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Amy King

 


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The Art of War with Myself                   


You breathe in ocean pink gills,

telescopic blue out—

such was the holding

pattern cha-chinging starlit

brands of sun-drowned sauce.

You cost over-price regardless

of stamped-on time.  I sold genuflect

group-hug schemas.

Six ideas waited watching doubled-

over ripening pigs.  A minx blends

the wheel of national flavors for

nothing corrupts anymore,

wasted anti-corruption.

Easter flings the heat off her

holiday wrapper, etching eggless

bonnets.  Screams the creampuff

of scandal:  broken yolk whites,

bruised-shoe donkeys shuffle

off in search of horses, mule babies.

If there’s one thing to recall,

the odds are flowing in gutters be-

neath us.  Not the pinch-hit never-

mind who doesn’t like the dice

enough to trade them into penchants

for the latest dynasty lazily

discovered working the land,

which often means writing

salted words until after bed. 

Baby makes scriptural crossings

that much smaller with what labor

slants the pen her eyes must carry

a rather brief kite, a rattle for pride,

older then under, until after words,

we’re done and tucked into her iris.

 

Lip-Synching Day into Night            

 

The day our urgency took flight, I sat handcuffed

in a Brooklyn basement with a flower vase for one,

wooden chairs blocking corner pockets.  The game

didn’t hold its usual snapshot flow.  On either side

of Sunday, I prefer a tidy room to false prison

walls on postcards, so much so that typing out

your resume, we spoke in sutured tones of local

rivers, of the Hudson and the East, accessorizing

favorites.  One doesn’t actually flow, but our guesswork

overlooked the concrete flubs and corked nature spirits. 

I noted there are more contests to dream about than

suicides-in-need.  You agreed, “All experience is sin.”

I felt ill prepared, remote in broken hand.  She, myself

as third person, entered with the potential of a dirty girl,

who moved us both in sexual directions.  By avoiding

clitoral crossings, we exited left.  We opened

a modern gymnasium to soothe the bait.  The sole ethic

motto lay capsized in birthing rites, “No miracle

required for machinery of body, for skin and touch

to retain her phantom proof.”  For instance, the night

the wall stood still as cloning water was Berlin’s

puddle, a tear on the sobbing cheek of our red meat

hearts.  We blame such organs for dew the soul

wrests from gravities of tender houselights. 

Morning glories keen their Vaseline sweetness. 

We drank together in an airtight jar, dabbing at paw

prints left by lives more over than behind us. 

Next door, our bodies dined alone.  Of course,

the vocals took place in accordions tied neck-to-neck,

triggered words of lip-glossed synapse in burlap.
 

 

 

Declarative Substance               

I never draw, but my hand moves in cobwebs

where your face imitates the way radiation lingers. 

 

This sterile era talks us awake with painted-on red

educations, the tattoo art of definition in bulk. 

 

Canyon depths glow green neon signs of snow-

covered tribes huddled and built from legs the king

 

Walks with televised drugs in his vehicular afterhours,

by which the masses want the hobgoblin of consistency

 

To point out what to do next.  What happens is as good as

Where do I fit into God’s manufacturing plan?

 

See-through hearts do not reveal more than potential

cuts from our editing room’s blood-caked floor.
 

 

 

She Writes To Her Soul              

 

Glamorous endings I can’t confirm

come to me in dawn-shaped night,

in that place she marked her name as

Are you the grave from which I came?”

Wrists on the verge of beaten-down

nubs bite the strings of production,

our nation of media teeth

and clamorous humanities

built by butchering wheels

of misfortune spun

to dream in non-directions,

at once and nowhere,

like the homes of the bubbling pots’

duller poor, heads afloat and praying.

I get suspicious of intent,

which is a way of killing

the rose before the blossom,

calling the judge at home, mid-thorn.

Notably, the morning mirror

depends on your system processing

tolerance and your need for a Cinderella

deal.  Sometimes even I get what I

don’t want without asking, and looking

fast ahead, deny the owner’s cost.
 

 

Poems on this page © Amy King 2005-2006.
 


 

Amy King is the author of the poetry collection, Antidotes for an Alibi (Blazvox Books), a Lambda Book Award finalist, and the chapbook, The People Instruments (Pavement Saw Press Chapbook Award 2002). Her poems appear in such publications as The Brooklyn Rail, Milk Magazine, The Mississippi Review, No Tell Motel, Riding the Meridian, and Shampoo Poetry. She teaches English at Nassau Community College and spends much of her time between Brooklyn and Baltimore. Please visit web.

 

 

 

 


 

P R O F I L E

What's your favorite poem that you've written? Care to share it with us?

My favorite poem tends to be the most recently written.  Last night's poem goes (disclaimer:   favorite poem subject to change with each subsequent glass of Lambrusco):

 

Leisurama Porn Couples Dance

If I could dissolve my body, surely
she would speed the process up.

But no one ever gave me this initial
kind of mutual assignment,

So I'm wracked with a florid fear
and torn awry at the bone.

Open sesame with warning:
human or fatal if swallowed.

Then the parked boat made a sucking
slush against our harbor dock.

And yet how can the mother of us all

sustain a private population?

Though none of us deserves
to demonize, we end up coughing fits,
or sleepy, labeled steamy engines.

What poets have had the most influence on your work?

In the darkness, I am my own best man.  But others I've stalked beneath the harbor lights: Susan Howe, Fanny Howe, Gertrude Stein, Ron Padgett, John Ashbery, Cesar Vallejo, Tomaz Salamun, Charles Bernstein, & Walt Whitman. This is, of course, the short list. I am a perpetual peeping Tom. 

What's your pet-peeve in a poem?

I don't like it when tribbles squeeze between commas and dashes, and I want to squash Boombahs when they swallow periods whole.

What's your favorite print journal and why?

I'm liking "The Tiny" right now because I like new things.  I like small productions with that neighborhood-yet-worldly feel.   I used to like "Insurance", a Williamsburg, Brooklyn production, but that seems to have gone with the wind.  I also like "Loyal" because its mission evades the naked eye & ear.   And they use pretty pictures for people who secretly succumb to shiny things.

Do you have a writing ritual? Care to share it? Do you ever break this ritual for artistic reasons? If yes, how does it change or improve your method?

Yes, I do.  I get up and wipe the slate clean.  I tend to throw out lots of scribble but not enough. I salvage and pin and stitch and strip and do a little jig and write down new dance moves to etch a sketch that emulates the dew on a pinstriped leaf.   If I am lucky, a poem erupts flame-like-fast from a honeysuckle drop. 

 

Seriously, I am only just now learning to revise.  I've written too many first drafts under the ruse that the muse has poured manna in my pen.   Honing is an underrated part of the craft.  A lump of clay can be interesting.  It has potential and an inviting texture.   A lump of words lures with similar promise.  I need to knead my word lumps more often than I do.  This is my new ritual.   I am always breaking rituals though.  I'll keep you posted about my next innovation. 

 


 

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