I used to write about Assotto Saint

Slamming his hand down on the pulpit at Donald Wood’s funeral

when it was common to hide the cause of death of

young men who’d died from AIDS if they were buried at all

and weren’t abandoned

Someone told me about a thin boy

Thin with fear and death

played piano for the choir

no one touched him or talked about it

I know in my mother’s family

her mother’s sister said a parasite had killed

her son when he died suddenly

But I remember once him coming out of a Gay bar in Boston

all the white boys said, “How do you know her?”

I don’t know if he or I said cousin

I’m his cousin

He made me promise not to tell anyone in the family

I’d seen him there

So when they said parasite I knew something didn’t ring true

His mother a seemingly healthy woman died shortly after that

but I always felt their deaths were related

His mother either from the lies or repression

or a broken heart

having lost her young son

And I know everyone blames Jussie Smollett for his lies and staged attacked

but it makes me think there was something very toxic going on

that he didn’t feel he could talk to someone

Either that he was covering up an addiction or a hookup.

Watching Assotto stand up at Donald’s funeral and tell the truth

goes down in history as one of the bravest moments I’d ever witnessed

Either that or Audre Lorde spreading open the arms of her dashiki

the bravest woman we’d all witnessed

telling a crowded room of followers

I began on this journey as a coward

That or seeing a friend at the height of the AIDS era

at a bar his face covered in purple welts

refusing to hide

going out in public

That or Donald Woods being feeble

barely able to walk

accepting an award as a director of AIDS films

Or an ex-lover on a beach taking off her top and refusing

to hide her mastectomy scar

Or when Danitra Vance performed at The Public Theater

and danced naked revealing her mastectomy scars

and Audre refusing to wear a prosthesis

Or when Zakes Mokae in Master Harold and the Boys in the first Broadway play

that a cousin took me too

said to his white master, “Have you ever seen a Black man’s ass?”

and pulled down his pants and revealed himself to the audience

I was sixteen years old

Or seeing my mother beaten religiously

and still go out to work as if it hadn’t happened at all

Or even me surviving so many incredible tests

Once when I was talking to a doctor, I doubted my strength

He looked at me incredulously and said, “You are strong.”

Another doctor looked at me

my suffering

And asked isn’t anyone there for you?

And another said you deserve to be taken care of

Today once more I am nursing my broken heart

Caused by someone who betrayed

was not honest

That and attending an event and asking white people to give up

their seats to Black people who couldn’t sit down

And seeing social justice in action

Yes I often think of Assotto for the important place

he resides in my history

But today I am examining his tactics

pulling the tools off the shelf

dusting off the weaponry

in an exhibit

because today I need to use what he taught me.

Today I feel that puff of rage

That continuous assault

And I want to stand up and testify

though I too haven’t been asked

I want to interrupt all the proceedings

all the places Black lesbians have been erased

and silenced

Like looking down at a manuscript

seeing that they asked a young white woman to write about

Black queer history

when it’s been my area of expertise

forever

Or only attributing ’80s and ’90s AIDS activism

To ACT UP

I want the point of outrage now to not only the historicizing of AIDS

But the fact that women and Black lesbians

have been erased from the dialogue

When there were so many organizations like GMAD

Other countries ADODI

Men of All Colors Together

Salsa Soul/Arican American lesbians united for Societal Change

Las Buenas Amigas

and more

Or asking where are all the Black lesbians on Pose

because certainly they were on the piers and part of that history

And why are white men constantly at the helm

to tell our stories

And why don’t white queers recognize this

That and seeing panel after panel being organized on history and art

all things important to the world and no one thinking or noticing

it might be important to have a Black lesbian present

Just like they kicked Stormé out of

the Stonewall narrative.

And what about the people who weren’t on the streets

but in jobs

fighting the system

The dykes and queers

meeting each other forming community

and connections and families

and love

Just like in South Africa where they prevented intermingling

but ways were found

And each time we touched or loved

found each other in darkness and light

It was resistance

Each time we told each other You’re beautiful

You’re not wrong

It was resistance

When we stood up to the parents and families

and courts and those that shunned us

It was resistance

Wore what we really wanted

It was resistance

Yelled at doctors and drug professionals

It was resistance

Every time we wrote and read poems

It was resistance

Every time some queer kid

stays alive because they saw us

read us

discovered the archive

We’ve won

Every war is fought on our bodies

And one day after the gender racial

sexual orientation wars are over

in America

there will be a new generation

just like in South Africa called

the Born Frees.

—2019

Watch Pamela Sneed read a version of this poem at the 2019 Stonewall 50 reading.

Who was warned about these things:
the neverhush, the maddening chafe
sliding down a reddened bridge, print
disappearing            disappearing?

Who was told how to brook it?
The houndstooth stench of olding.
That time just runs itself out. That
we Sisyphus ourselves to glasses,
hobble wreckage down stair
after bricky stair. 

That once we leave home—its gaseous
oven—that once we walk the same slow
steps as our hide-and-seek sun that
once we face our anti-lovers’ anti-gaze:
bright, open, later, now eyes smoldered
coats swept open to flash our own
scarred bellies our own hot hands
ablaze with spent matches with burnt-out
love —

Remember love? 

How it loosed its jaw to our kisses?
How it unhinged us? How it tried us 

like so many keys like so many rusted
locks? How it missed its target despite its
kicking? How maybe its force could kill us?

Without it what’s left day after day
to trundle our legs? What’s left to push
breath ragged and torn from our lungs?

Who was warned
how these solar winds would leave us
brown and bruised as apples over-
-ripe host and blowsy      seed dis-
appearing     disappearing?

Were you?

Me too.

^{for Dominique}

I know this

from looking

                          into store fronts

                          taste buds voguing

alight from the way

treasure glows

                          when I imagine
 

                          pressing its opulence

into your hand

I want to buy you

                          a cobalt velvet couch

                          all your haters’ teeth

strung up like pearls

a cannabis vineyard

                          and plane tickets

                          to every island

on earth

but my pockets

                          are filled with

                          lint and love alone

touch these inanimate gods

to my eyelids

                          when you kiss me

                          linen leather

gator skin silk

satin lace onyx

                          marble gold ferns

                          leopard crystal

sandalwood mink

pearl stiletto

                          matte nails and plush

                          lips glossed

in my 90s baby saliva

pour the glitter

                          over my bare skin

                          I want a lavish life

us in the crook

of a hammock

                          incensed by romance

                          the bowerbird will

forgo rest and meals

so he may prim

                          and anticipate amenity

                          for his singing lover

call me a gaunt bird

a keeper of altars

                          shrines to the tactile

                          how they shine for you

fold your wings

around my shoulders

                          promise me that

                          should I drown

in want-made waste

the dress I sink in

                          will be exquisite

I-797-C Notice of Action

REQUEST FOR APPLICANT TO APPEAR FOR INITIAL INTERVIEW

APPLICATION NUMBER MSC XXXXXXX058           A# A XXX XXX 961
Notice Date: July 24, 2014                                                      Priority Date: July 24, 2014
Date of Arrival: February 20, 1984

hereby notified to appear
     how often do you have sex
to adjust status
     what color is his toothbrush
his birth certificate
     what side of the bed does he sleep on
resident alien
     how much does he make
your husband must come with you
     what’s his mother’s name
we may videotape you
     where did you buy your rings
bring an interpreter
     what are his siblings’ spouses’ names
in a sealed envelope bring
     what’s his father’s name
failure to appear
     what’s his father’s name
please appear, as scheduled below

     do you love him
supporting evidence
     why do you love him
Tuesday, March 17, 2015 8:00am USCIS Chicago, IL

don’t mention citizenship
talk about love, how you got married for love

I have waited all my life to find me find you
perched around my black neck in repose

songing of me in repose                   	    your black legs         	
songing of me in repose

your black legs a dangle around me      I have waited
to find you find your black toes  to find them

sundering at the base   your black toes your black toe-
nails hale and bright 	   your black feet a straddle around me

around my black waist a straddle I finding I
was born I was born who operated

in the white was born who was born
who operated in the white chapel

who found your black thighs in repose
songing to each other in repose
                                            	           across

my chest      	    an extended black for blocks
a neighborhood song in repose

your crotch an extended black
at my neck   	  your black groin a straddle

around me in repose 	   what life what
there it is there               I had been looked at

there o lord sucked His black
thorax which spanned as a fracture
                                            spanned as I

who grow up in you there as a fracture find
your black breast o lord quiescing

atop my head your other black
breast o lord hale and bright around me o lord

a pendulum o lord to my black ear
my black ear that finds you songing

of me in repose in your stature
toppling to one side of my one side

find your black shoulders a gaping
around me    	death your body armless

around me    	death none can
skirt it in your mother's way o lord

is finding black  fingers there your black
neck is finding          	  lord is rising past

the cumulus-line an extended black
o lord is an extended black o lord

is thinking of self and thinking of self is
finding you there so that when I entered I entered
                                            	           the pulpit I entered.

(for a.g., you & yours)

the night is silver in its silence
moon-pop echoes of the day
raked up rubble of the hours spent

my, the children slumber
a thousand tomorrows bubbling at their lips
the dream projections lighting up
the clouds’ ample cotton                    relish the silence

as you’ll relish tomorrow
and the honesty of such raucous noise, thick
child feet of our unfeathered breasts, beasts we cherish

hallway run, sprints to smash the mash of food
tumbling, rolling right into these arms
charmed in their amnesia regarding where one
begins or ends

reminding us of the joy
of first step and the storm after the holler:
mama see, mama watch

pitter/patter
                     pitter/patter

thunder on a hardwood, heartbeat
this sole and counted rhythm

every generation a temporal fugitive
running from the death grip
every death ship’s watch, yesterdays
we weren’t meant to make it through
relish the memory ingrained in the sound
how these tiny, tiny feet
grip the floor, say

tomorrow, tomorrow

I make you

tomorrow

Hushed whispers in an undisclosed room
            Take it out of the girl
a child, boyish in nature             their smallness magnified.

Outcasted—the soft bodied animal you are
determined unruly animalia,
                                                   what survives inflation & inertia?

The body is a set of complex feedback systems
nothing is as it appears
                                                   the coexistence of a beard & breasts
                                                   evidence of the body’s willfully defiant nature

The body’s resilience amid the promise of perish:
                                              somehow the child survives their own hand
                                              the day’s weary edge inverted toward grace

A child, boyish in their nature           & barrel shaped
            survives sedimented against the residue
            of dunes, soil, leaf litter,       & the bodies of a lesser

What couldn’t be excised
            your boyish nature
            your untamed phylum,         your small heart pulsing loud
                                                        notes against the night.

every tree
a brother
every hill
a pyramid
a holy spot

every valley
a poem
in xochitl
in cuicatl
flower and song

every cloud
a prayer
every rain
drop
a miracle

every body
a seashore
a memory 
at once lost
and found.

we all together—
fireflies
in the night
dreaming up
the cosmos

cada árbol
un hermano
cada monte
una pirámide
un oratorio

cada valle
un poema
in xochitl
in cuicatl
flor y canto

cada nube
una plegaria
cada gota
de lluvia
un milagro

cada cuerpo
una orilla
al mar
un olvido
encontrado

todos juntos—
luciérnagas
de la noche
soñando
el cosmos

cece cuahuitl 
ca totiachcauh 
cecen tepetontli 
ca tzacualli 
ca teoyocan 

cecen tepeihtic 
ca cuicayotl 
in xochitl 
in cuicatl 
xochicuicatl 

cecem mixtli 
ca tlahtlauhtiliztli 
cecen atl 
ichipinca

cece tlactli 
ca atentli 
ca necauhcayotl 
poliuhqui 
in oc tlanextilli 

nehhuantin tocepan— 
tixoxotlameh 
yohuatzinco 
tictemiquih 
in cemanahuactli 

^{Yet I was, in peculiar truth, a very lucky boy.
            —James Baldwin}

In any case, the story begins
with darkness. A classroom. 

A broom closet. A bowl of bruised 
light held over a city. Or, the story 

begins with a child playing
the role of an ashy plum—

how it rises to meet the man's teeth
or doesn't. How the skin is broken 

or breaks because the body just wants
what it wants: to be a hallway 

where men hang their photos
on the wall. Does that make sense?

To want to own the image of the man
but not the man? To bask in that memory

of what first nailed you to the dark? 

God washes clean the souls and hearts of you,
His favored ones, whose backs bend o’er the soil,
Which grudging gives to them requite for toil
In sober graces and in vision true.
God places in your hands the pow’r to do
A service sweet. Your gift supreme to foil
The bare-fanged wolves of hunger in the moil
Of Life’s activities. Yet all too few
Your glorious band, clean sprung from Nature’s heart;
The hope of hungry thousands, in whose breast
Dwells fear that you should fail. God placed no dart
Of war within your hands, but pow’r to start
Tears, praise, love, joy, enwoven in a crest
To crown you glorious, brave ones of the soil.

It is December and we must be brave.

The ambulance’s rose of light
blooming against the window.
Its single siren-cry: Help me.
A silk-red shadow unbolting like water
through the orchard of her thigh.

Her, come—in the green night, a lion.
I sleep her bees with my mouth of smoke,
dip honey with my hands stung sweet
on the darksome hive.
Out of the eater I eat. Meaning,
She is mine, colony.

The things I know aren’t easy:
I’m the only Native American
on the 8th floor of this hotel or any,
looking out any window
of a turn-of-the-century building
in Manhattan.

Manhattan is a Lenape word.
Even a watch must be wound.
How can a century or a heart turn
if nobody asks, Where have all
the natives gone?

If you are where you are, then where
are those who are not here? Not here.
Which is why in this city I have
many lovers. All my loves
are reparations loves.

What is loneliness if not unimaginable
light and measured in lumens—
an electric bill which must be paid,
a taxi cab floating across three lanes
with its lamp lit, gold in wanting.
At 2 a.m. everyone in New York City
is empty and asking for someone.

Again, the siren’s same wide note:
Help me. Meaning, I have a gift
and it is my body, made two-handed
of gods and bronze.

She says, You make me feel
like lightning. I say, I don’t ever
want to make you feel that white.
It’s too late—I can’t stop seeing
her bones. I’m counting the carpals,
metacarpals of her hand inside me.

One bone, the lunate bone, is named
for its crescent outline. Lunatus. Luna.
Some nights she rises like that in me,
like trouble—a slow luminous flux.

The streetlamp beckons the lonely
coyote wandering West 29th Street
by offering its long wrist of light.
The coyote answers by lifting its head
and crying stars.

Somewhere far from New York City,
an American drone finds then loves
a body—the radiant nectar it seeks
through great darkness—makes
a candle-hour of it, and burns
gently along it, like American touch,
an unbearable heat.

The siren song returns in me,
I sing it across her throat: Am I
what I love? Is this the glittering world
I’ve been begging for?
 

1.
             In the first place—I wanted him and said so
when I had only meant to say. His eyes
opened beyond open as if such force would unlock me
to the other side where daylight gave reason
for him to redress.

                                          When he put on his shirt,
after I asked him to keep it off, to keep putting off
the night’s usual end, his face changed beneath
the shirt: surprise to grin, to how even the body
of another’s desire can be a cloak behind which
to change one’s power, to find it.

2.
                                                                 In the first place
he slept, he opened the tight heat of me that had been
the only haven he thought to give a name:

Is-it-mine? Why-you-running? Don’t-run-from-it—as though
through questions doubt would find its way away from me,
as though telling me what to do told me who I was.

First having read the book of myths,
and loaded the camera,
and checked the edge of the knife-blade,
I put on
the body-armor of black rubber
the absurd flippers
the grave and awkward mask.
I am having to do this
not like Cousteau with his
assiduous team
aboard the sun-flooded schooner
but here alone.

There is a ladder.
The ladder is always there
hanging innocently
close to the side of the schooner.
We know what it is for,
we who have used it.
Otherwise
it is a piece of maritime floss
some sundry equipment.

I go down.
Rung after rung and still
the oxygen immerses me
the blue light
the clear atoms
of our human air.
I go down.
My flippers cripple me,
I crawl like an insect down the ladder
and there is no one
to tell me when the ocean
will begin.

First the air is blue and then
it is bluer and then green and then
black I am blacking out and yet
my mask is powerful
it pumps my blood with power
the sea is another story
the sea is not a question of power
I have to learn alone
to turn my body without force
in the deep element.

And now: it is easy to forget
what I came for
among so many who have always
lived here
swaying their crenellated fans
between the reefs
and besides
you breathe differently down here.

I came to explore the wreck.
The words are purposes.
The words are maps.
I came to see the damage that was done
and the treasures that prevail.
I stroke the beam of my lamp
slowly along the flank
of something more permanent
than fish or weed

the thing I came for:
the wreck and not the story of the wreck
the thing itself and not the myth
the drowned face always staring
toward the sun
the evidence of damage
worn by salt and sway into this threadbare beauty
the ribs of the disaster
curving their assertion
among the tentative haunters.

This is the place.
And I am here, the mermaid whose dark hair
streams black, the merman in his armored body.
We circle silently
about the wreck
we dive into the hold.
I am she: I am he

whose drowned face sleeps with open eyes
whose breasts still bear the stress
whose silver, copper, vermeil cargo lies
obscurely inside barrels
half-wedged and left to rot
we are the half-destroyed instruments
that once held to a course
the water-eaten log
the fouled compass

We are, I am, you are
by cowardice or courage
the one who find our way
back to this scene
carrying a knife, a camera
a book of myths
in which
our names do not appear.

Up until this sore minute, you could turn the key, pivot away.

But mine is the only medicine now

wherever you go or follow.

The past is so far away, but it flickers,

then cleaves the night. The bones

of the past splinter between our teeth.

This is our life, love. Why did I think

it would be anything less than too much

of everything? I know you remember that cheap motel

on the coast where we drank red wine,

the sea flashing its gold scales as sun

soaked our skin. You said, This must be

what people mean when they say

I could die now. Now

we’re so much closer

to death than we were then. Who isn’t crushed,

stubbed out beneath a clumsy heel?

Who hasn’t stood at the open window,

sleepless, for the solace of the damp air?

I had to get old to carry both buckets

yoked on my shoulders. Sweet

and bitter waters I drink from.

Let me know you, ox you.

I want your scent in my hair.

I want your jokes.

Hang your kisses on all my branches, please.

Sink your fingers into the darkness of my fur.

The war was all over my hands.
I held the war and I watched them
die in high-definition. I could watch

anyone die, but I looked away. Still,
I wore the war on my back. I put it
on every morning. I walked the dogs

and they too wore the war. The sky
overhead was clear or it was cloudy
or it rained or it snowed, and I was rarely

afraid of what would fall from it. I worried
about what to do with my car, or how
much I could send my great-aunt this month

and the next. I ate my hamburger, I ate
my pizza, I ate a salad or lentil soup,
and this too was the war.

At times I was able to forget that I
was on the wrong side of the war,
my money and my typing and sleeping

sound at night. I never learned how
to get free. I never learned how
not to have anyone’s blood

on my own soft hands.

^{dedicated to my 30/30 crew}

praise daily poems in my inbox
how they make me laugh in one stanza,
then break my heart the next
praise how poets hold onto our first loves,
and scent of mama, now gone
praise how we nurture our child self,
gently wrap her around stanzas,
baby girl is resilient
praise our spunk and our sadness,
let our writing heal
at home, at work, in cafés, even in the ICU
praise how we hold our memories up to light,
gentle and cupped in palm of hands
praise our rough and sexy poems,
sometimes that’s all we need
fiyah in the sheets
praise bebop and jazz
how my foot taps when i
speak your poems out loud
praise power of music and mama
who played Nancy Wilson all night long,
crying behind a closed door.
praise how i wrote a new poem this week,
while my sick child laid on my lap,
because everyone needs to heal, especially mamas.

Her blue dress is a silk train is a river
is water seeps into the cobblestone streets of my sleep, is still raining
is monsoon brocade, is winter stars stitched into puddles
is good-bye in a flooded, antique room, is good-bye in a room of crystal bowls
and crystal cups, is the ring-ting-ring of water dripping from the mouths
of crystal bowls and crystal cups, is the Mississippi River is a hallway, is leaks
like tears from windowsills of a drowned house, is windows open to waterfalls
is a bed is a small boat is a ship, is a current come to carry me in its arms
through the streets, is me floating in her dress through the streets
is only the moon sees me floating through the streets, is me in a blue dress
out to sea, is my mother is a moon out to sea.

        for Jericho, with thanks to Carl Phillips

I like men who are cruel to me;
men who know how I will end;
men who, when they touch me,
fasten their shadows to my neck
then get out my face when certain
they haven’t much use for being seen.
I like men to be cruel to me.
Any men who build their bodies into
widths of doors I only walk through
once will do. There’s a difference
between entrances and exits I don’t
have much use for now. I’ve seen
what’s left behind after a hawk
has seized a smaller bird midair.
The feathers lay circled in prattle
with rotting crab apples, grasses passing
between the entrances and exits
of clover. The raptor, somewhere
over it, over it. Cruelty where?
The hell would grief go in a goshawk?
It’s enough to risk the open field,
its rotten crab apples, grasses passing
out like lock-kneed mourners in sun.
There I was, scoping, scavenging
the damage to drag mystery out of
a simple read: two animals wanted
life enough to risk the open field
and one of them took what it hunted.
Each one tells me he wants me
vulnerable. I already wrote that book.
The body text cleaved to the spine,
simple to read as two animals wanting
to see inside each other and one
pulling back a wing to offer—See?
Here—the fastest way in or out
and you knew how it would end.
You cleaved the body text to the spine
cause you read closely. You clock damage.
It was a door you walked through once
before pivoting toward a newer image of risk.

The places where Edmonia’s bones were fractured still hold violent reverberations. When it rains I massage the static hum out of each point of impact. There is nothing heavier than flesh that wishes to be on another axis, except perhaps stone she shaped. Tonight she tells me, it’s impossible to bring a lover to the small death she deserves. An orgasm is excavated, never given. She takes my face in her hands without permission. I take her waist with care not to treat her like a healing thing. My fear winnows. She is digging me out of my misery with her fugitive hands. No one has ever led me out of myself the way she does when we move as though the species depends on our pleasure. She makes a pocket of me until I cry. I’ve seen that field, the site of her breaking, in the empty parking lot I cut through to class. There is nothing left for us to forge in Oberlin, and still we remain, Edmonia a sentient rock, swallowing her own feet in want of motion. We fit on this twin sized bed only by entanglement. We survive here by the brine of our brutish blood.

I ask the new migrant if he regrets leaving Russia.
We have dispensed already with my ancestry.
He says no. For a time, he was depressed. He found
with every return he missed what he left behind.
A constant state of this. Better to love by far
where you are. He taps the steering wheel of his car,
the hum of the engine an imperceptible tremble
in us. When he isn’t driving, he works tending
to new trees. I’ve seen these saplings popping
up all over the suburbs, tickling the bellies
of bridges, the new rooted darlings of the State.
The council spent a quarter mil on them &
someone, he—Lilian—must ensure the dirt
holds. Gentrification is climate-friendly now.
I laugh and he laughs, and we eat the distance
between histories. He checks on his buds daily.
Are they okay? They are okay. They do not need
him, but he speaks, and they listen or at least
shake a leaf. What a world where you can live off
land by loving it. If only we cared for each other
this way. The council cares for their investment.
The late greenery, that is, not Lilian, who shares
his ride on the side. I wonder what it would cost 
to have men be tender to me regularly, 
to be folded into his burly, to be left on the side
of the road as he drove away, exhausted. Even
my dreams of tenderness involve being used
& I’m not sure who to blame: colonialism,
capitalism, patriarchy, queerness or poetry?
Sorry, this is a commercial for the Kia Sportage
now. This is a commercial for Lilian’s thighs.
He didn’t ask for this and neither did I—how
language drapes us together, how stories tongue
each other in the back seat and the sky blurs
out of frame. There are too many agonies
to discuss here, and I am nearly returned.
He has taken me all the way back, around
the future flowering, back to where I am not,
to the homes I keep investing in as harms.
I should fill them with trees. Let the boughs
cover the remembered boy, cowering
under a mother, her raised weapon
not the cane but the shattering within,
let the green tear through the wall
paper, let life replace memory. Lilian, I left
you that day, and in the leaving, a love
followed. Isn’t that a wonder and a wound?
Tell me which it is, I confess I mistake the two.
I walk up the stairs to my old brick apartment
where the peach tree reaches for the railing,
a few blushing fruits poking through the bars,
eager to brush my leg, to say linger, halt.
I want to stop, to hold it for real, just once
but I must wait until I am safe.

with the anemone zero.

Drink 12 oz. of coffee in Longmont.

Are you parched?

Is your name Pinky?

What color is the skin of your inner arm, creamy?

Valentine City rebate: a box of chocolates from Safeway.

Yours, yours, yours.

In its entirety.

Don't collude with your inability to give or receive love.

Collude, instead, with the lining of the universe.

Descent, rotation, silk water, brief periods of intense sunlight
striated with rose pink glitter.

The glitter can only get us.

So far.

Here we are at the part with the asphalt, airstream Tupperware,
veins, some nice light stretching.

Call me.

This is a poem for a beloved.

Who never arrived.

I want to grow old with you.
Old, old.

So old we pad through the supermarket
using the shopping cart as a cane that steadies us.

I’ll wait at register two in my green sweater
with threadbare elbows, smiling
because you’ve forgotten the bag of day-old pastries.

The cashier will tell me a joke about barbers as I wait.
He repeats the first line three times
but the only word I understand is barber.

Over the years we’ve caught inklings
of our shrinking frames and hunched spines.

You’re a little confused
looking for me at the wrong register with a bag
of almost-stale croissants clenched in your hand.

The first time I held your hand it felt enormous in my own.
Sasquatch, I teased you, a million years ago.

Over here, I yell, but not in a mad way.

We’re laughing.
You have a bright yellow pin on your coat that says, Shalom!

Senior Discount, you say.
But the cashier already knows us.
We’re everyone’s favorite customers.

What was unforeseen is now a bird orbiting this field.

What wasn’t a possibility is present in our arms.

It shall be and it begins with you.

Our often-misunderstood kind of love deems dangerous.
How it frightens and confounds and enrages.
How strange, unfamiliar.

Our love carries all those and the contrary.
It is most incandescent.

So, I vow to be brave.
Clear a path through jungles of shame and doubt and fear.
I’m done with silence. I proclaim.

It shall be and it sings from within.

Truly we are enraptured
With Whitmanesque urge and urgency.

I vow to love in all seasons.
When you’re summer, I’m watermelon balled up in a sky-blue bowl.
When I’m autumn, you’re foliage ablaze in New England.
When in winter, I am the tender scarf of warm mercies.
When in spring, you are the bourgeoning buds.

I vow to love you in all places.
High plains, prairies, hills and lowlands.
In our dream-laden bed,
Cradled in the nest
Of your neck.
Deep in the plum.

It shall be and it flows with you.

We’ll leap over the waters and barbaric rooftops.

You embrace my resilient metropolis.
I adore your nourishing wilderness.

I vow to love you in primal ways.
I vow to love you in infinite forms.

In our separateness and composites.
To dust and stars and the ever after.

Intrepid travelers, lovers, and family
We have arrived.

Look. The bird has come home to roost.

the clock is on time
because the stars fall
because all form forms time
              falls on the body
              freezes a book
              beneath the water
because the water is an organ
because all arguments are similar
              similar singularities
because we can never discover the subject
because
because is always an object
              which is an object among objects
              which is neither and or
because we expect to find a similar
              before a different set of circumstances
              being repeated for convenience
              causing a similar
              to seem familiar
              which we think
              has an experimental conclusion
              similar to a set of circumstances
              based on an object
              that falls in the water
              which is a simile
because nothing is like an egg
              or a concept of an egg
because there is no apparent singular
              couched in a connection between
              sensible and secret powers
because the question occurs in a medium
              which is a thing
              among other things
              multiplied times a hundred times
because
              a thought is an object within a thought
              an oncoming proposition
              of a possible position
              a reference to clocks on the body
              as an object without a memory
              a memory without thoughts
because the future will resemble the past
because we want our colors to match
              because on a supposition
              resembling something that could happen
because the hand that shook the hand
              of another mislaid thought
              is based on an object
              that relates to the clock

because maybe
              what matters is a seat
              in a new convertible
because what matters is good theme music
              an antidote to putting the horse before the cart
              or a thought with an anecdote
because the object could swim before it could walk
              like interchangeable silence is a demand
              for milk in your pudding
because we are doing the doing
              which is based on the bones of direction
because matter is everywhere
              and like a hammer
              we feel the touch before meaning
              remember touch through memory
              as an object with destiny
              that wrote an essay
              something that astonished someone
              that’s now a thought in time
              that has a past
              that’s now newer than before
              before it could ever be a question

                                for memorial at Zinc Bar, 23 June 2007, NYC

		I am your sugarplum fairy commodore in chief.
			—kari edwards

		conturbabimus illa.
                                (Vivamus, mea Lesbia, atque amemus 
		[let us live, my Lesbia, and let us love])
			—Catullus V.II

damesirs of fishairs
princes reginae
I don't need this botheration
guilded toe in a gendered pension
embedded narcissism
skirts can or could not be worn w/


intentional disgrace
getting oh-aff
I sleep where I sit
gog and magog
ope myopia


sweetness and delight do
it for sidney, as starlover did rue
on star, thir mistress cloying
the lack, with thir poesis toying


twill never hurt
regina prince
alack, areft
locks beset
candle agrove
a buck in a corridor


as like with likeness grace the tongue
and sweets with sweets cloy them among


conturbabimus illa
let us confound them


beasts implored and character impaled
agathas breast in a 14th century pincer anon
7 heads w/ 7 comings on
horns on their horns
wings at their feet and at their wings


well you have three seconds to live
bespeckled apprentice
freckled daylily
a penny uneasily
pleaded myrtle


iron bootblackening
at the speed
we levatate con
there is no missus
I am among


limbed elms
colluding with doves


nor tide nor tail
angels w/ svelte angles


the rub and tug goils
languid as jersey
too early for supper


etc was their pimp
and whatever their sucker
shitslinger
master cleanser


w/ corporate coffee
and torture pâté


my present page
in l-l-livery


old glut
of a beast's spleen
the glory over
lordling socked ajaw


nassau ablog
by fairly a sweepmate a swoopster
bedevilled in gullet
swashbuckld by proxy


homosexuality eh?
red river andaloos
funny albeit friday
all the dork-rock


gender suggests
we levitate avec
held captive
patrón, bothermonger


ah myrtle
why sie is taken
my mind
impertinent parasol


glossy wit promise of salt
caint leave thir cellphone alone
ipode eterna
satellite viscera


muscadetted papillon (that one)


strident
17 stallions
with horns on their heads
and horns coming out of the horns


a papillon
that one


a buck in a corridor
conturbabimus illa
let us confound them


all ridded of giggling
anthropomorphia aghast
DL in the bowries 
the tee hee ambigenuity
of amputee-wannabees


googling tee hee
silly faggot
dicks are for chicks
dicks are for chicks


wicked hee
to bury my heart at
my heart was in my knee

      I

Admitted to the hospital again.
The second bout of pneumocystis back
In January almost killed him; then,
He'd sworn to us he'd die at home.  He baked
Us cookies, which the student wouldn't eat,
Before he left--the kitchen on 5A
Is small, but serviceable and neat.
He told me stories: Richard Gere was gay
And sleeping with a friend if his, and AIDS
Was an elaborate conspiracy
Effected by the government.  He stayed
Four months. He lost his sight to CMV.

      II

One day, I drew his blood, and while I did
He laughed, and said I was his girlfriend now,
His blood-brother.  "Vampire-slut," he cried,
"You'll make me live forever!" Wrinkled brows
Were all I managed in reply.  I know
I'm drowning in his blood, his purple blood.
I filled my seven tubes; the warmth was slow
To leave them, pressed inside my palm.  I'm sad
Because he doesn't see my face.  Because
I can't identify with him.  I hate
The fact that he's my age, and that across
My skin he's there, my blood-brother, my mate.

      III

He said I was too nice, and after all
If Jodie Foster was a lesbian,
Then doctors could be queer.  Residual
Guilts tingled down my spine.  "OK, I'm done,"
I said as I withdrew the needle from
His back, and pressed.  The CSF was clear;
I never answered him.  That spot was framed
In sterile, paper drapes.  He was so near
Death, telling him seemed pointless.  Then, he died.
Unrecognizable to anyone
But me, he left my needles deep inside
His joking heart.  An autopsy was done.

      IV

I'd read to him at night. His horoscope,
The New York Times, The Advocate;
Some lines by Richard Howard gave us hope.
A quiet hospital is infinite,
The polished, ice-white floors, the darkened halls
That lead to almost anywhere, to death
Or ghostly, lighted Coke machines.  I call
To him one night, at home, asleep.  His breath,
I dreamed, had filled my lungs--his lips, my lips
Had touched.  I felt as though I'd touched a shrine.
Not disrespectfully, but in some lapse
Of concentration.  In a mirror shines

The distant moon.

I.
Huge dashes in the sand, two or three
times a year they swim like words
in a sentence toward the period
of the beach, lured into sunning
themselves like humans do—
forgetting gravity,
smothered in the absence
of waves and high tides.

II.
[Pilot whales beach themselves] when their sonar
becomes scrambled in shallow water
or when a sick member of the pod
heads for shore and others follow

III.
61 of them on top of the South Island
wade into Farewell Spit.
18 needed help with their demises
this time, the sharp mercy
of knives still the slow motion heft
of each ocean heart.

IV.
Yes—even those born pilots,
those who have grown large and graceful
lose their way, found on their sides
season after season.
Is it more natural to care
or not to care?
Terrifying to be reminded a fluke
can fling anything or anyone
out of this world.

V.
Oh, the endings we swim toward
without thinking!
Mysteries of mass wrong turns, sick leaders
and sirens forever sexy
land or sea.
The unequaled rush
and horror of forgetting
ourselves

^{For Valentine}

my girl positioned for a twerk session-
             knees bent, hands below the thigh, tongue out, head
turned to look at her body’s precession. 

she in tune. breath in. breasts hang. hips freshen. 
            she slow-wine. pulse waistline to a beat bled
for her, un-guilt the knees for the session.

fair saint of vertebrae- backbone blessing,
            her pop- in innate. her pop- out self- bred,
head locked into her holied procession. 

dance is proof she loves herself, no questions-
            no music required, no crowd needed. 
she arched into a gateway, protecting-

this dance is proof she loves me, no guessing. 
            a bronx bedroom, we hip-to-hip threaded. 
she turn to me, tranced by her possessin’. 

she coils herself to, calls forth a legend-
round bodied booty, bounce a praise ballad.
she break hold, turn whole in a twerk session. 
body charmed, spell-bent, toward progressing.

You are someone with a penchant for dark
beers and pasts, walk-in closets and porch-step

smokes, who liked to ride it out to the depths 
of the middle of Lake Hopatcong, spark

the flint of your lighter, take longing drags
and talk about hipster coffee and sex

with whipped cream designs—and sometimes, your next
lover—and dive in to put out the fag,

swim to the deck to peel off your cotton
boxers and wring them in your fighter’s fist.

It’s too cold in the fall on the water
we fall in, too naked for falling in

naked and docking unanchored like this.
I remember. You’d kiss me and shiver.

I.

my lover is a woman
& when i hold her
feel her warmth
     i feel good
     feel safe

then—i never think of
my family’s voices
never hear my sisters say
bulldaggers, queers, funny
     come see us, but don’t
     bring your friends
          it’s ok with us,
          but don’t tell mama
          it’d break her heart
never feel my father
turn in his grave
never hear my mother cry
Lord, what kind of child is this?

II.

my lover’s hair is blonde
& when it rubs across my face
it feels soft
     feels like a thousand fingers
     touch my skin & hold me
          and i feel good

then—i never think of the little boy
who spat & called me nigger
never think of the policemen
who kicked my body & said crawl
never think of Black bodies
hanging in trees or filled
with bullet holes
never hear my sisters say
white folks hair stinks
don’t trust any of them
never feel my father
turn in his grave
never hear my mother talk
of her backache after scrubbing floors
never hear her cry
Lord, what kind of child is this?

III. 

my lover’s eyes are blue
& when she looks at me
i float in a warm lake
     feel my muscles go weak with want
          feel good
          feel safe

then—i never think of the blue
eyes that have glared at me
moved three stools away from me
in a bar
never hear my sisters rage
of syphilitic Black men as
guinea pigs
     rage of sterilized children
          watch them just stop in an
          intersection to scare the old
          white bitch
never feel my father turn
in his grave
never remember my mother
teaching me the yes sirs & ma’ams
to keep me alive
never hear my mother cry
Lord, what kind of child is this?

IV.

& when we go to a gay bar
& my people shun me because i crossed
the line
& her people look to see what's
wrong with her
     what defect
     drove her to me

& when we walk the streets
of this city
     forget and touch
     or hold hands
          & the people
          stare, glare, frown, & taunt
               at those queers

i remember
     every word taught me
     every word said to me
     every deed done to me
          & then i hate
i look at my lover
& for an instant
     doubt

then—i hold her hand tighter
     & i can hear my mother cry.
     Lord, what kind of child is this?