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Sharon Mesmer
& Chris Stroffolino

Sharon Mesmer is a poet, essayist and fiction writer. Her most recent poetry collection is Greetings From My Girlie Leisure Place (Bloof Books); forthcoming is Even Living Makes Me Die (Hanging Loose, 2027), a collection of poems for "underknown" women poets of the Americas, Canada to Chile, 19th century to now. Hanging Loose has also published two collections of her short fiction. Her essays have appeared in the New York Times, New York Magazine, the Paris Review, American Poetry Review and Commonweal, among other places. She teaches fiction and creative nonfiction workshops at NYU.

Chris Stroffolino has published nine solo collections of poetry, most recently Medi(t)ations (Blaze Vox, 2025); he’s also published a poetic collaboration with Steve Carll, Dreaming to a Click (Bathysphere, 2026). His most recent collection of essays (primarily on 21st century poetry) is In The Here There (Spuyten Duyvil, 2024). More recently, Periodicities published his short essays on Virginia Konchan, Rae Armantrout, and Juliana Spahr; poems are forthcoming in Hanging Loose and New American Writing. He lives in Oakland, CA where he taught at Laney College from 2008 until February 2025, when he suffered a stroke.

Never
             

     Not
                       

                           B/r/o/k/e/n

 

                                                ChrisSharonStroffolinoMesmer

                                            — excerpts from a collaboration —

" . . . some things are just broken and therefore own their own beauty.” 

 

— Jenny Boully, one love affair

 

 

“You say black, I say white. You say bark, I say bite.

You say shark, I say hey man, 

Jaws was never my scene & I don’t like Star Wars”

 

— Freddie Mercury, “Bicycle Race”

2.

As I said to my husband because I am always talking,

"We're at war with Iran again," and he said, "When were 

we at war before?" "In 1978," I said, and he said, "No, we 

weren't." I said, "Well, it certainly seemed like we were." 

 

“That’s because you’re old enough to remember Ayatollah 

dartboards” “Or ‘Bomb bomb bomb bomb bomb Iran’

Sung (oy vey) to the tune of ‘Barbara Ann’”

“Holy Moses, look out who you’re bombing!”

 

 

3.

The sky is white; the clouds are blue.

The leaves are brown; the trunk is green.

A passionate karaoke singer makes men fall

in love with a song I hitherto felt overplayed.

 

The clouds are gray, the tap water is brown,

the streets are still piled high with snow. 

I love watching this Japanese girl on YouTube

who just comes home from work and cooks. 

 

 

4. 

I dreamt my Uncle Stas ran into my room wearing

nothing but an American flag apron like a cape, and 

attacked me. "Oh, just relax already," he kept saying.

I'm pretty sure that was actually my Uncle Sam.

 

I woke and Sun Ra was transmolecularizing us,

folly chased death with pig bladders &, after Katrina,

Chief Monk Boudreaux showed me & told me

“You’re not supposed to stop, just because you lost everything.”

 

 

10.

 

Today is the 15th anniversary of my post-concussion

mental breakdown — a two-and-a-half year nightmare.

Is it weird that I'm listening to the music I listened to then,

and reflecting on those days fondly — even lovingly?    

 

Is it like nostalgia? Oh, let us be irrational together—

& I feel nostalgic for the crash of 2008 

before the “recovery” just raised prices,

& a time before Saddam Hussein became Isis.

***

`


The best revenge song about olde men? 

"Death on Two Legs" by Queen, written 

by Freddie Mercury, for and about 

their scumbag ex-manager, the g-ddamn 

first song on "A Night at the Opera." (And

it certainly is operatic.) Hey, right now, 

go to YouTube and watch their great 

Hammersmith Odeon performance of it: 

Freddie, short hair, tight red pants, skinny 

red tie and no shirt — at his most beautiful.

Perhaps even more interesting (these days;

back then, nobody thought sh*t about it)

is that right before he launches into it,

with an eloquent piano intro, he says 

"Salaam alaikum" — the last two words 

of "Mustafa." I remember when I learned,

in 1975, that he was from Zanzibar, and 

I had to go to my high school library and

look it up. Taylor Swift is not from Zanzibar,

and neither is Brittney, but you and I are 

always in medias res. In your poem, you asked,

"Did tonics and teas and naps help?"

I'll tell you next time. And you can tell me 

about Meibomian gland dysfunction.

 

***
 

As a tween I used to sing Freddie Mercury’s

“and now you can kiss my ass goodbye,”

to the tune of "What I Did for Love."

“Kiss the day goodbye,” from A Chorus Line

which reminds me of “Tomorrow” from Annie

and why Jay Z is not P. Diddy’s Police sample

and Daddy Warbucks is Fatty Barfunkle.

Is that “Sunshine” by Jonathan Edwards

also about an ex-manager? A friend

told me “you’ve blown it all sky high” is.

I wake up with the background vocals 

of the middle eight to “It’s In His Kiss.”

but my masseuse can’t visit coz their truck 

broke down, well, blew up, smoke everywhere.

and I’m sad because my pcp is retiring.

I am better if I am not the band leader

And Mustafa is the first son(g) on Jazz

So I’m thinking about how Peter Thiel 

& Elon Musk smell like apartheid 

perfume so I post “World Upside Down”

by Jimmy Cliff (RIP) with my inflamed ducts

And Friday I go painting in the Louvre

 

***

 

"Lazing on a Sunday Afternoon" is the perfect

soundtrack for you to be painting in the Louvre

to, and I'll just assume that when you're through

another set of crown jewels will go missing.

I applaud that. We weren't tweens together,

but "now you can kiss my ass goodbye"

was a mantra for me at age fourteen

in my quest for revenge against my bullies

from grammar school. I reunited with them

in 2012, during my post-concussion breakdown.

The occasion was the destruction/deconstruction

of our parish church; I thought I was the only one

who found sanctuary there. I decided to forgive

and I'm glad I did. It's what I did for love, I guess,

though not love for them, exactly; more like

nostalgia for the ignorant children we all

once were. "Sunshine" came out around

the time the bullying began, and always reminds

me of fifth grade. Now, when I hear the name

"Jonathan Edwards" I don't think of the '70s

singer; "Sinners in the Hands of an Angry God"

is what comes to mind — a sermon. Figures.

Like your PCP, I too am retiring, though no one

at my job will miss me. A lunch was blithely

mooted, though I know it will not happen.

No love lost; "the harder they fall" is all.

May Nemesis restore cosmic balance 

for me, you, and your masseuse.

 

***

 

I am trying not to complain:

“Big black nemesis, parthenogenesis

No one move a muscle as the dead come home”

Oh what fun I had in the early 80s!

Edwards’ God was a cranky curmudgeon

And our bully, in this case, is not so woolly

But more like a techie, a personified phone.

Nor is Sunday morning so easy anymore.

I used to play the Commodores’ in a flat, or g sharp—

but now my fingers slip off the black-eyed keys

so I flip to Lionel Ritchie switching to saxophone,

“she’s a bleak house, she’s mighty mighty”

Like a mouse who does not grouse

As I am trying not to complain.

Oh, what fun we had in the 90s,

Nostalgic for the 70s when we were born retro.

“Oh my friend we’re older but no wiser,”

“Speak for yourself.” “Do I have to?”

“It’s my party and I’ll cry if I want to.”

“Thank you for the party. I could never stay.

Many things on my mind. Words in the way.”

This might as well be a song of love, “Sweet Love,”

A Commodores song I would never dare to play,

Though it was more ecstatic to slow dance to than Little Willy.

 

***

 

Once, twice, three times a dancing

glancing star shoe shimmy shuffle wooly

bully lettin' it all hang out Nemesis with benefits

there on the dance floor movin' it in movin' it around always

something nice to say sparking clear and lovely like a child who has 

grown lady.

 

Ah, the '70s, '80s and '90s; but you're right:

who's easy like Sunday morning now, huh? Yeah:

nobody. Wasn't that how we all got in whatever trouble

we're in now? Has a love song been there all the time? I'm not

trying not to complain (no way) but I swear, I would sure like to go there

again, lady.

 

***

 

Indeed, mon frere, the future beckons 

like a parody of the pasta of the paddy wagon past.

What once seemed a World Series is just tiny America, 

if only I knew another tik tack tongue

besides American  guns and bombs, shock and awe

so if we can’t hide in a fantasy of a 3-minute oldie

there are thankfully new movies with subtitles from other countries

that could give hope amid global environmental disaster,

or to be reincarnated as plastic garbage patch bottles

mating with googly eyed amoeba who have better things to do

than remind me the same guy who sang “Time Won’t Let Me”

later sang “precious and few are the moments we 2 can share”

or that “Groove Me” by King Floyd was recorded on the same day,

with the same musicians, as “Mr. Big Stuff” by Jean Knight.

 

***

 

Who da hell you callin' "mon frere," Mr. Big Stuff?

It's "ma soeur" to you, as in "Quand je suis déprimé,

j'appelle ma sœur pour obtenir du soutien" — 

"When I'm feeling down, I call my sister for support."

And you can! You call me, mon frere, when you're down!

Ooh, check out that digraph up there: that neat œ,

a ligature representing one sound. Did you know that

"religion" is related to "ligature" and "ligament?"

A connection, and we're back to Jonathan Edwards and his

angry god, (oh, dear Lord.) What, we can't hide in a fantasy

of a 3-minute oldie? Says who(m)? 'Cause time won't let us?

Fuck time then.

 

Time sucks, but space is okay, and it was a good thing

Emmett "Sonny" Geraci dropped the "Emmett,"

'cause that sounds like a clown, and he was hot,

and you can't have a hot guy singing a song that sounds

like a (yep) climax with a name like "Emmett," can you?

 

***

 

Sonny Gerace was hot, but he died at 70

Did he find a sister to call when he was down

after suffering a brain aneurysm in his 60s?

To pay for the intensive care, did he ever try to sue 

Spandau Ballet for imitating his voice in “True?”

Does Tears for Fears sound like XTC to you?

Now I’m thinking of poor lynched Emmett Till…

and wonder if Emmett Rhodes would have had a hit

had he changed his name to Sonny Rhodes,

perhaps “Love Will Stone You (but you’ll come down),"

out McCartneying McCarney with the Dunhill chord progression

featured in “Old Fashioned Love Song,”

"California Dreaming,” and “Temptation Eyes,”

which Gerace sang when a substitute Grass Root,

and if I change my name to Emmett when you are down,

does the sound of my soul cry the tears of clown?

 

***

 

I still remember the photo I saw in Tiger Beat

of Emmit Rhodes's 1971 album "Mirror" —

I was ten, thought he was cute, but couldn't

find the record on the South Side of Chicago.

Sure, there were department stores, and my family

went to all of them; we watched the moon landing

in Housewares at Shoppers' World, across from

Midway Airport (when it still had only two runways).

But certain albums never made it into those bins.

Later, I went out with a guy who owned a record store

called Yardbird Records; I had no problem finding

albums then. He died on the Ides of March, 1979.

Crohn's Disease. No, Tears for Fears never sounded

like XTC to me; too far removed in time — experientially —

from each other. XTC was punk clubs, my record store

boyfriend, and then my record store boyfriend dying;

Tears for Fears was later, when I was trying to be a poet

on the Chicago literary scene, and there were these

actual rules about what it was cool to like, and so

"Everybody Wants To Rule the World" was a guilty

pleasure. But then years later "Head Over Heels"

was in "Donnie Darko," and that surprised me,

pleasantly. I felt vindicated. Too bad it was

too late to tell anybody. The sound of your

soul is music to my years.

 

***

 

Capitalism. 

A commercial for AI.

It’s human nature. 

 

Spellcheck says: “Human naughty.”

Do we just stand corrected?

 

Angelic robot

doesn’t know how to spell Czech—

so much for Prague rock

 

In the land of pink and grey,

the lamb lies down on Broadway.

 

 

* * *

Uh, now what, Jesus?

Resurrection is hard work,

but so’s looksmaxxing.

 

‘Born to Run the USA’

if yearning yields right of way

 

Yearning to yield

right of way to go go now.

I’m here comes the sun

 

But are they who loves the sun,

learning to crawl without knees?

 

 

 

* * *

 

Quick! Hurry! Sample!

Cover up the soul with speed!

Baroque construction.

 

Remember Junior Samples?

Didn’t come back now, y’hear?

 

Remember Hee Haw?

Remember Señor Mashup?

Forget Lawrence Welk

 

Lawrence Who? See — I forgot.

And Señor … ?  Señor Wences?

Rae Diamond

Rae Diamond is a neurodivergent interdisciplinary creator, educator, healer, and environmentalist. Their books include the hybrid collection, floating bones (First Matter Press), and the eco-fabulist Cantigee Oracle (North Atlantic Books). Rae is a freelance editor and creative writing teacher, studies and teaches Qigong, directs the Long Tone Choir, and communes daily with the wild. They will continue developing their next books (see below) as a resident at Bunnell Street Arts Center in Homer, Alaska in November 2026. Meanwhile, they live among cedars, seals, and barred owls on Cayuse, Umatilla, and Walla Walla land (Olympia, WA). Find them online: @rae13diamond on Instagram, @raediamond on Substack, and at raediamond.com 

This poem is from my collection-in-progress, Love Letters to the Lonely:
 
 

Sideways Horizon
 
 
Dear Lonely One,
 
Each morning, I walk where I can see the eastern horizon as the first rays of sunlight crest above some distant crust of the Earth. Unless I am in a hilly or mountainous region, the horizon seems like a line that separates sky above and Earth below. 
 
I am thinking of you as I look at this morning’s horizon, and wondering where and when you might be on this molten-cored sphere whirling through space. As I face dawn, might you be in deep night? In twilight? Or perhaps receiving your own first light, walking with me into a new day? 
 
The horizon before me appears to be a line perpendicular to my upright human body. If you were beside me, our horizons would merge into one. But if we are at distant points on this globe, I wonder what angle our two horizons might form together. And I wonder what might be present in that particular point in spacetime where they intersect—the tip of a condor’s talon? a raindrop? a windborn seedpod? the sparkling tail of a fleeting comet?
 
With love,
Your Friend

These two poems are from my collection-in-progress, a rainbow observes an apocalypse:
 
 


in the static gaze of plastic
 
                                                                                                                       skeletons his deceased
                                                                                                                            neighbor gave him
                                                                                                                     we work amidst boxes
                                                                                                                of prints of calligraphed 
                                                                                                                quotes my aunt chose
                                                                                                         with her wit and wisdom
                                                                                                then penned with her finesse
                                                                                                          and flare     we frame
                                                                                                   them     my cousin and 
                                                                                                   i     for a posthumous
                                                                                           show of the fecundity of 
                                                                                               her life     we fit this
                                                                           tinkering instant of together
                                                                                 ness into our overfull
                                                                             lives we cannot keep
                                                             up with     questions crowd
                                                         our minds       why are we 
                                                         doing this   what is best
                                                                   kept        what 
                                                                  do we let go
                                          of     when how and what
                                           will we ourselves leave 
                                         behind     who will be
                                   left with our unfinished
                    undertakings     what questions
                                      will our exuviae stir
                                in those who continue
                                   beyond the waning
                                   ripples of our wake

washed up lights up

 
what is a mast without
a boat or sail
 
                         a maypole
                         we might spin into sentient color
 
a way across a stream
too swift and deep to forge     
 
                         a battering ram to rattlecrash
                         through barred doors     
 
a spire we might
mount upon some apex
by the edge of this earth     
                                           affix a brilliance
                                           to its skymost tip     
                                                                          a glass globe
                                                                          filled with the phosphorescence
                                                                          of fireflies and gleaming sea
                                                                          creatures and the scintillations
                                                                          that sliplickflick around coals
                                           a light 
                                                        we might forgetignore
                                                        on clear summer days     
                                           that in darkness
 
would show stillsailing ships
the way home

Steve Gilmartin   

Steve Gilmartin’s fiction and poetry have appeared in many online and print publications, including Big Bridge, Cafe Irreal, ergot, Lotus-eater, Otoliths, Riddled with Arrows, SurVision, The Collidescope, and Trilobite. He is the author of the chapbook Comes Up to Face the Skies and the co-author of the chapbook Suspensions. He lives in Berkeley, California.



 

 

In the Days Before the Telephone

          (for LG)

 

I remember in the days before the telephone

how we would send messages by dog.

The land was unbroken, flat and brown

and I could see his white-tipped tail a mile away

trotting straight down that long empty road

your answer bouncing from jowl to jowl

my eyes watery with expectation beneath a halo of dust

the smell of the meat on the front steps

magnetizing the dog

hollering to him across the delta

our diagrams of this land without landmarks

scribbled hastily or neat as a blank page

the money saved to invest in a tractor

or in a velocipede

presenting you with a Sunday hat, a veil

not knowing whether they were appropriate

dancing in the days before the phonograph

through the thick immovable heat

our shoes scraping over the floorboards

the furniture trembling.

 



 

Lèse-majesté

 

“The phrase ‘shining the corpses’ is essential to any fully developed

 

understanding of the death-trace language.”

 

 

His phone rattled. He excused himself and, already exiting, began to text.

Something was happening offstage. 

 

 

Returning, he segued to a tightly construed defense of the law of injured

 

majesty. Applying Deep Sonorous Voice, he allowed his thoughts to travel

 

to the investments in Javelins and self-correcting offset microtubes. The

 

latest shipment of 100,000,000. Where was it?

 

 

                                                          *

“There are no gods, Sergeant” was the line everyone kept repeating from

 

the widely lauded Subversive Entertainment Festival. Smoke uniforms

 

suddenly became popular as well. 

 

                                                         *

What percentage of the population lies awake at night dreaming about

 

erasing and reforming the universe? 

 

                                                        *

Aerial detonations present well in terms of immediate effects: a stiffening

 

posture, white teeth, explosions of confidence. Extruded sheets of light-

 

green glass become the key to architectural beauty, as pervasive and

 

measureless as a well-oiled bureaucracy.

 

                                                       *

I meet Love but am afraid of Love’s A and B moods. 

 

                                                       *

Every incoming flat and splintered life is turned into an example of

 

innovative, creative stylings meant to evoke 1950s Cuba. The arts in

 

general are capable of propelling themselves outward as digital acrylic

 

seamlessly applied to the horizon as a fine spray.

 

                                                      *

Photos of a soaking-wet child standing with an aircraft in one hand and

 

Earth in the other. In the series, he is caught moving the plane as if it were

 

the sun.


 

 Canon X

 

This is the story

of how the (I)

how I said the two voices (that)

that the two

how I said that the two voices,

envisioned as intersecting lines,

that the two about-to-intersect

lines crossed way

before they really did.

I said "now" and I said 

"now, they just crossed

right then" and thought I heard them

I pictured them moving away

from one another (each)

from each other when in fact they

were still approaching their moment

of intersection, their tempos (lines)

their lines converging and about

to cross at the visible halfway 

point though I couldn't have said (didn't)

I didn't know where

halfway was and wasn't

even interested but instead was

imagining the voices as lines about

to meet momentarily at a shared tempo 

within a finite two dimensional time

grid, preparing to say (hear)

to hear the "now" in them when they

crossed, joined tempos, and began moving

away from one another and I said "now"

and thought I could hear (see)

could see myself (was)

I was resting in the angle

of their now divergent voices when in fact

they had not met but were still approaching

and my head fell back hard and bounced

when I heard 

their voices (paths)

their paths cross as if for a second

time in what appeared to be a trick

of geometry and wondered

should I say "now"

because it was correct

though my first "now" would remain

in error, and I said

"that was the real point (crossing)

the real crossing point right then"

even as the lines (voices)

the (two)

while the two voices continued moving

away from each other at incredible speeds

one slowing, the other accelerating

and even though the (my)

even though my initial "now" had been recorded

and would stand

as an error (a)

a swelling on my (in)

in my mind (having)

as having been spoken too

soon, and the tempo of the voices (I)

and I knew they were not about 

to meet again no matter

how many times I said (saying)

and saying "now" wouldn't

bring them back.

Emily Pinkerton

Emily Pinkerton (she/they) is a writer with very severe disabilities. They live and write in the San Francisco Bay Area. She holds an MFA from San Francisco State University, and their writing has previously appeared in Pome, ZYZZYVA, Juked, BlazeVOX, Foglifter, and Berkeley Poetry Review, among others. 

Emily is the author of three chapbooks: Natural Disasters (Hermeneutic Chaos Press, 2016), Bloom (Alley Cat Press, 2018) and Adaptations (Nomadic Press, 2018; Black Lawrence Press, 2023). Her full-length collection, All Hazards, was selected as a finalist for the Agnes Lynch Starrett Poetry Prize and a semi-finalist for the Brittingham and Felix Pollak Poetry Award. She has been awarded fellowships and residencies from The Writers Grotto and Alley Cat Books in San Francisco, and USF Verftet in Bergen, Norway.

 

More of Emily's publications can be found at thisisemilypinkerton.tumblr.com, on Bluesky (@poetryfriend), or on instagram (@thisisemilypinkerton).

December 2022

 

The days grow brutal with darkness:

a squat, ugly thing. I start to make decisions

based on passivity and loneliness. I spent my ambition

in the summer months, left it sweating on the bed

while I longed for these nights, whose lengths I knew

I would walk alone. It is the season of death

and we're all feeling it. No one is well. 

I worry about time, always hoping for more, 

enough to be satisfied with what I get. 

I tend to believe I have been lucky. But,

the thing is, you just never know. 

 

 

when the rent was still cheap

 

4am, rushing down the 580 in pitch dark,

cold fog through open windows, "peace train" blaring 

from the t-bird's old speakers.

 

our driver wasn't sober, but he'd quit drinking

an hour or so before. between that and the adderall,

we figured: good enough. no other way home

 

without waiting for daybreak. we were too cold, too tired

to wait for sunrise, first trains. we sang and clapped down the empty freeway

falling like ragdolls through every turn taken too fast.
 

Strange memorial

 

A

woman

rides

a

tandem

bicycle

alone.

 

 

every time I listen to mid-00s indie rock I am overwhelmed with despair

 

but it’s not just me

it’s the shrill jangling of the piano solo

trying to paint a smiling facade

on a yawning nightmare, endlessly crumbling inward.

A sun-splashed backdrop to distract from two wars

a recession, and the Tea Party. Everyone just drank Sparks

& wore awful clothes & danced to Hot Chip and Animal Collective

like if we partied hard enough we’d wake up

and it would all be over. Like we could live

in a world where we’d be happy

without doing any work.

Winter studio, ordinary things

 

Curls of wood shavings on the studio floor, sweet smell in the air,

though it's winter and the trees are bare,

a table knife glints from the soft soil of the school grounds as I pass,

thinking about the danger in ordinary things. 

 

Though it's winter and the trees are bare,

you still cut them, their dead flesh more useful to you—

while I am thinking about the danger in ordinary things,

what lives through a mean winter and blooms again.

 

What lives through a mean winter and blooms again?

A table knife glints from the soft soil of the school grounds as I pass.

You still cut them, their dead flesh more useful to you,

curls of wood shavings on the studio floor, sweet smell in the air.

PD Quin

 

AKA Paul Douglass Quin (Latinate-Irish, Little Darkmirror Wolf: In a glass darkly, darkglass, seen-unseen, not all there, uncertainly unclear, fits me well). My dad unexpected a boy – got me. At Columbia Hospital for Women had to choose a name for his dick-born child; recalled the DJ who set him dancing on a Sunday. When he disowned me, I dropped an N (less Anglo) and doubled the S (my hero Frederick).

 

Proudly dick-born, proudly queer, nowadays officially non-binary, old so male or female pronouns, whatever – as it’s been for years – until society picks a third set, fuck the impersonal plural. She/Her for those who think I violate the rules of He/Him (I vote for Zhe/Zhor/Zhon but whatever emerges is fine).

 

Born DC, Chicago months later, SF at 3, Canterbury Hotel, wartime, 7th Fleet filled the town. Dad betrayed his heart for safety. He and Ma got on well; never saw them kiss. Don’t know he’d come back to us if she weren’t preggers (water under the bridge). FBI loved him, inventor of fingerprints, became their CSI guy, traveled the state, seldom home but always a presence. Taught me to pass but I didn’t learn to lie.

 

Uneventful childhood: Park Merced, Palo Alto, San Jose (when it was country). Johns Hopkins, sexual awakening not without drama, Writing Seminars (those early years their embarrassment, so the Seminars pretend I don’t exist), city planning, more drama – everywhere they hated fags – printing had no shame so I stuck with that. Back to SF a hippy, crisis of conscience, a year in Hamburg made me long for home. 

 

The Haight, radical community, the Mission, politics, the Castro, addiction, recovery, computers, teaching, romantic obsession, Bar Mitzvah (finally), Aids, parenthood (How unlikely! What joy!), love at last, Paris, Spain, Italy, Maw, what now? Peace, love and understanding. (What’s so funny?) Tomorrow is here. L’chaim.

 

​​​​

(three poems)

​​

​​​

What do I mean by ‘red’?

 

Not what you mean.

Wittgenstein rumbles around, asking:

Does ‘red’ mean the same thing as showing a sample? 

Like a paint-chip red?

A red pair of briefs? A red light?

 

One thing I understand: My red

Is not the red of others.

Younger folks, as the world makes them didactic,

Think of Pantone colours called ‘red’.

But Pantone isn’t able to give what I call ‘red’,

Only shades of pink made of magenta

The only red in Pantone’s world.

 

My world’s reds start with birds:

Red-headed tanager (called ‘Western’),

Scarlet tanager, Robin red-breast

Ring-neck pheasant hanging in the shed

To age (does anyone still shoot game?

Or let it hang in the shed to age?)

 

Then, of course, come rainbows,

Traffic lights, Holiday lights,

Poinsettia, Paul Scarlet roses

On country fences in the heat.

 

Later in life, Rembrandt spoke to me 

Of reds, and Gauguin’s Tahiti showed reds.

Later Warhol, Basquiat, Haring reds.

 

At work, printers seduced me

Mixing reds from rare earths,

Creating elusive shades, perfection.

In Murano, the grandfather finds red

In the furnace-glow; in Lille, the dyer

In roots and blooms and ground-up rock.

 

What is ‘red’? A thought.

An image in my mind I can only

Hope to suggest to you

With the word ‘red’.

Knowing you won’t understand

Without context, coaching –

And even then

Likely not.

 

Red.

My red.

​​

​​

Burr

 

Underbeneath the bridge

Where the river runs through,

Secrets and lies lie shadowed

In eddies of rotting detritus:

Chaplets of daisies lovers wove, Garlands

Cast by mourners far upstream . . .

In the dark, foetid mosses rise.

I cross above; underbeneath wait

Dark reflections of conscious joy, which

When I least expect, sneak out

To fill my beating heart

With grief.

Aunt Tim

 

Is there a secret without shame?

Is the fox-fur, complete with glass eyes,

Fascination or is it shame?

When she draws that line up her leg

Before pulling on nylons, is that shame?

No shame in lameness, none

In boyfriends, though the family

Claimed shame at her funeral.

Shamed to know me, on TV

As poster-child of Aids. We never 

Spoke again; I loved her still,

No secret, no shame. She’s so

Normal, her fake smile,

Bright eyes, cloche, the Fox.

But we know: All our

Secrets fester into shame.

 

 

 

(prose)

 

In the flat, calm water

 

Beyond the reeds where I sit, reflections of smooth cerulean blue crepusculate. Of a sudden, what to me, who am old and recall such things, what look like hippopotamus ears disturb the still surface, followed by the appearance of a smooth, grey mound, which memory reads as hippo’s back. It opens and out pops the head and shoulders of what appears as a young, tousle-haired, ginger lad. I know my vision is some part illusion, tricks of memory overwriting sensory sense, because there are no ginger folk for decades now, and lads, well years have passed with only we grizzled elderly isolated and alone in this marsh. What part illusion? Any actual? How much deception? How much hope?

 

Makes me recall the Seven: Every seven shimmering years, every cell in every body is new. Of course, not that we become new people, for these evernew cells grow, slow and sure, from old as we ourselves from ancestors evolve, but in spite of scientific reality, there are, might one say, out beyond the reeds of reality into the mirror-like calm of deeper waters, ripples on the glassy surface (a sense of hippopotamus ears), a hope that comes like the parting of a curtain into an unexpected, unexplored room, with new vistas out unknown windows on an unfamiliar side of the house; same house, new sights, new furniture, new gowns, new rugs, a hope that what the seven years bring is not more-or-less the same but transformation, instinctual rebirth. 

 

So at seven, the first skin-shedding gave me long pants, a pocket knife (all the boys had one; we covertly played forbidden mumbletypeg in the dirt behind the stairwell - I was better at that than flipping pennies or rolling marbles; didn’t lose my vision until I was 10 but never had coordination). I learned to make bacon-grease gravy (for those nights when gravy on toast was dinner), started changing beds and doing laundry. Had been doing dishes a while, but suddenly needed no stool. Dishes emerged like hippos from soapy water, promising better tomorrows, clean and hope-full. Oh dishes!

 

At 14, second revise. Got my work permit that very day, cleaning the cleaners after the two old Ukrainian women left. Mopped, dusted windows, wiped counters, scrubbed the bathroom. Of course, took off all my clothes, the consciousness of and delight in being naked one of the gifts of my twice-renewed flesh, this nakedness plus frequent orgasms my first bite of Adam’s apple, though (hippopotamus ears) the implications of this lust for life and community were yet to emerge. Grew six inches that summer, in height too. Studied for my bar mitzvah amid piles of Czech treasures, the succour of refugees. Became transfixed by the sight of Robbie’s bulging jockey shorts as we sat on the bed until midnight playing War. Failed to chop down a palm tree (earned the ‘wood’ is rubber.). Loitered in the arcade, in the pool showers, without being able to get in trouble. Still not one of my skills, trouble. More renewals needed. 

 

At 21, although as a result of legalism and little to do with my newly novel body, I became bar-legal, content (In truth I was restive, but didn’t know any option for getting out of pretence) to spend Fri/Sat nights drunk on beer, flirting uselessly with a bartender, whomever. Did I destroy my newly-renewed cells or speed their replacement? (The hippo’s back breaks the surface of the waters, stays obscure.) Montréal, the Haight, police riots (Confronting reality is self-confrontation: Frightening, unknown, transformative.), exile. 

 

At 28, home from Hamburg, a lust for connection, a striving (Ginger lad’s head appears - is it a lad? Or a chimera? Is it even ginger?): Elections, graphic arts, religion, gay rights, baked bread, whole poached salmon swimming in aspic (Whence comes that? Dreams of bright rivers flowing clear?), epilepsy, past lives. Falling in love. Again and again.

 

At 35’s transition, all about the Gay: Gay commerce, Gay society, Gay culture, Gay paradise, 12-step sobriety, hopeless loves, house on the island, fantasy aesthete. About the Gay - but also, inexorably, about pesky, powerful External Forces: Assault, brokenness, poverty, illness, the glory and the terror, motorcycle, wanderings, muscles by the lake. 

 

At 42, as new life grew relentlessly out of old, I grew from future plans and dreams into unanticipated disaster and bright, new joy: Death, faith, community, near-death, disability, the power of love, heartbreak (again), fatherhood. Renewed cells brought me back to basics, with hope that I might now live to make it right, plant the seed of change. Future generations, they might grasp, might even know a mirror’d lake, hippo emergent, ginger youth - I in this life, even in this renewed life, could merely witness, neither conceive nor understand. Black holes, DNA, just a clue, the surprise of recognition but only the vaguest clue. This new me revelled in a brave, new world of emergent wonder and constant delight, all the while imagining that imagination required no willed response, drifting without clue on and in a joy of reeds, wonderment, lush reeds which flourished, died and sank to the foetid, fertile muck below, where future glories began to grow, as yet without regard to the vast, glassy lake beyond. 

 

At 49, chrysalis rent asunder. An emergent, renewed self began breaking free to start to take responsibility, face the fissure between dreamland, where I preferred to live, there in the reeds of the marshy verge, and the actuality of the vast, mirror’d lake that is our mother. Or child. Whatever - it is life, vast, mysterious, confrontational life, into which one must launch a skiff or soar above on softy wings. Something, a doingness that needs must ground our sense of being. I then began, in this seventh septennial regeneration, as all life is but beginning, to venture into the lake. Our act is over only when the fat lady sings at our funeral, over but never done - seed of the future, as each renewed me grows out of the discarded self, which once was new, promising and bright. For the first time I became single, started dating, began exposing myself to the slings and arrows of outrageous fortune, so to speak, the process of learning who is my self and finding a way to life. Life and True Love. Homelessness. Opportunity. Debility. Confusion - if I cannot be he who I thought I was to become, who am I?

 

At 56, new life burst from old. Who ever said it was easy, to split open and shed a skin?

 

Then 63. Once a parent, always that child in my heart. But the kid does grow, high school passes and I too must move on. What does one do after the Main Event? After dreams are played out or accomplished? As strength fails and life has consumed hope? That’s why we live in regeneration. Ninth time around; how does one find strength yet again? It comes. It comes with hope. But not always courage or desire. Having tossed aside many past lives, then this one not broken off but brought to ripe conclusion, my exhausted mind suggests this is a time to keep steady, sip the nectar of familiar fruits. Or ought it be a septennial experiment in newness? I spend this season in indecision alongside enjoyment: A small voice keeps telling me to learn to swim.

 

Do I even recall 70, ten reincarnations of this oddbody?  I basked (or sometimes cowered) in twilight, that much I remember, the shadows and the fading light. As stars started to shimmer on the slick surface of life’s lake, I began, too, to reflect, look back on life, darn the holes, ground myself in the power of the love I have borne, do bear, for those who care for me - and for those who abuse me. How can a person whose way is through the vale of forgiveness understand what it means to forgive? It’s life, plain and simple, life; the challenge is, on life’s journey, that one not lose sight of self, this dissolving, reconstituting, amorphous self, nature’s dark hole - or is it Dark Matter?  Beginning strokes, I venture beyond reeds. Flailing in unfamiliar depth, fearing that, leaving my marsh I’ve left all nurture, I splutter, swallow quarts of unfamiliar, clear lakewater and nearly drown. Strong arms hold me; my flesh may be changed but Love is constant and constantly by my side. I can learn to swim; I shall. 

 

Then 77, all my resolve dissolves in the confusion of the everyday and renewed time becomes more blur than framework. This does release the mind. I do roam more freely - is it the renewed cells? Or is it Parkinson’s, piece by piece dissolving my brain? This septennial passage in the enjoyment of which I am now engaged, what’s it about? Being immersed in the wash of week after week, in the roiling wake of other peoples’ life traumas, it’s not clear whether I have learned to swim, and thus will in timely fashion come up for air, or whether I shall drown in the confusion of a discombobulated, upside-down world over which I can exert no control. Or maybe the time for control, for attempting control, has thankfully passed and now becomes, all cells renewed, a time for understanding. Perhaps the re-grown objective isn’t perfection but grace? I’m underwater with it now. I may be growing gills or I may learn to walk on mudflats - Time and morphology will tell. 

 

Awaiting now 84, my next overhaul, I sit here hoping for a bolted femur to fix itself (A healing bone is, I presume, part of the complete, new me under construction.). I dream my dreams - or someone else’s? Who knows, the world is a mess. I recall only fragments - if ever the dream completed itself, no matter; all that remains are fragments. Will I ever know the actuality of the hippopotamus? Of the putative ginger youth? Or even of the reeds and the lake? Likely not. But a renewed world, a revised me is on its way, coming to a venue near you soon. What world? What me? What venue? Of mystery is life made, mystery and a constant morph.

Betteravia

 

Mustard blossoms carpet meadows

Above which hills rise like brindle bulls

In green and gold, sensuous swells blushing yellow.

Higher, rough sandstone shapes peaks, fissured

Rain-creased, tumble-stumbling into sharp arroyos

Whose steep sides, carelessly draped in gruff sage,

Gorse and bracken (dark and rough like 5-day stubble

On a grizzled grandpa) plunge to willow-clogged gullies.

It’s May, in California on the coast. Pockets of iceplant,

Plague survivors, reassert their glory along the road,

Crows busy the air with Odin’s song,

Pelican flotillas skim the blue-waved shore

Spying for lunch. The air is thick

(With what I do not know), a fine mist hangs

Over all the land and sea. We stop

On the sand to munch caprese sandwiches.

Headed north, headed home.

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