Draft
Gluck's Bee
too much about thinking
or does she? The bee I meant
to cut from its death-trap
spider web in the lamp
that lit my garden reading.
My convenience to keep it there
just long enough to finish
Gluck's lines: if I wanted only
to hold you, I could hold you
prisoner.
This morning, warm tea,
yellow light, jasmine vines,
forgotten bee, black, poisoned,
shrouded; now, the poet's words
make little sense to me:
those with the smallest hearts
have the greatest freedom.
cats are better worn inside out
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Cats are better worn inside out.
I mince my insides
into a bright red paste
to paint a portrait
in logical cubes
for you to assimilate
& decontruct.
I am shrödingers cat
caught in a cardboard box
with my inbuilt death
shaved onto the side of a kiwi
breathing your rejection
As you peel the skin off my back,
devouring fruit.
This is my apocalypse
(though I say it with a lisp)
I greet you as a pop up evangelist
ready to hear my sins
and help me to realise
I am your lamb
I am your lamb
I am your lamb
but you have no eyes
and can not see me
& I
no mouth
to press with urgency
strawberry gloss
upon your kiss
to whisper memories
& print our names
on ice cubes
to melt against your lips.
I
self
destruct
pointing a camera
at my quantum suicide
pulling myself to pieces
for one last look
for you to affirm
my existance
If I were an artist
I could open your eyes
with careful strokes
& paint colour
into your iris
throwing a rope to my voice
which drowns
beneath your pupils.
pressing words . . .
...
this happens when you claw all over Ohio with your distant gaze, while the house wages on. she is shapeless, beautiful.
Imean just this: from time to time you’re lying over her: why? is it thatshe wants to be amorphous from the word go? you are where the mistakes comefrom, you use your Greek prepositions skillfully.
Ronald creeps like the reckless fool he is, and what happens next is he’s docking your wages. those friends of yours are shapeless, and the mistakes, where do they go?
...(more at shapeless, but omorpho)
put it in my mouth, stamped the packaging flat;
let the smooth caramel of sickness
drain down my throat, like a leper,
back from rainy streets.
Finally, silence.
I can't equate what you do
with what I do:
it's not the same.
I can't walk the street the hooker walks, or
smile like I meant to.
I want my loneliness back.
Crunching down on the finest slivers of what
this poor restaurant offers, I am weary,
alive, and
let it be said, waiter,
still hungry.
is that? two state of . ~
is that too . state.breviary. not. inside synagogue. or mosque. of prayer & cheap. edit thy fiddle.
Daddy Marx came home to the kids. and food. was rent to grab her arse. german as daughter. was fickled narrative. he was not. she was pms. survivor of military i.d. crank libido. no time. art is a necessity. Mona got married in a stew. She was potted to her palmetto glue. Something as hoarse as rubies and just. as shy. was perver'd to th'a imp. she was cleft in for.
The Caltrops of Time
The forces ranged against the poem
are powerful and wise:
the fingers of the storm,
the pageant of the skies.
What the critics say is true,
and as the readers' eyelids drop
the words go floating up
like flaming sprigs of straw.
RAPTURE
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beneath gloomy hills
homeward i walk
in solitude
sometimes we play
on the way home from school
on Wincobank Hill
breaking into gangs
to throw stones at each other
and off Newman Road
in the half-built houses
it’s hide and seek
up and down ladders
scaffold pole javelins
a happy time
for me a time of rapture
clear and loud
Pay
they didn’t appear to be gaining
hot on the trail of a pilgrim to sure-footed novelty
What is a Body Capable Of?
neither wick or oil flares ecstatic here;
the night-swan's wing glows visible on dark,
thick surfaces- oh, the wanting student climbs
through air, eloquently, a good, sophisticated creature.
Ask not, what body tries to live, but what
it strives to gain. Who can tell you this-
the long, lone shaded flight in rain, labor
through the cloud and light, an angel as its language
spills through fire, confusing every guest inside.
If we speak in tongues, if soul is hidden silently
inside its shell, if sound and word are far removed
from wisdom let us distinguish luminosity
of eye, a voice, a shadow from the depths
of our body-bound, soul-less hell.
NO CONTROL
Voici. C’est tout moi ça. Nous y sommes. J’explose, je vocifère comme un maudit. Je tourbillonne en milles reproches sur les choses et les idées venues d’ailleurs. Des masses noires s’engouffrent et me ressortent par les yeux, la bouche et les naseaux. Je critique sec, je mords dur, j’arrache les os. Je veux tout le monde pendu dans l’heure et les excuses en testament. Tout au silence ! J’étais pourtant bien gentil avant. Voici que tout doit m’obéir, se faire à ma façon. Si j’impressionne, c’est d’autant de raison perdue en si peu d’espace. Logique évidence, tout est contre moi. Il faut me suivre ou mourir, mourir et faire avant. Je hais toute chose. Enfer ! Que tout s'abandonne au creux de ma main pour mieux se faire broyer. Daemon à Démon. Comme si depuis toujours je savais la mauvaise tenue des hommes et que le monde n’en finissait pas de me donner raison. Je suis ici, là, debout, seul dans mes certitudes, dans ma perfection, maintenu bien droit de mon bon droit, aveugle et bavant, haineux et menaçant. Rien ne me calme, que le temps.
Et puis je réclame encore, j’exige l’absence de commentaire sur ma conduite. Rien d’anormal. Tout va très bien. Enfin je me calme. Je compte les morts. Mais tout le monde est débout. Moi seul suis couché. L’enfer c’est moi.
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It's all derenged;
fragment of the mosaic drag on prepositions
or busy on the see breach, clouds dropping
my machine before nothing
heard more about hamburger out-loving her approaches
how like under flakes of bread she makes to say what mosaic happens
sand on that and again only we
your mechanic around your shop
out, asshole: was houseless but need their leg
if leave that but each fascist on her Merry machinist commenting
named its lives, the sincere bracelet, couldn't it chain comment
growing leopard
and rated a legend
peaches to turn end.
sleeping
all her more than everyone
an instance
pop apple cut
all its own pattern
into the kitten into
sign my named possession
life she in sage and here in upper levirite tents
beckons bird of angels naked but harrumphing
riddling wind racing
pro have house knife-cut
the impossible and image
morning hill famous talk space-time
will how how maker father
heavening for time want stain
the named car (this possession down
leaving there thing search and card
say the day over for you
wanted or dead not forest
the rhyme hope through written tried
talking now there against what they’re into
sand adverbs mutter of time,
wounds like fast writing leave that trick
in an outer name, leave of face
another fast, never the lime conditional
grilled is because nothing happens, Drew,
his summer tone to us
see daisy same love, lips, margarine
Shorts Are Wrong
Mike Topp
8 Stuyvesant Oval #8H
New York, NY 10009
I'll autograph it and won't hold my breath that you might add some money for postage ($1.41) for this deluxe 128-page book with art by Will Yackulic, William Wegman, and David Berman.
"Just when I think Mike Topp's poems are funny, they're wise. Just when I think they're wise, they're bad. Just when I think they're bad, they're great. Mike Topp's book is exactly like the world."
-Eileen Myles
Cutting Rope
like a ship with knotted ropes
to some deep dock inside you.
So you drink because that ship
needs water to hold it up, to keep
the wood afloat and ready to sail.
And you cut things, anything,
many things- the poultry for dinner,
a small hole in the couch that you blame
on the cat or 3 inch scar on your wrist.
If your lucky, you learn to cut the ropes
that anchor the boat, stop drinking
until the sea becomes a desert,
the vessel fixed in sand, blanched
bones, rib bones, see-through
as you could be- forgiving, sober
and knifeless.
ELEMENTS
feeling and thought
pain and fear
the smell of piss
in the underpass