We are interested in long criminal histories because we've never bedded down in a cellblock. With the sibilance of wind through the swaying spires of skyscrapers as my witness. When I say cover your grenades I mean it's going to rain I mean there is mischief in every filibuster of sun. We are interested in rigorously arranging emotions by color as we've never been fully divested of blues. With drinking till my fingernails hurt as my witness, with hurt as my witness. When I say be demanding I mean be fully individual while dissolving in the crowd. We are interested in characters who murder because we've never committed it or to it. With an origami frog in a vellum crown spinning on a fishing line from the ceiling as my witness. When I say please kneel with me I mean between every shadow and sad lack falls a word. We are interested in ceaselessly setting floor joists because we've never pulled a pole barn spike from a foot. With bowing to soap your ankles in the shower as my witness, lather as my witness. When I say did you see the freckle in her iris I mean the poem must reclaim the nature of surveillance. We are interested in possessing others who possess that which we possess but fear losing in the future. With a fork as my witness. A dollop of ketchup, hash brown, motion, with teeth as my witness. When I say you I don't mean me I don't mean an exact you I mean a composite you I mean God. We are interested in God because we can't possess God, because we can't possess you. With a scrum of meatheads in IZOD ogling iPods as my witness, technological progress as my witness. When I say no such thing as progress in art I mean "These fragments I have shored against my ruins" We are interested in ambivalence as ribcages resist being down when down, up when up. With the swell of the argument and the moment before forgiveness as my witness. When I say power is exclusion I mean a box of rocks we don't desire to deduce I mean knowing is never enough.
Tina Brown Celona
Potentially Interesting & Secretly Devastating
is never to give away your secrets though people will guess and say you write like the following poets e.e. cummings Wallace Stevens Richard Brautigan Ted Berrigan Frank O'Hara though you'd prefer to be compared to the Old Possum and to me you sound a bit like Robert Creeley who once was embarrassed by me at a party he died a few years later. It's easier to talk to you on the phone after Nebraska which sounds wonderful when you say it even with loathing and "formally innovative" and "hybrid forms" and the human being you are looking for in my poem because what are we but our words in the end and what are poems but perceptions and who do YOU want to fuck and how much do you want it and what are you willing to do to get what you want and how can you be satisfied with what you have. Utterly sufficient to be apart and how you will never say love before October and I don't mind or even know what I mean when I say it whether what defines it is intensity or duration of feeling or preordained by fate which pushes us together and draws us apart the one human voice speaking in all of our poems what it felt like to be alive and being in love is most alive whether it's with the world or you or poetry. In every aspect no one resembles anyone and can you become a poet just by trying or do you have to go to an impressive school and how poems are dangerous when there are real people in them and nothing is really new but only to you and you are the most powerful pronoun