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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.
