I am an unholy mess of unholiness
And the stink of it is overwhelming
I am whelmed overly
I want to choke on every follicle
Of your glorious mane
And every inch of your pewter frame
Inch by inch
By inch.
I want to be your colonel mustard
And you be my miss peacock
Without the pea.
You told me inaudibly and unwritten
That you’d be my orgy
An orgasmic, triumphant cacophony
Of light and wet delight
I thought to myself that
If I were a tree
I would stick you with all my branches
And soak your blood through the earth
With my roots
Call me over these electric lines
So I can feel your electric delights
Even if it’s just with my wrinkled palm
And what’s left is a flushed face
That’s gross but it’s my mess
And I can’t clean it by myself.
I want to glue your clue
With my dice and my cardboard chart
Until the light in these five candles
Is a corkboard of all that is childish and wildly radiant
The way our dreams became a reality
But only in our minds
That’s how I think of you and about you
In fictional retelling of our facts
But in verse. And not paragraphed very well
Because I don’t know how.
I don’t know how to cross these borders
With their rebel machetes
And glassy eyes
Staring at my arms deals and my
Array of purple blood diamonds
I am the god of war in our melting world
And you are my liberating force.
Here in controversy and against popular opinion
So feed me a grain of rice
Which is all my swollen belly can take right now.
And I will cry out for more
More, though its taste will kill me.
You will kill me with two grains of rice
And the blinking gaze of your carbine
But it will be a slow and swelling death
And I’ll rejoice in its beauty
As my innards burst and the hole
In my chest bleeds slowly
Because my pulse is low and slow
Like the dying dog my mom hit with her car
As I watched from the backseat
Even if its not your rifle or your well-intentioned feeding,
Its you in the backseat watching
With a morbid curiosity and a touch of sorrow
Because I have curly hair and sad eyes
As I gaze at the fender and the parts of me
That are stuck to it still.
These are my inner feelings taking shape as I breath
and watch my fingers coming together.
Over me. Over me.
I roller coaster with an early warning
Even though I don’t know what that means.
I walk through a desert of clichés,
Searching for your drink of water
And its your puddle that leads me
To the darkly paved road where your mother
Where you are driving.
I’m trying to turn this spasm in two
Something beautiful but its just not coming to me
You are, though only halfway because your mind,
It’s else where. Where else?
But maybe its you bleeding into
The puddle.
And my tire tracks over your torso
Who knows but the owl watching from the gnarled
Spiny arms of that desert tree
With its biblical shape and its biblical name.
It’s violent shape and its violent name
But the beauty that sits amidst those spines
Is a beautiful cacophony
Of feathers and soft hooting.
I wish I could take its place
With the crows and the carrion
Birds that seek out
The smell
Of decay
Maybe it could be me that eats your carcass
Instead of the opposite.
Maybe your bones in my scat
Instead of the opposite.
And I could walk away full
With satiating death
In my gut
Instead of that grain of rice
So shake your head
Until it spins around
I’ll wave my arms
Until I float away.
Either way,
We’re both still stuck here
With each other’s blood mixing with
our roots and our rain water.
9 years ago
11 comments:
Piete, I like this piece for a lot of reasons. First (and probably foremost) it feels very honest. That isn't to say I am not praying about whatever is going on inside of you, only that honesty is a good catalyst for writing (and dealing.) In the way of the form of the poem, I like your word play, choice of diction, etc. The extended metaphor of the hit animal is excellent, though I think it can start somewhere closer to the beginning to carry the piece a little more and make it more uniform. As the piece goes on, it weakens a little; your word play is so great in the beginning but, by the end of it you are sharply calling things out as you see them without mincing words -- even if you manage to run a great metaphor. I think it just needs consistency.
Let me know how things are going, man. I hope to talk to you soon.
I can see how you would see a lack of consistency on the part of Kerouac; but he was one of the most consistent writers to date; though he took the standards of the day (and even now) and turned them on their heads he did so consistently. Once he began writing in Spontaneous Prose, he didn't stop. Everything came out, vomited if you will, on the page.
I can see how you would compare yourself to him, though. As I said earlier, I like the honesty of the piece. Whether or not you change lines has nothing to do with me -- as a writer I sometimes loathe criticism as I feel like people don't get my writing. "Change this to make it better." Whatever. "Better," I suppose is a relative term.
Anyway, does this mean you are beginning to subscribe to the "first thought, best thought" school of writing -- no revisions are ever necessary? I know Kerouac did, as well as Ginsburg too, I think. I am curious to know your opinion on it.
Give me a buzz and maybe we can talk about it -- I'd like to know how this piece came about, too.
I'm certainly not trying to compare myself to him.
In a sense I feel like "first thought, best thought" is the most honest way to write.
I found myself recycling a lot of imagery that I'd used before, or heard before, because I wanted it to be consistent with the feel of my other pieces.
For me, it's hard to truly experience meditative writing when i'm worried about sentence structure or 'consistency.' Not to say that revision is bad, but (and i'm sure you'd agree) too much can be.
This piece was just a spontaneous outpouring (as Li-young lee) would put it. And it wasn't until the next day that I realized that it was extremely representative of my current emotional state.
That's the kind of writing I like. The kind where you're in a sort of trance and you're just 'vomiting' it all out. Then, when you're done, it's like you're waking up. I have a friend who experiences this while he's playing guitar (I credit him with the analogy) and, to me, thats when art is the most pure. When your writing feels more like jazz.
That's what i'm going for, and I hope this poem is the start of something for me.
I read this beautiful essay about interpretation of a text like interpreting jazz. It was gorgeous and unpredictable. Kind of like your poem.
That's very reassuring. It's funny, because Kerouac felt the same way about his works -- that is how Spontaneous Prose came about. He wanted to get it out like the tenor man blowin' on a saxophone. Personally, I go back and forth between revision and first thought, best thought. However, when I revise I sort of feel like the old piece dies a bit, so there definitely has to be a balance.
I really like this piece a lot -- it has a lot in it that resonates with me; its passionate, gritty, honest. Very good stuff, Piete.
It was an elderly, overweight dachsund, or some other such breed of stretched dog with long droopy ears. The road traversed rolling hills and the dog was slowly crossing in a low blind spot. The combination of a fast Mustang car and the desire to get to church on time led to his unfortunate death. He looked sweet and loved, but why was he in the road? We tried to tell his owners the sad news, yet none of the nearby neighbors knew where he lived.
One can only imagine the memories that will forever haunt our soldiers in Iraq and Afghanistan over the deaths they've witnessed.
Although the honesty of this makes me sickeningly uncomfortable, I love it. Your writing is Beatific in many ways. So you're not the published "founder" of a movement, but your writing is much like Kerouac's (and other Beat writers, for that matter). I'm comfortable with the comparison.
I tend to believe in the stark nature of "first drafts" when it comes to poems. Poetry captures a moment and the dangerous feelings that accompany that moment. It comes from a deep impulse and it feels "wrong" to alter that. The poetry you write is raw and, therefore, magnetic.
When you publish it, though, you're sharing that experience with the reader and he might be uncomfortable with "first draftness" of a poem. Is it for you, and that moment, or is it fine to write with a reader in mind?
I've enjoyed spying on the dialog between you and Keith. I miss it.
By the way, a while back, I read a book of poems by Li-young Lee. I'm guessing now that I probably first heard his name from you.
Thanks Sherry for your comment.
Thank you also, anonymous poster, for yours. I can only assume that you are my mother.
Why did I think the dog had curly hair?
That's true about our soldiers. If we both have this image engraved in our minds and it was 'only' a dog (albeit a pretty cute one), I hate to think what my mind would be like if I witnessed worse.
Did you hear the NPR stories last month regarding their experiences after returning? Not only the Post-traumatic stress, but the difficulties finding employment and adjusting to 'normal life' again. Pretty disheartening.
Pete -
As I've already told you, I really like this piece. "Kerouacian" is a good thing to be, in my book.
As far as "first thought, best thought" I agree, but for me this is not a formula for laziness, or just hoping that it comes out good. It's a formula for cranking up the quantity of work that you do - so, instead of working on one thing and trying to edit and revise and tweak until it's good, you work on many things constantly. Eventually, you get to the point where the stuff is good.
The idea is that, instead of trying to revise a single piece until it works, you're trying to grow yourself as an artist until the pieces you do work without revision. Focus on creating it right, instead of focusing on revising it.
You have to spend a lot of time to get there, though. I had a post about this a while back.
dude, I have been writing like a mad-man as of late. 4 poems in a day and a half. Its all on the blog.
Post a Comment