Special features | the film not enough with politics and murder | She has come to the various ends of her life | holds the fuses | decaying rivers where she was young | He drives for days | and destinations happen | to him but he can’t use them | In the forecourt heat | petrol pumps with raw colours | stolen from a child’s crayon set | the desert sea and its tide of dirt | ebbing and flowing | Below her feet, unfound oil | floats and hungers | You never see your own eyes | only reflections in surfaces | she wore a carnival | crocodile mask | then took it off | sat on the school steps | smoking | boiling her tears inside her | all the time polite | to sweet Harry, curious Jane | and her tears | made no steam and dried | He watched her put the mask back on | In leather holsters, slung on hips | the policemen’s guns | yelp and whimper | all afternoon…

No time now to put all the spilled time | back in the right slot | The dust is restive | these spring days | dress up and pose, yet then | strip off and lie | nude for hours on the bed or the floor | and dying feels fresh but | old, too | Money had caught her cold | filled her head with a bickering static | they sacrificed love for careers | in the evenings | tired | they shot up banks and took hostages | falling asleep somewhere in the middle | of the most | exciting decade | While they were loose with their names | running in herds across a darkened prairie | the moon | shed its arid, mummified light | and the restless atoms | swung always around | to take up the flags and the new formation

 


from the series fleeting pixel (series of 1,000 poems, 2012–2016)

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