A man offers us directions in French, vowels and consonants served on a platter of smiles. Trains click past. Stations are cards shuffled, threshold after threshold offering its chance. We count the stops to Champs-Elysees. Mornings are commuters with strollers and briefcases. Paris afternoons are smoked down, crumpled cigarettes dropped in gutters. We trudge back to Montmartre through placards for braided hair, a smell of coffee and piss, young people crouching in doorways. We buy bread and cheese at the boulangerie. At Du Vert au Vin, wine winks from the walls, fish in an aquarium. I keep thinking of that corner of the Metro, subterranean and damp, where a Syrian family begged from a blue tarp. The woman behind her veil, the man lying on his side.…
When they opened/ the tomb of the Chinese terracotta army/ supposedly they were brightly colored/ armored in red and turquoise but only for a moment before the newly introduced oxygen ate away the paint
The way the old men who live on the plains will talk so casually about drowning surplus kittens/ alongside, when it’s going to snow, and which barbed wire fences need mending
This is the kind of thing/ one would always seek to recapture, don’t you think? The airlessness, All those colors, the ghost escaping into the sky
Perhaps no one has phrased this better than Michael Burkett, also known as “Fat Mike,” the lead singer of NOFX and co-founder of the San Francisco-based indie label Fat Wreck Chords. “I signed a fucking band; I didn’t sign an artist!” Fat Mike is quoted as saying in the last chapter of Dan Ozzi’s book Sellout: The Major-Label Feeding Frenzy that Swept Punk, Emo, and Hardcore (1994-2007).
“If I’m gonna give you hundreds of thousands of dollars, help me sell the fucking records!” The punk singer and businessman is describing his frustration with Against Me! (the Florida band known for songs like Sink, Florida, Sink and Baby, I’m an Anarchist!) and their choice of album artwork for Former Clarity, featuring a black and white photograph of a single palm tree, which according to Fat Mike, was not a cover that would sell records.…
So many lost. Rain vanishes As if rain never Existed. My dual wombs, Empty-basined, fill with heat.
My slashed through Languages, Shattered bloodlines. Diaspora, voices Outstretched and Stretching Into future tenses.
In stumbling mist, My twin tongues Taste our future. My rubble-voiced blood Consults narrow odds That open like dancing, Improbable oceans. We will exist
As rivers run to seas. Fresh and salt. Mingled and mending.
Jay Daugherty – “The Cannibal’s Cantabile”Jay Daugherty – “The Difference Between an Opera and a Frying Pan”Jay Daugherty – “The Number 5 Never Occurs in the Mineral Kingdom”
It becomes interesting with age, how things end, how one ends. I don’t remember when my parents began reading obituaries in the local paper, ticking off the names and vinculations, fixing the dead in the genealogy of the town in which they would essentially die and be interred. Never a local, deaths escape me, surprise me, months, years after their immediate fact.
But yes, I read the obituaries of strangers, often disappointed by lack of specifics. The ages are of interest. It’s as if my seating group has been called to board for the last flight, and we’re gathering possessions before going down the ramp. We’re already past security, and the girl at the gate will check my passport and ticket, insist on putting my carry-on through to its final destination.…
