ACT OF LOVEBernadette Miller
The old barn, a distance from the road, was nearly hidden by spreading oaks and overgrown grass. At the end of the civil war, the land had belonged to an Indian THE CURE-ALL MACHINEBernadette Miller
Henry found the machine by accident. He was a meek accountant plodding along in a dreary electronics firm, and saddled with a coarse, domineering wife. To escape his unhappiness, hed become a film buff. One Saturday afternoon, enthusiastic over an Ingmar Bergman preview, he arrived at the Greenwich Village theater an hour early and decided to wander around, window shopping. On a narrow side street off Waverly Place, in the cluttered window of Abrahams Curio Shop, there glittered an odd, metallic cube. Henry paused to examine it, shading his eyes from the suns glare. Wide as a shoe box, the cube had a green knob, and above that a small printed card that read FRONT. Sprouting from the top, like antennae, were two levers: the left painted silver; the right, gold. Impetuously, he stepped inside the musty shop crammed with exotic wares, reminiscent of the biblical Middle East. Hearing the doorbell tinkle, a swarthy young man wearing a skull cap of many colors emerged leisurely from the rear, threading his way among tambourines, frolicking camels, and kissing shepherds. |
clairvoyant© 2004 Charlie Newmandrinking my Crown Royal [neat] screaming at meaningless celebrity faces on the tube I...am...dumb drinking my Crown Royal [neat] trying on one custom-made iron mask after another because they are more beautiful than I am one day I will come up short my head will be full of crumbling age dust will cover my eyes and I will ride the light to my proper place drinking my Crown Royal [neat] jobbed© 2004 Charlie NewmanI get on the bus and close my eyes. I cant cut it, I think. Im just not doing it. There seems to be no instead for me. I might as well be mopping floors in a gilded tourist spa in Greece, or washing dishes in a greasy spoon in Toad Suck Ferry, Arkansas. All honest work is noble, goes the clich. But should we be grateful for every indignity suffered in the name of earning? Yes, there is meat on my plate. I just dont have the teeth to chew it. the mill en ni um hai ku chain gang re flec tions one through sev en teen© 2004 Charlie Newman10 fingers 10 toes 5 quite functional senses and still I complain I am grinding in visible holy Jesus in blind Elvis drag give me your hand now pleasure me this way and that make it casual sing out, haiku king know your role open your mouth and reign eloquent I never slept with the lesbian and she did just fine without it and in the streets: dust I am the lover vanished in sweet misty dreams she knew when she was going to die [it didnt make it easier] the road not taken the path of least resistance the highway to hell fire escape wid ow unlocked uncocked wishing she were on the street factual fictions and vitamin fabulous reminiscences ebb and flow and swirl and distance me night by night from his departure the way to heaven the sunny side of the street the straight and narrow I was born and raised to be what I am no more no less no big deal somebody owes me somebodys into me big somebody smells sweet somebody left me somebody thinks they found me somebody lost me gather what you love hold it closer than your skin lose it all slowly the system does not exist for us the system exists for itself |
Cuernavaca 1972J. Quinn Brisben(from a version 1st conceived 28 NOV 1968) Sol becoming sombre in the late Morelos afternoon as the shine boy With the huaraches made from tires Of local manufacture goes among The cantina tables; he sees my Scuffed boots, I nod and look up To the mural on the old palace wall Where on an embedded column Diego Rivera, using old tricks, Has made the eyes of Cortez Appear to follow us everywhere. Maybe Malcolm Lowry sat here Thirty-two years ago invoking This place by re-imagining it So brilliantly that the town where His drunkard moved toward doom Exists in parallax with this one. There are people here who recall Him drunk but no one ever seems To recall him writing; artists make Their own legends: Riveras huge Appetites, the slavish vision that made Siqueiros back up the road spray Trotskys villa with machine gun fire; Both of them, and Lowry too, As arrogant as staring Cortez. I drink in the classic manner; tequila Con sala y limon verde, salt in The web between thumb and forefinger, The small lime halved neatly by a blade, Tastes blending with the sensuous slap Of brush and cloth on my boots. The peso at that moment was worth Eight cents estados unidos and I Give him a fifty peso note with the Image of the liberator Morelos and Wave away the change; he says Cinquenta pesos para dar lustre A las botas es muy generoso, Muy generoso, gracias senor Gracias patron; everyone in Shoe leather is a boss under The watching eyes of Cortez. Dead freedom fighters are honored On fifty peso notes and even The names of states, on crosses Carried in processions, in the echo Of hoofs on this very plaza; Despite the poison we drink and think Or the rest our bodies make us take To ease our pain, despite arrogance And illusions and ice picks In the skull we shall some day Walk equally shod and equally free; The shadow of the palace advances But not forever, dollars move faster Than the feet of workers but not Forever, the eyes of killer Cortez Do not follow us forever. Gentrification and MemoryJ. Quinn Brisben 23 JUN 2003I prefer co-ordinates of time And space to be exact even when Populated by ghosts not made by me, So this was on a not particularly unlucky Friday the Thirteenth, June, 2003, When we were on our way to a leaky- Roofed roomful of peaceful people when Peace was unpopular with the president And those who ran him to hear an old Friend and comrade speak feelingly Of past resistances not entirely Lost and plans for futures not Bright but not entirely hopeless. On Division between Damen and Hoyne Are many upscale restaurants, and we Ate in one where the cheapest wine Cost twenty-five dollars a bottle; That is one hundred times what A shot of bar whiskey cost on that block In the late 1940s when a character Invented by Nelson Algren and called The Sparrow got busted so often On that corner that he thought the charge Drunk and disorderly, shortened to d and d At the station, meant Damen and Division. Now they serve little whiskey here except Over-advertised sour mash and single-malt Scotch, never the kind that burned through Varnish at two bits a shot back when The dealer with the monkey on his back, Hooked on morphine from his army kit, Listened for the one howl of Antek the Owners Deaf cat that told you that the drink you Just took, the needle you just jabbed, the bet You just made had doomed you now forever. Once I played poker with Algren Not far from here on Evergreen; He was a lousy player, so in love With losers that he had to keep Losing himself out of pure love, And once I drank with my son in The last low-life tavern in the hood, When we had to be missing From his house for a girl party: Not losers, but a bit in love With ease and drifting downward. Now old-timers would be busted On this block even before ordering Their first shot and a beer, for drift Is upward here, toward domination, And empire, but odds are still Always with the dealer, so everyone Dies: people, empires, even gentrified Streets; and only the Sparrow and Frankie Machine and the others Live indelibly and forever. Golden Gate FogJ. Quinn Brisben 14 AUG 2004I saw it dazzling white on top and Covering all but the tops of the cables And the towers, moving like a herd of Angel sheep into the bay, what I had Only known from books, movies, and The subtle sound effects of radio drama; Later, inside it on the bus across the bridge, Sensing the mysterious draining of color, Emerging to bright Sausalito and sitting In front of the tourist cabin while my Father smoked and my mother fixed Supper inside, and I rather liked the Saggy couch that was my bed that night, We talked, trying to find subjects That would hurt neither one of us as He picked up my paperback of The Glass Key, read a page, then said, The man Who wrote this was a lunger; one Lunger can always tell another, and he Was right. Dashiell Hammett had rotten Lungs, and neither he nor his heroes Expected to live as long as he did. I am Older than Hammett ever got, and with Luck will live as long as my father who Was eighty-five at his death, although still Sharp and dangerous in my mind with no Fog except the parts I never understood. The next afternoon I stood on Powell Street Waiting for the cable car to Chinatown, Having made a pilgrimage to Post and Stockton where Miles Archer took one Right through the pump, and watched the Fog drift first over Geary and then Over OFarrell Street, giving me Fantasies of being Sam Spade or The Continental Op, and I recall That moment clearly, although it was Fifty-six years ago last July. Forty years ago come another September Two new friends introduced themselves: The redhead with freckles was named Geary, the white-haired ex-Seabee Was OFarrell, and they asked me if I knew the parallel streets in downtown San Francisco, which of course honed A memory. I lost touch with OFarrell After he retired, and I miss him because He understood my odd jokes that depended On having lived in another fading world. Once as he passed I told my students That he had dated Barbara Frietsche and He stopped and recited the whole poem Because there are some things you cannot Forget no matter how hard you try. Geary I chiefly recall from pictures every Easter Of him with his wife, a baby in her arms, And the rest stair-stepped down in their New togs; eventually there were ten. The pope gave him a medal for that, But, when I met him many years later, His hair by then turned white, he said That times and customs had changed Even in the church; he had fewer Grandchildren than children and no one Gets medals for that kind of loyalty now. The fog blurs sights and sounds and The years increase its density and the Terrible ache in the bones, and a lot Of memories blur and leach out but some Remain, chiefly ones you want to forget. The Cicerone Feeling the Rodins(for M. B.)J. Quinn Brisben 21 AUG 2004 His partially sighted friend has permission to feel The Rodins on the parkway in Philadelphia and The cicerone, guiding her, has scrubbed his hands For the same privilege. They start naturally With The Thinker, cast many times, seen by The cicerone in Tokyo, vandalized in Cleveland, Below ground in the Paris Metro, underneath Another casting in the artists studio which The Philadelphia casting replicates, a clich That somehow has not let fame reduce Its power, now felt, thinking with massive Head on massive workmans hand, thinking With every articulated muscle, rough in The bronze, complete but unfinished, right Elbow on left knee, deep-set eyes that are Looking inward, all features strong, bulging But nothing protruding, all body parts clothed Only in thought reinforcing all other parts; Probing and gliding hands on surface and Crevices, hands reading as well as eyes. On to portrait busts: Bernard Shaw Confident of what he is so eager to Become, in a dialectical dialogue With the devil, putting his entirety Into eyebrows and unspeaking lips that Speak anyhow because hands understood. Father Eymard, who told Rodin to return To the world, the classic saints face That his hands found, and their hands find, Showing the great gift early, and Balzac, Colossal head embodying a teeming world, Rough-hewn Clementel, one last portrait as True as any in over half a century. After more hours spent felling the six Burghers of Calais, all marvelously themselves, And careful study of the anguished, clenched Hands, and the decaying yet perfect old Woman who may be the helmet-makers Once beautiful wife from Villons poem, They give their hands a rest and try to Put at least a few things into words: He was nearsighted, the cicerone says, Which got him out of the army during A bad war; everyone who knew him says He was always kneading clay, always With his hands on something. These things Were meant to be seen, yet created by Touching, the way we have been doing. He had a great ancestor, Michelangelo, But was different, knew better from Great experience how the tits were Attached for one thing, but shared The same sense of primal creation and Destruction and the terrible beauty of Absolutely everything and everyone. He shocked people of course but was Popular in his later years but never Compromised by popularity, containing His own time, and past and future, too, Which makes him unique or nearly so, All fragments complete, all stillness moving. The Cicerone in Saint Petersburg(for G. W.)J. Quinn Brisben 16 JUN 2004 The ticking of the metronome has awed The group; its sound meant Leningrad was still Alive, though no one at the station had The strength to make a sound, they ordered time In the midst of chaos: bombs descending, trying To shatter the frozen lake and sink the trucks That kept the city barely alive, and long guns Killing at random for nine hundred days While Shostakovich composed in the light Of firebombs, Akhmatova shaped pain into Regular forms, Zoshchenko told funny stories, And some at least have survived: halting old heroes Sixty years later with medals pinned on frayed lapels, Recognizing the American group with its cicerone Who knows only enough to say mir y druzhba, Which means peace and friendship, and the old reply Dodge truck to show they know who sent the aid That kept the ordered city alive when shards Of chaotic metal and falling masonry ripped So many fragile bodies when the city was still Leningrad. The old name has come back and the Bronze horseman and Dostoevskys courtyards And the symmetrical rococo theaters and palaces Never left, nor has the feeling that someone Is carrying a bomb intent on making chaos To make new order where impossible things Have often been done, so everything is possible. The bus leaves the museum, which is bedecked With wedding flowers on weekends, for this siege Memory is still revered when many ideologies Have lost their hold and many despots ignored With impunity although they still can chase you In your dreams. It is the reminder that once Common heroes lived and saved the city almost Despite their leaders and that this artificial place, Built on swamps as the yellow water from the tap Reminds us, will live on in spite of all disasters, Not all of which are even serious, as the group Recalls a story as the bus passes what they can Decipher from the Cyrillic as Luna Park, the place Where the crocodile swallowed the bureaucrat whole And alive, causing so many problems in a system Where, as Dostoevsky the joker knew, imposition Of order on disorder is inherently absurd. The bus does not stop there because the group Wants a full afternoon on the parquet floors Savoring the great treasures of the Hermitage, nor Can it stop as the group passes the university, But on the wall of a science building they see In mosaic tile the record of a superb triumph Of order over chaos accomplished here In 1869 by Dmitri Ivanovich Mendeleyev, And the cicerone bursts helplessly into song: Even the densest of students is usually able To understand this great periodic table, Seeing the noble gases descending on the right We sense there must be more to hold the light; Gallium, scandium, and germanium Anyone notices who has a cranium Must fit here and here and here and so The table must fill with the ordered flow Of elements; those with radioactive furies Fall in step to enlighten the Curies; The table worked; no one knew why or wherefore Until breakthroughs of Rutherford and Niels Bohr. The group is relieved when the cicerone runs out of rhymes; Order is a triumph in all places and all times; But order needs chaos to build upon, And, once it is achieved, there is always more chaos As far as straight streets, time, or mind can reach. The Cullet on Bruce Goffs MonumentJ. Quinn Brisben 6 JUL 2004How like him, how very like him To use his grave marker to teach me A new word: cullet: a lump of fused glass Added to new material to facilitate Melting, a catalyst aiding a process As teachers naturally do, as he did, And now his friends have placed his ashes Under the marker with his angled Geometric script on the lagoon shore Of Chicagos Graceland Cemetery looking To the little island with Burnham Underneath his boulder, near Mies, near Gravity-defying Ruth Page, across From the graceful levels Shaw designed For the Goodmans, down the path From the twining elegance of Sullivans Getty Tomb, among his peers, with that Startling gem-like glass cullet from The destroyed but phoenix-like Price house Back home in Bartlesville, Oklahoma, That still exists in loving pictures. At least it was built, for he had More ideas than patrons, but treated Patrons well, having learned a Modesty that his master did not teach. Neither did he make students worship him, Merely freed their minds to be themselves With his spaces as their examples: Grain elevators that had learned from beehives, An infinity cantilevered from a rooted pole, A spiral echoing with Japanese treasures, A place for worship from Quonset huts, And his own space concealed beneath a stadium Where ideas split and fused like atomic nuclei. I never took his courses. I had no math Or drawing skills, but I was welcome Under the stadium seats on weekend nights, Encountering for the first time the swirling Drips of Jackson Pollock, the talking wound Of Cocteaus poet, the low passageways Of the palace of Eisensteins Ivan, For his spaces were meant to be open To anyone with an opening mind. I was not there to help him when The cops entrapped him with a punk And forced him from the school. Dante Encountered his old master Brunetto, Who had taught him allegorical journeys, Among Sodomites in the seventh infernal circle, Praised him highly but could not cool the fire. Goff should have had a chance to be a cullet Helping many more to blaze and fuse And cool into transparent clarity, But he kept on, and the buildings are there, And the drawings are there to learn from, And those he taught are teaching others. The sun strikes the cullet into brilliant light. YatabaghdaduJ. Quinn Brisben 20 MAY 2003It is a real word, a verb In Arabic, meaning to try To live like the elites of Baghdad in its storied days, Which were still being storied At the Beit al-Iraqi last November when Amal served Tea and a pastry with syrup And cream called kahi, and we Exchanged a few stories and Songs and, of course, did a Little business and talked some Politics and religion, which is What Baghdad has always been about. A ceramic tablet hangs on my wall, Not looted and only a copy anyhow, From Amals shop and home, close To a bridge on the Tigris, thus bombed In both 1991 and 2003, and I hope Soon back in business, for that last Bombing was pre-invasion and Amals Neighbors, though perhaps envious, were Not looters like the camp followers who Stole treasures from the museum While troops were guarding the oil. It is cuneiform, although I cannot tell What kind, though not the earliest. When the original of that clay was marked, People had been writing for many centuries, And this was done hurriedly, the lines On a slant, not praising some king Or god, not an epic about heroes Ravaging cities; that would be written With more care; just words about Business, everyday love, gossip, The sort of things we talked about When I bought it for five U. S. dollars Just to show I had been in Baghdad. The original might be on its way to Some collector who justifies crime By exhibiting taste and scholarship, Perhaps willing it to another museum To avoid taxes when the trail of Theft is no longer fresh. I hope It has not become dust or mud Like so much of our past. War Does that. I mention that because I am against war, and the happy Few who like fresh poems, hold Old clay tablets worth more than Dying children, also wars result, And I want them to work for peace. War makers should not bomb cities Whose poets they do not know, Should not bomb bridges where the Passage of almond-eyed women from Al-Karkh to al-Rusafah and back again Was noted in the Ninth Century by Ali Ibn al-Jahm, and a later bridge Jisr al-Shuhada, which means The Martyrs Bridge, where bullets From thugs in power killed the Brother of the poet al-Jawahiri In 1948. That poet lived in exile, Wrote of Baghdads bridges from Prague, And is buried in Damascus. He called Baghdad umm al-basatin, the mother Of orchards, orchards recently burned. Now the occupying troops look For oblivion in bars in the narrow Street named for Abu Nuwas who Sang of wine and disillusionment Thirteen centuries ago in such dives. Let us hope the banned poems of Muzaffer al-Nawwab, smuggled in On tapes during the reign of The last dictator before this one Are circulating freely. I hope Baghdad is a nest of singing Birds like the ones sold in The Suq al-Ghazl on Fridays And dreamed of by banned poets. There is no real ending to Thought and memory except Death. Baghdads most famous Narrator, the one you heard of Even before you knew that The city was going to be bombed And invaded despite our outcry, Always used to stop at dawn With the tale incomplete so She could live another day while She made up or stole another Story to put off the killers Who are always in power in Baghdad and, I fear, everywhere. Passing Four Aegean IslandsJ. Quinn BrisbenI. LemnosThe Lemnian women tore their men to shredsIn Dionysian frenzy, needing aid Repopulating Lemnos, Argus stayed With Jason, Heracles, and crew that sheds Their tunics and falls to on joyous beds, Restoring balance; love and then evade, A common practice in the hero trade; The boys sail on, leave babies in their steads. There is no treaty betwixt prick and brain, No gender peace except one daily done With new demands and tears and pain, A full equality of mind but none Of need, desire, and dream; we work and gain, Then madness loses nearly all weve won. II. LesbosWe are not making babies anymoreBut married and despite Apostle Paul Still burning now and then; we know the call Of flesh, respect it as the lovely core Of being, love our friends who have the more Unusual tastes for intra-gender all- In coupling, echoed in towering tall Achievements in this isles poetic lore. I do not know how real great Sappho was Or if she really burned with love for girls In ways that great religions bar because We must confine our passions far from whirls Of chaos: loving outlaws sacred laws, And those who say so create costly pearls III. ChiosOn craggy Chios grapes grow strong and sweet,Old Aristophanes called Chians sots, But out of wine and mastic gum came lots Of silver, time for song and story, meat Of rising human skill, a daring feat In painted clay and chiseled stone and thoughts Reducing primal fears and gods to noughts, Until harsh war crushed greatness with its feet. The massacres were fierce and exiles fled Eventually to flourish in the shipping trade; The pendulum stopped swinging and the red Desire for blood browned out and hate decayed To old crones keening for the fading dead And legends of spring hills in blooms arrayed. IV. SamosPolycrates had luck at least untilThe Persians won and nailed him to a cross; When warned to balance mounting gain with loss, He threw a ring into the sea and still The ring came back, for with his lucky toss A big fish destined for the tyrant boss Had gulped it down to feed fates foolish shill. Greeks counted no one fortunate till life Had stopped, not Croesus, Xerxes, or the men Who nailed Polycrates, who win the strife For now, but are betrayed and caught and then Slit open with their very own fish knife; The only question is exactly when. |
The Collected Works of Cowboy Buddy LoganJ. Quinn Brisben 16 SEP 2004
Gaynell Gowrie Briggs knew that her mind was going, knew that she could not do anything about it, and knew that she was not going to care greatly. She would dress well and groom herself properly for as long as she could, and others would probably do that for her as long as she could not. She would hurt others when the outside world fogged up and she withdrew into herself, but she had always hurt others without meaning to, just as others had always hurt her. |
SphereNicole MacalusoThe last face and place I see When all the doors have closed, are crystal blue eyes and straggled locks. The chagrin smile of Someone whos been around here way too long. The long highway of prosaic thought Like a collection Coins in a purse Seashells from the shore. The world outside, Crumbling, in stacks of body bags. War upon war and even more. For theres a profit to be had. Where the youth vanish in foolish pride and false honor. Your inner world A shaded sphere Promisesunclear. Where youd be now. The tree of dreams, grows branches reaching, As if to touch the floor of heaven itself. The roots are wovenembeddedencased. The seasons grow, multiply The mosaic of you life, spent. |
Arise!, art by Nicole Macaluso |
MarqueeNicole MacalusoRunning with Great Fury, The Pedway vanishes to shallow wooden steps- Sinking into an ocean. The rising fearnot so terrifying As I cling to the wrung of the Metras side rail. I seemingly can grasp with no weight to tow. Going towards an abyssalone. The basilica fills quickly, a thousand or so to seat. An orchestra of five sang like one could never imagine. The floors shook, The walls trembled as bass The music fell upon us all. Surreal, in many a sense. The organs pipes etched the very words: No Crucifer, No deity Texts marquee only. The devotionFanaticism? Who caresLifes too short. |
Either/OrNicole MacalusoEither/Or Kierkegaard says it best You have to decide. Too young and imputent? Maybe, too much stress Or the older and more scholarly, Probably not wise. Never had an inkling to date- Father know best Dr. J feels men arent my forte, At the moment, anyway. Meanwhile the brush glides on. Little squares I painted today. Little containers, Jubilence, mystery, Golds, Greys & Reds, Riding crimson crescents. The journey begins. Either/Or A night or twoyour fantasies whore. Hot white light-blinding passion. The Patchwork done. The brush, palette, Wiped clean. |
The Two Stages of the Phoenix, art by Nicole Macaluso |
FlowersNicole MacalusoThe flowers were there, Waiting for the bees. WishingWanting to be, RapedTure Of the moment when lust becomes deadly. All too eager. The shadows fall as do the tears of those un-desired. The tremor and pace, The desire to escapebecomes profound. As the rain wraps around. He wants, she wants, they want. What does it all matter anyway? Watching the decay, Like sugary poison, filtering in. I Love You Terry, I Love You. |
Dead Poet SocietyNicole MacalusoA friend told me once, all of poetry is about time. A Poets life Falling into meteras paced steps, Minutes chimeink to paper. The poets paper-thin boundary Is an open soul to all. For one to read, ridiculerescue? Never saw the film, Dead Poet Society. Somehow seems as Hollywood heresy. How would theyor could they ever know, Who a poet truly is? Beyond Bohemian branding, A poet is a matrix of one collective thought. A painting of open sky No lines between or bars to hold. Endless. There are,No Dead, poets. |
FishAlexandria Rand
Its a pretty miraculous thing, I suppose, making the transition from being a fish to being a human being. The first thing I should do is go about explaining how I made the transition, the second thing, attempting to explain why. It has been so long since I made the decision to change and since I have actually assumed the role of a human that it may be hard to explain. |