MAN STANDING IN LOUISIANA
By
The train jerks & I start nervously
at the sudden sound of banging couplings.
For a moment you are framed
by my compartment window,
as if you are a glassed museum
exhibit of early man.
Again
the urgent clang of couplings
as the train bumps forward—I start
but you don’t turn at the sound.
You don’t care the train is leaving,
or that I sit behind air-conditioned glass
my mind working back through time
until
you are an African Runner
standing alone in sun baked Kraal
& in your eyes the sky reflects
a terrible primal red.
The train lurches forward
on fire with the sunset.
at my isolated window
I start at this leaving,
I always do— My iron portal
speeds across bayous,
& as night shadows lengthen
my train whistle gathers itself
into a high, brittle cry
flinging itself
into the coming of night.
TOMORROW
By
Something inside is broken.
Things snap as my body
twitches in angry spasms.
Dread comes unannounced
like nausea upon Sartre.
Starting as a tic, or a twitch,
I jerk & flop like a gasping fish on land.
My Doctor says my condition
is a culturally generated disorder.
I can’t control it. . millennial scum creatures
subdivide like amoeba around me,
I cry out strangling—my synapses short circuits
on the ersatz looks of this new humanity.
ANGELS OF THE NIGHT
By
I drive back to tinsel town on Sunset Boulevard.
Hollywood—a town with its legs wide open,
An American landscape where fast food swathes
the night sky with burning cow flesh. Lowered
cars gyrate, rumble, boom, and with darkened windows,
prowl among fleshy bistros teeming with stale sex,
XXX rated movies, and unlive sex acts.
L.A. is the gun waiting to go off in your face.
Angels of the night linger on street corners,
as streets crawl with immigrants, domestic freaks,
and Zoo People from Montana— here to touch
Bogart’s wig—or Monroe’s wax breast.
All have vaguely heard an ancient culture plans
to kill them. Still they consume all things plastic,
knowing less than more is always nothing.
At times they laugh uncontrollably.
I want to respond to your second poem, so exquisitely stark. The ravaging of the flowers, specific and beautiful, parallels the wreckage of a woman’s life in a traditional role turned ugly.
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This comment is for Ilona Martonfi.
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