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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.
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.
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 But no
one ever gave me this initial So I'm
wracked with a florid fear Open
sesame with warning: Then
the parked boat made a sucking
And yet how can the mother of us all
sustain a private population? Though
none of us deserves
What poets have had the most influence on your
work? 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.
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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