's your big scene, you know your lines. I'm the director. I'm in a helicopter. I have a megaphone and you play along, because you want to die for love, you always have. Imagine this: You're pulling the car over. Somebody's waiting. You're going to die in your best friend's arms. And you play along because it's funny, because it's written down, you've memorized it, it's all you know. I say the phrases that keep it all going, and everybody plays along. Imagine: Someone's pulling a gun, and you're jumping into the middle of it. You didn't think you'd feel this way. There's a gun in your hand. It feels hot. It feels oily. I'm the director and I'm screaming at you, I'm waving my arms in the sky, and everyone's watching, everyone's curious, everyone's holding their breath.

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Saying Your Names

Chemical names, bird names, names of fire and flight and snow, baby names, paint names, delicate names like bones in the body, Rumplestiltskin names that are always changing, names that no one’s ever able to figure out. Names of spells and names of hexes, names cursed quietly under the breath, or called out loudly to fill the yard, calling you inside again, calling you home. Nicknames and pet names and baroque French monikers, written in shorthand, written in longhand, scrawled illegibly in brown ink on the backs of yellowing photographs, or embossed on envelopes lined with gold. Names called out across the water, names I called you behind your back, sour and delicious, secret and unrepeatable, the names of flowers that open only once, shouted from balconies, shouted from rooftops, or muffled by pillows, or whispered in sleep, or caught in the throat like a lump of meat. I try, I do. I try and try. A happy ending? Sure enough — Hello darling, welcome home. I’ll call you darling, hold you tight. We are not traitors but the lights go out. It’s dark. Sweetheart, is that you? There are no tears, no pictures of him squarely. A seaside framed in glass, and boats, those little boats with sails aflutter, shining lights upon the water, lights that splinter when they hit the pier. His voice on tape, his name on the envelope, the soft sound of a body falling off a bridge behind you, the body hardly even makes a sound. The waters of the dead, a clear road, every lover in the form of stars, the road blocked. All night I stretched my arms across him, rivers of blood, the dark woods, singing with all my skin and bone Please keep him safe. Let him lay his head on my chest and we will be like sailors, swimming in the sound of it, dashed to pieces. Makes a cathedral, him pressing against me, his lips at my neck, and yes, I do believe his mouth is heaven, his kisses falling over me like stars. Names of heat and names of light, names of collision in the dark, on the side of the bus, in the bark of the tree, in ballpoint pen on jeans and hands and the backs of matchbooks that then get lost. Names like pain cries, names like tombstones, names forgotten and reinvented, names forbidden or overused. Your name like a song I sing to myself, your name like a box where I keep my love, your name like a nest in the tree of love, your name like a boat in the sea of love — O now we’re in the sea of love! Your name like detergent in the washing machine. Your name like two X’s like punched-in eyes, like a drunk cartoon passed out in the gutter, your name with two X’s to mark the spots, to hold the place, to keep the treasure from becoming ever lost. I’m saying your name in the grocery store, I’m saying your name on the bridge at dawn. Your name like an animal covered with frost, your name like a music that’s been transposed, a suit of fur, a coat of mud, a kick in the pants, a lungful of glass, the sails in wind and the slap of waves on the hull of a boat that’s sinking to the sound of mermaids singing songs of love, and the tug of a simple profound sadness when it sounds so far away. Here is a map with a your name fora capital, here is an arrow to prove a point: we laugh and it pits the world against us, we laugh, and we’ve got nothing left to lose, and our hearts turn red, and the river rises like a barn on fire. I came to tell you, we’ll swim in the water, we’ll swim like something sparkling underneath the waves. Our bodies shivering, and the sound of our breathing, and the shore so far away. I’ll use my body like a ladder, climbing to the thing behind it, saying farewell to flesh, farewell to everything caught underfoot and flattened. Names of poisons, names of handguns, names of places we’ve been together, names of people we’d be together, Names of endurance, names of devotion, street names and place names and all the names of our dark heaven crackling in their pan. It’s a bed of straw, darling. It sure as shit is. If there was one thing I could save from the fire, he said, the broken arms of the sycamore, the eucalyptus still trying to climb out of the yard — your breath on my neck like a music that holds my hands down, kisses as they burn their way along my spine — or rain, our bodies wet, clothes clinging arm to elbow, clothes clinging nipple to groin — I’ll be right here. I’m waiting. Say hallelujah, say goodnight, say it over the canned music and your feet won’t stumble, his face getting larger, the rest blurring on every side. And angels, about twelve angels, angels knocking on your head right now, hello hello, a flash in the sky, would you like to meet him there, in Heaven? Imagine a room, a sudden glow. Here is my hand, my heart, my throat, my wrist. Here are the illuminated cities at the center of me, and here is the center of me, which is a lake, which is a well that we can drink from, but I can’t go through with it. I just don’t want to die anymore.

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Straw House, Straw Dog

1 I watched TV. I had a Coke at the bar. I had four dreams in a row where you were burned, about to burn, or still on fire. I watched TV. I had a Coke at the bar. I had four Cokes, four dreams in a row. Here you are in the straw house, feeding the straw dog. Here you are in the wrong house, feeding the wrong dog. I had a Coke with ice. I had four dreams on TV. You have a cold cold smile. You were burned, you were about to burn, you're still on fire. Here you are in the straw house, feeding ice to the dog, and you wanted an adventure, so I said Have an adventure. The straw about to burn, the straw on fire. Here you are on the TV, saying Watch me, just watch me. 2 Four dreams in a row, four dreams in a row, four dreams in a row, fall down right there. I wanted to fall down right there but I knew you wouldn’t catch me because you're dead. I swallowed crushed ice pretending it was glass and you're dead. Ashes to ashes. You wanted to be cremated so we cremated you and you wanted an adventure so I ran and I knew you wouldn’t catch me. You are a fever I am learning to live with, and everything is happening at the wrong end of a very long tunnel.

3 I woke up in the morning and I didn't want anything, didn't do anything, couldn't do it anyway, just lay there listening to the blood rush through me and it never made any sense, anything. And I can't eat, can't sleep, can't sit still or fix things and I wake up and I wake up and you're still dead, you’re under the table, you’re still feeding the damn dog, you're cutting the room in half. Whatever. Feed him whatever. Burn the straw house down. 4 I don’t really blame you for being dead but you can't have your sweater back. So, I said, now that we have our dead, what are we going to do with them? There's a black dog and there's a white dog, depends on which you feed, depends on which damn dog you live with. 5 Here we are in the wrong tunnel, burn O burn, but it’s cold, I have clothes all over my body, and it's raining, it wasn't supposed to. And there's snow on the TV, a landscape full of snow, falling from the fire-colored sky. But thanks, thanks for calling it the blue sky You can sleep now, you said. You can sleep now. You said that. I had a dream where you said that. Thanks for saying that. You weren't supposed to.

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I Had a Dream About You

All the cows were falling out of the sky and landing in the mud. You were drinking sangria and I was throwing oranges at you, but it didn’t matter. I said my arms are very long and your head’s on fire. I said kiss me here and here and here and you did. Then you wanted pasta, so we trampled out into the tomatoes and rolled around to make the sauce. You were very beautiful. We were in the Safeway parking lot. I couldn’t find my cigarettes You said Hurry up! but I was worried there would be a holdup and we would be stuck in a hostage situation, hiding behind the frozen meats, with nothing to smoke for hours. You said Don’t be silly, so I followed you into the store. We were thumping the melons when I heard somebody say Nobody move! I leaned over and whispered in your ear I told you so. There was a show on the television about buried treasure. You were trying to convince me that we should buy shovels and go out into the yard and I was trying to convince you that I was a vampire. On the way to the hardware store I kept biting your arm and you said if I really was a vampire I would be biting your neck, so I started biting your neck and you said Cut it out! and you bought me an ice cream, and then we saw the UFO. These are the dreams we should be having. I shouldn’t have to clean them up like this. You were lying in the middle of the empty highway. The sky was red and the sand was red and you were wearing a brown coat. There were flecks of foam in the corners of your mouth. The birds were watching you. Your eyes were closed and you were listening to the road and I could hear your breathing, I could hear your heart beating. I carried you to the car and drove you home but you weren’t making any sense. I took a shower and tried to catch my breath. You were lying on top of the bedspread in boxer shorts, watching cartoons and laughing but not making any sound. Your skin looked blue in the television light. Your teeth looked yellow. Still wet, I lay down next to you. Your arms, your legs, your naked chest, your ribs delineated like a junkyard dog's. There’s nowhere to go, I thought. There’s nowhere to go. You were sitting in a bathtub at the hospital and you were crying. You said it hurt. I mean the buildings that were not the hospital. I shouldn’t have mentioned the hospital. I don’t think I can take this much longer. In the dream I don’t tell anyone, you put your head in my lap. Let’s say you’re driving down the road with your eyes closed but my eyes are also closed. You’re by the side of the road. You’re by the side of the road and you’re doing all the talking while I stare at my shoes. They’re nice shoes, brown and comfortable, and I like your voice. In the dream I don’t tell anyone, I’m afraid to wake you up. In these dreams it’s always you: the boy in the sweatshirt, the boy on the bridge, the boy who always keeps me from jumping off the bridge. Oh, the things we invent when we are scared and want to be rescued Your jeep. Your teeth. The coffee that you bought me. The sandwich cut in half on the plate. I woke up and ate ice cream in the dark, hunched over on the wooden chair in the kitchen, listening to the rain. I borrowed your shoes and didn’t put them away. You were crying and eating rice. The surface of the water was still and bright. Your feet were burning so I put my hands on them, but my hands were burning too. You had a bottle of pills but I wouldn’t let you swallow them. You said Will you love me even more when I'm dead? and I said No, and I threw the pills on the sand. Look at them, you said. They look like emeralds. I put you in the cage with the ocelots. I was trying to fatten you up with sausages and bacon. Somehow you escaped and climbed up the branches of a pear tree. I chopped it down but there was no one in it. I went to the riverbed to wait for you to show up. You didn't show up. I kept waiting.

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Unfinished Duet

At first there were too many branches so he cut them and then it was winter. He meaning you. Yes. He would look out the window and stare at the trees that once had too many branches and now seemed to have too few. Is that all? No, there were other attempts, breakfasts: plates served, plates carried away. He doesn't know what to do with his hands. He likes the feel of the coffeepot. More than the hacksaw? Yes, and he likes flipping the chairs, watching them fill with people. He likes the orange juice and toast of it, and waxed floors in any light. He wants to be tender and merciful. That sounds overly valorous. Sounds like penance. And his hands? His hands keep turning into birds and flying away from him. Him being you. Yes. Do you love yourself? I don’t have to answer that. It should matter. He has a body but it doesn't matter, clean sheets on the bed but it doesn't matter. This is where he trots out his sadness. Little black cloud, little black umbrella. You miss the point: the face in the mirror is a little traitor, the face in the mirror is a pale and naked hostage and no one can tell which room he’s being held in. He wants in, he wants out, he wants the antidote. He stands in front of the mirror with a net, hoping to catch something. He wants to move forward into the afternoon because there is no other choice. Everyone in this room got here somehow and everyone in this room will have to leave. So what's left? Sing a song about the room we're in? Hammer in the pegs that fix the meaning to the landscape? The voice wants to be a hand and the hand wants to do something useful. What did you really want? Someone to pass this with me. You wanted more. I want what everyone wants. He raises the moon on a crane for effect, cue the violins. That's what the violins are for. And yes, he raises the moon on a crane and scrubs it until it shines. So what does it shine on? Nothing. Was there no one else? Left-handed truth, right-handed truth, there's no pure way to say it. The wind blows and it makes a noise. Pain makes a noise. We bang on the pipes and it makes a noise. Was there no one else? His hands keep turning into birds, and his hands keep flying away from him. Eventually the birds must land.

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A Primer for the Small Weird Loves

1 The blond boy in the red trunks is holding your head underwater because he is trying to kill you, and you deserve it, you do, and you know this, and you are ready to die in this swimming pool because you wanted to touch his hands and lips and this means your life is over anyway. You’re in the eighth grade. You know these things. You know how to ride a dirt bike, and you know how to do long division, and you know that a boy who likes boys is a dead boy, unless he keeps his mouth shut, which is what you didn’t do, because you are weak and hollow and it doesn’t matter anymore. 2 A dark-haired man in a rented bungalow is licking the whiskey from the back of your wrist. He feels nothing, keeps a knife in his pocket, peels an apple right in front of you while you tramp around a mustard-colored room in your underwear drinking Dutch beer from a green bottle. After everything that was going to happen has happened you ask only for the cab fare home and realize you should have asked for more because he couldn't care less, either way. 3 The man on top of you is teaching you how to hate, sees you as a piece of real estate, just another fallow field lying underneath him like a sacrifice. He's turning your back into a table so he doesn't have to eat off the floor, so he can get comfortable, pressing against you until he fits, until he's made a place for himself inside you. The clock ticks from five to six. Kissing degenerates into biting. So you get a kidney punch, a little blood in your urine. It isn't over yet, it's just begun. 4 Says to himself The boy's no good. The boy is just no good. but he takes you in his arms and pushes your flesh around to see if you could ever be ugly to him. You, the now familiar whipping boy, but you're beautiful, he can feel the dogs licking his heart. Who gets the whip and who gets the hoops of flame? He hits you and he hits you and he hits you. Desire driving his hands right into your body. Hush, my sweet. These tornadoes are for you. You wanted to think of yourself as someone who did these kinds of things. You wanted to be in love and he happened to get in the way. 5 The green-eyed boy in the powder-blue t-shirt standing next to you in the supermarket recoils as if hit, repeatedly, by a lot of men, as if he has a history of it. This is not your problem. You have your own body to deal with. The lamp by the bed is broken. You are feeling things he's no longer in touch with. And everyone is speaking softly, so as not to wake one another. The wind knocks the heads of the flowers together. Steam rises from every cup at every table at once. Things happen all the time, things happen every minute that have nothing to do with us. 6 So you say you want a deathbed scene, the knowledge that comes before knowledge, and you want it dirty. And no one can ever figure out what you want, and you won't tell them, and you realize the one person in the world who loves you isn't the one you thought it would be, and you don't trust him to love you in a way you would enjoy. And the boy who loves you the wrong way is filthy. And the boy who loves you the wrong way keeps weakening. You thought if you handed over your body he'd do something interesting. 7 The stranger says there are no more couches and he will have to sleep in your bed. You try to warn him, you tell him you will want to get inside him, and ruin him, but he doesn't listen. You do this, you do. You take the things you love and tear them apart or you pin them down with your body and pretend they're yours. So, you kiss him, and he doesn't move, he doesn't pull away, and you keep on kissing him. And he hasn't moved, he's frozen, and you've kissed him, and he'll never forgive you, and maybe now he'll leave you alone.

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Boot Theory

A man walks into a bar and says: Take my wife–please. So you do. You take her out into the rain and you fall in love with her and she leaves you and you’re desolate. You’re on your back in your undershirt, a broken man on an ugly bedspread, staring at the water stains on the ceiling. And you can hear the man in the apartment above you taking off his shoes. You hear the first boot hit the floor and you’re looking up, you’re waiting because you thought it would follow, you thought there would be some logic, perhaps, something to pull it all together but here we are in the weeds again, here we are in the bowels of the thing: your world doesn’t make sense. And then the second boot falls. And then a third, a fourth, a fifth. A man walks into a bar and says: Take my wife–please. But you take him instead. You take him home, and you make him a cheese sandwich, and you try to get his shoes off, but he kicks you and he keeps kicking you. You swallow a bottle of sleeping pills but they don’t work. Boots continue to fall to the floor in the apartment above you. You go to work the next day pretending nothing happened. Your co-workers ask if everything’s okay and you tell them you’re just tired. And you’re trying to smile. And they’re trying to smile. A man walks into a bar, you this time, and says: Make it a double. A man walks into a bar, you this time, and says: Walk a mile in my shoes. A man walks into a convenience store, still you, saying: I only wanted something simple, something generic... But the clerk tells you to buy something or get out. A man takes his sadness down to the river and throws it in the river but then he’s still left with the river. A man takes his sadness and throws it away but then he’s still left with his hands.

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Visible World

Sunlight pouring across your skin, your shadow flat on the wall. The dawn was breaking the bones of your heart like twigs. You had not expected this, the bedroom gone white, the astronomical light pummeling you in a stream of fists. You raised your hand to your face as if to hide it, the pink fingers gone gold as the light streamed straight to the bone, as if you were the small room closed in glass with every speck of dust illuminated. The light is no mystery, the mystery is that there is something to keep the light from passing through.

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Litany in Which Certain Things Are Crossed Out

Every morning the maple leaves. Every morning another chapter where the hero shifts from one foot to the other. Every morning the same big and little words all spelling out desire, all spelling out You will be alone always and then you will die. So maybe I wanted to give you something more than a catalog of non-definitive acts, something other than the desperation. Dear So-and-So, I’m sorry I couldn’t come to your party. Dear So-and-So, I’m sorry I came to your party and seduced you and left you bruised and ruined, you poor sad thing. You want a better story. Who wouldn’t? A forest, then. Beautiful trees. And a lady singing. Love on the water, love underwater, love, love and so on. What a sweet lady. Sing lady, sing! Of course, she wakes the dragon. Love always wakes the dragon and suddenly flames everywhere. I can tell already you think I’m the dragon, that would be so like me, but I’m not. I’m not the dragon. I’m not the princess either. Who am I? I’m just a writer. I write things down. I walk through your dreams and invent the future. Sure, I sink the boat of love, but that comes later. And yes, I swallow glass, but that comes later. And the part where I push you flush against the wall and every part of your body rubs against the bricks, shut up I’m getting to it. For a while I thought I was the dragon. I guess I can tell you that now. And, for a while, I thought I was the princess, cotton candy pink, sitting there in my room, in the tower of the castle, young and beautiful and in love and waiting for you with confidence but the princess looks into her mirror and only sees the princess, while I’m out here, slogging through the mud, breathing fire, and getting stabbed to death. Okay, so I’m the dragon. Big deal. You still get to be the hero. You get magic gloves! A fish that talks! You get eyes like flashlights! What more do you want? I make you pancakes, I take you hunting, I talk to you as if you’re really there. Are you there, sweetheart? Do you know me? Is this microphone live? Let me do it right for once, for the record, let me make a thing of cream and stars that becomes, you know the story, simply heaven. Inside your head you hear a phone ringing and when you open your eyes only a clearing with deer in it. Hello deer. Inside your head the sound of glass, a car crash sound as the trucks roll over and explode in slow motion. Hello darling, sorry about that. Sorry about the bony elbows, sorry we lived here, sorry about the scene at the bottom of the stairwell and how I ruined everything by saying it out loud. Especially that, but I should have known. You see, I take the parts that I remember and stitch them back together to make a creature that will do what I say or love me back. I’m not really sure why I do it, but in this version you are not feeding yourself to a bad man against a black sky prickled with small lights. I take it back. The wooden halls like caskets. These terms from the lower depths. I take them back. Here is the repeated image of the lover destroyed. Crossed out. Clumsy hands in a dark room. Crossed out. There is something underneath the floorboards. Crossed out. And here is the tabernacle reconstructed. Here is the part where everyone was happy all the time and we were all forgiven, even though we didn’t deserve it. Inside your head you hear a phone ringing, and when you open your eyes you’re washing up in a stranger’s bathroom, standing by the window in a yellow towel, only twenty minutes away from the dirtiest thing you know. All the rooms of the castle except this one, says someone, and suddenly darkness, suddenly only darkness. In the living room, in the broken yard, in the back of the car as the lights go by. In the airport bathroom’s gurgle and flush, bathed in a pharmacy of unnatural light, my hands looking weird, my face weird, my feet too far away. And then the airplane, the window seat over the wing with a view of the wing and a little foil bag of peanuts. I arrived in the city and you met me at the station, smiling in a way that made me frightened. Down the alley, around the arcade, up the stairs of the building to the little room with the broken faucets, your drawings, all your things, I looked out the window and said This doesn’t look that much different from home, because it didn’t, but then I noticed the black sky and all those lights. We walked through the house to the elevated train. All these buildings, all that glass and the shiny beautiful mechanical wind. We were inside the train car when I started to cry. You were crying too, smiling and crying in a way that made me even more hysterical. You said I could have anything I wanted, but I just couldn’t say it out loud. Actually, you said Love, for you, is larger than the usual romantic love. It’s like a religion. It’s terrifying. No one will ever want to sleep with you. Okay, if you’re so great, you do it— here’s the pencil, make it work . . . If the window is on your right, you are in your own bed. If the window is over your heart, and it is painted shut, then we are breathing river water. Build me a city and call it Jerusalem. Build me another and call it Jerusalem. We have come back from Jerusalem where we found not what we sought, so do it over, give me another version, a different room, another hallway, the kitchen painted over and over, another bowl of soup. The entire history of human desire takes about seventy minutes to tell. Unfortunately, we don’t have that kind of time. Forget the dragon, leave the gun on the table, this has nothing to do with happiness. Let’s jump ahead to the moment of epiphany, in gold light, as the camera pans to where the action is, lakeside and backlit, and it all falls into frame, close enough to see the blue rings of my eyes as I say something ugly. I never liked that ending either. More love streaming out the wrong way, and I don’t want to be the kind that says the wrong way. But it doesn’t work, these erasures, this constant refolding of the pleats. There were some nice parts, sure, all lemondrop and mellonball, laughing in silk pajamas and the grains of sugar on the toast, love love or whatever, take a number. I’m sorry it’s such a lousy story. Dear Forgiveness, you know that recently we have had our difficulties and there are many things I want to ask you. I tried that one time, high school, second lunch, and then again, years later, in the chlorinated pool. I am still talking to you about help. I still do not have these luxuries. I have told you where I’m coming from, so put it together. We clutch our bellies and roll on the floor . . . When I say this, it should mean laughter, not poison. I want more applesauce. I want more seats reserved for heroes. Dear Forgiveness, I saved a plate for you. Quit milling around the yard and come inside.

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The Torn-Up Road

1 There is no way to make this story interesting. A pause, a road, the taste of grave in the mouth. The rocks dig into my skin like arrowheads. And then the sense of being smothered underneath a sack of lentils or potatoes, or of a boat at night slamming into the docks again without navigation, without consideration, heedless of the planks of wood that are the dock, that make up the berth itself. 2 I want to tell you this story without having to confess anything, without having to say that I ran out into the street to prove something, that he didn't love me, that I wanted to be thrown over, possessed. I want to tell you this story without having to be in it: Max in the wrong clothes. Max at the party, drunk again. Max in the kitchen, in refrigerator light, his hands around the neck of a beer. Tell me we're dead and I'll love you even more. I'm surprised that I say it with feeling. There's a thing in my stomach about this. A simple thing. The last rung. 3 Can you see them there, by the side of the road, not moving, not wrestling, making a circle out of the space between the circles? Can you see them pressed into the gravel, pressed into the dirt, pressing against each other in an effort to make the minutes stop -- headlights shining in all directions, night spilling over them like gasoline in all directions, and the dark blue over everything, and them holding their breath -- 4 I want to tell you this story without having to say that I ran out into the street to prove something, that he chased after me and threw me into the gravel. And he knew it wasn't going to be okay, and he told me it wasn't going to be okay. And he wouldn't kiss me, but he covered my body with his body and held me down until I promised not to run back out into the street again. But the minutes don't stop. The prayer of going nowhere going nowhere. 5 His shoulder blots out the stars but the minutes don't stop. He covers my body with his body but the minutes don't stop. The smell of him mixed with creosote, exhaust -- There, on the ground, slipping through the minutes, trying to notch them. Like taking the same picture over and over, the spaces in between sealed up -- Knocked hard enough to make the record skip and change its music, setting the melody on its forward course again, circling and circling the center hole in the flat black disk. And words, little words, words too small for any hope or promise, not really soothing but soothing nonetheless.