Tag Archives: poetry

Katrina Brick

Katrina Brick

William Miller

                                 I knew this woman, old New Orleans

                                 in her light graceful manners, 

                                 slightly dark humor. Her family house on Laurel Street

                                 had stood for over two-hundred years.

                                 Sarah gently told stories of disasters—

                                 a slave woman who burned her mistress to death,

                                 set her dress on fire with a coal pulled from 

                                 the kitchen fire with a pair of iron tongs.

                                 And one about her planter third great-grandfather

                                 who hanged himself in the attic with a cord

                                 from his Chinese dressing gown. 

                                “No ghosts,” she said, laughing.”  “No ghosts.”

                                But I wanted more, tourist-hungry and new

                                in town.  They all had them:  year-long flights

                                to California, dead bodies floating in the canals,

                                whole families stranded on rooftops.

                                She walked me through the wrought-iron gate 

                                into the shade of a cypress tree, pointed to an odd brick,

                                new among the moss-covered old.

                                “Eight dollars,” she said.  “That’s what Katrina

                                cost my family.  “A single brick blown down the street.”

                                There was guilt in the lines of her face, a survivor’s mask

                                of stoic charm.  And she was waiting for the next

                                African wind, a furry wheel in the gulf.

                                Once more, she’d risk a storm even if it meant

                                blown-out dormer windows, a caved-in mansard roof,

                                the death of an old family’s last daughter.  “A brick,”

                                she said sadly.  “The price of a single brick.”

Songs for a Mad Woman

Songs for a Mad Woman

William Miller

The police car pulled up and then I was 

in hand cuffs, in disbelief, driven with two vagrants.

But I protested, cursed, screamed—“Don’t you know 

who I am?”  For those words, not all the ones

I published for thirty years, the books and magazines

that burned in the apartment fire, I was taken

to a place Kafka never dreamed worse.  A psych ward,

a treatment center where you were kept

without a phone call, a release date. 

A girl was raped in there, not by an inmate but two

attendants who took their pick from the gurney

they wheeled in daily, hourly.  An Aryan with 

a swastika tattooed across his back told me 

to stay quiet, play the game, nod and smile.

In the dayroom, the damned colored in coloring books.

For an hour, we sat in the shade of a wall topped

with concertina wire.  A woman with long silver hair

conjured birds with tiny wing-like hands—an old “traiteur”,

someone told me.  There was another woman,

“Gwen,” lost in her own shadows, eyes like

burned-out fuses. I needed a purpose and spoke

to her, made faces, sang songs she might know.

Her eyes lit up at “Yesterday”.  And then she said:

“I see many soldiers”.  The light in her eyes

went out and never came back.  I hoped she was

in a better place, soldiers all around, where someone 

tried to sing to her, at least knew her name.

Retirement

Retirement

Richard Dinges Jr.

Just when I left the stupor 

and stilted air of an office 

chair buried in a room

with no shadows, lit

by sterile fluorescence

and dim monitor flicker,

just at that moment

the world shrank, 

people retreated into 

small home-bound rooms,

hid behind masks, 

a world with no smiles, 

only shrill shrieks of loss 

and no protection from ghosts

that float in air to infect 

our breath, and I still stare out

through dirty window panes

at freedom yet to be had.

Leftovers

Leftovers

Richard Dinges Jr.

An open can of olives,

shelled shrimp in ziplock

bags, smoked salmon 

that smells of yesterday,

my refrigerator casts

doubts on today,

with a cool waft of air

when I open the door,

a shock of bright light

on memories

that idle on shelves

after holidays pass 

and gently decompose

into tomorrow.

Death of a Pirate

Death of a Pirate

William Miller 

For two hot weeks he had pinned tourists

to the walls of charming old houses,

threatened locals with his sword outside

their favorite bars, the Lucky Dog stand.

One nutty eye leered beneath 

the pulled-down brim of his cockade hat.

He had no name, was just “the pirate”

or that “crazy pirate bastard”.  

Harmless enough, even though he wore

in a black and gold scabbard

a real honed, cutting sword.  On the hottest day

ever recorded in New Orleans,

he hectored the wrong homeless man

who stabbed him to death with three

quick thrusts of a prison shank.

Garbage men muttered, Japanese couples

snapped pics.  A pirate in a town where pirates

prospered and kept alive with smuggled rum

slaves from banned countries, he kept some kind

of faith.  Like all street performers, he gave

the crowd what they came to see,

traveled so far to post to their friends

back home.  His blood was extra,

more than what they paid for.

A Portion of Success                                                                 

A Portion of Success                                                                 

John Zedolik

I chose the wrong trail

while ascending Angel Island

so missed the summit in my

parsed-out time though I did

glimpse the top where 

eponyms take flight or alight

whom a pilgrim might see

if in the correct loft of mind

even upon a false path, a fire

lane, only circling the crown

like a tonsure in reverse,

the eucalyptus massing

dark and dream-thick on each

side to confound the climber

on a sweating quest to the apex

commanding the attendant bay,

where near-heaven meets earth

at a sharp final edge, a port

for destinations down and up

whose node will bestow

a blessing even upon the hoofer,

head befuddled and point unachieved.

Third anniversary

Third anniversary

Louise Carson

And even after six hard frosty nights,

dry standing corn still sings with insect life.

The squirrel jerks its tail, clucks my approach,

relayed by blue jay cry and thudding grouse.

Reflecting colour up, the fallen leaves

(it’s not autumn unless I mention these),

the fallen leaves complete my metaphor:

feet grind them into finest mould.

Where is she now that time, time’s her betrayed?

The address in my hand’s too small to read.

By morning’s side then, somewhere near a farm.

In the crypt, other women keep her warm.

Did I, do I ever, visit her grave?

My heart her grave, I walk there every day.

Boadyland

Boadyland

Jonathan B. Ferrini

The squeaky metal fan churns white noise burying me alive in a deep REM sleep suddenly shattered by a car alarm. 

I slide out of a sheet wet from perspiration and into a wrinkled wash and wear suit, out the door holding a Styrofoam cup of instant coffee tasting like battery acid.

There’s no need to join the Foreign Legion, travel the world, hang out in Paris coffee houses or drop LSD when your mind serves up a dream loaded with the ingredients of a murky, subconscious stew, rich with flavor resulting in the next story.

Consider the RSVP carefully when opening the invitation from your subconscious mind to follow it down the rabbit hole because you may be surprised what you find. 

Caution.

 Watch the highway!

Muggy morning summer air, a prelude to a monotonous job I crawl towards in heavy traffic.

Seeking distraction from the radio dial but find only missiles of rage fired at me from morning talk radio generals.

Damn, another soldier advancing towards his own war cuts me off, forcing me down an offramp named Boadyland dropping me into a neighborhood resembling purgatory.

I stop on a chewed-up street of people and dreams.

Dilapidated homes occupied by people without hope. 

Unhappy, maybe alone, and desperate for their dope.

A delicate hand waives me into a cozy house fronting a street smelling of mace, meth, and death under the concrete overpass nobody but the disenfranchised know.

I meet a beautiful single mom planning a party for her baby girl.

“What can I contribute?”

“Whatever you choose, sweetie.”

“I’ll write her a birthday poem.”

I write and the tears flow witnessing mom’s resolve to make a gift out of nothing except people filling the street, their clothes resembling festive wrapping paper, showing up to celebrate a child’s life.

Everyone chilling and catching a breath before they hit the next curve ball thrown at them.

The ethnic potpourri creating culinary delights provides an abundance of light warming the celebration like a huge candle atop a cake made for a princess.

Cops cruising by, pointing their spotlights, scoping out the delight, but only meeting a paper plate of savory treasures. They’re appreciative and confess,

“Our badges have become too heavy to wear!”

“What about winter?”

“Ah, it’s hell, man.”

“Don’t listen to that dude, baby.

It’s the same peeps, eats, just turning the metal barrel barbecues into sidewalk space heaters, and icey cold drinks become soul warming liquor laced liquid treats. 

Same vibe wearing heavy clothing.”

I was dancing, eating, and loving inside a far out, freaky fraction of urban blight.

The bass tone to the jam was the incessant din of cars racing along the superhighway above us like subatomic particles blasted through a particle accelerator designed to crash into each other revealing the God Particle.

Sweet baby mama draws me near and whispers,

“That elusive particle is ethereal and found inside every human heart.”

I shout upwards towards the overpass,

“Crawl out of the Petri dish, stand firmly on both legs, and head over to the party at Boadyland!

I heard Galileo, Hawking, and Feynman might show.”

image by Harry Rajchgot

THE PIGEONS

THE PIGEONS

John Grey

There are no songbirds

for what’s there to sing about.

Only pigeons remain,

in the rafters

or under the eaves

of every building in town.

There are few trees

and the intermittent crack of rifles

is enough to drive every curious

finch or sparrow or starling

back into the distant woods.

And an explosion can come

any time, any place.

Even the churches

provide no sanctuary.

Nor is the sky itself

safe from stray bullets.

Most measure wars

in the number killed,

the graves sprouting like crocuses

on battlegrounds more wintery

than winter itself

But some tally up the cost

by listening to what’s not there.

Ears attuned to the lark,

they hear only the

squabble-like coo of the pigeons

Amidst the war,

the dove of peace

is merely the dove

that knows no better.

image by Harry Rajchgot

SHAME

SHAME

Laurel Peterson

Charlene slouches into yet another 

poetry reading, because the guy’s a friend

and that’s what you do, even as she knows

she’s doing it to look good.

After, the moderator always lets

the group read their own poems,

but Charlene doesn’t want to stay

for their small, sorry expulsions of words

like the popping of zits, even if, once in a while,

someone captures a line 

as beautiful as a caged leopard. 

But tonight she sits in the wrong place,

and the needy woman whom she avoids like the flu

wants Charlene to read her poem, holds it up like a flag,

and Charlene’s exit explodes into a circus with her 

as the performing elephant. Even the next morning 

she feels the weight of it beneath her heart,

lonely and hard like fossilized bone. 

(Laurel Peterson)

image by Wendy Thomas

Poems from the Loo

Poems from the Loo

Catherine A. Coundjeris

I thought it was important.

Zoom, zoom far away and long ago

when I was flying high above the clouds

on a journey to England from 

my home in Maryland.

Head full of old English poetry

and visions of plum pudding

and clotted cream dancing in my head.

I thought it was important

my first flight ever and I packed 

all the poetry I had ever written

in a white plastic bag that I carried

without a care in the world with my grey purse

on board the airplane.

Mother said, Careful, you will lose it all,

but I didn’t believe her.

I thought it was important

on a six-hour flight.

Dinner in a basket and  

I tucked the basket and green apple 

into the white plastic bag 

to keep for later

and then landed at Heathrow

Zoom, zoom onto Victoria station.

I thought it was important.

Bags and all

picked up by George and Maureen

And whisked off to their London flat.

A nap and a holy dream

of stone castles and grey skies.

Then a trip to the fish market

to buy our salmon dinner

and to get some fresh air.

After a bowl of olives

I thought it was important.

My appetite turned to the apple

as I realized the white bag was gone.

All my poetry was lost!

George took me to Victoria Station

and there in the loo the

Jamaican caregiver told me

I thought it was important.

She had tucked it into her

cleaning closet for safe keeping.

Basket and apple and poems.

George more knowing than I

gave her a large tip

and I was forever grateful

to George and that beautiful woman

and her lovely words.

I thought it was important.

What was lost was found again!

Those lyrics echoed in song

 forever in my mind:

Poems from the Loo.

photo by Harry Rajchgot

TRICKS

TRICKS

John Grey

Pick a card.
Any card.
Let me guess.
It’s the sunlit oak trunk
of Canadian forests.
No wait,
I see red-shelled bedbugs
and the suit…
the flag of storms.
Now put it back
among the tender people
and the loudmouths,
the revolutionaries
and the computers.
Let me shuffle.
Pick another card.
It’s the black misted canyon
of New York hotels.
Am I right?
Stop shaking your head like that.
I know it’s thousands of people in pain
of the metal finger cymbals.
I’m sorry.
You were expecting
the ten of clubs or something.
But I’m not a magician.
You don’t even need
to pick a card.
I can tell you it’s
the penumbra of reckless cancers
or the weakened eye
of Capitalism’s forefathers.
Okay, no more tricks.
I’ll just hand you
the last thing I wrote about you.
No, don’t shuffle it.
Don’t ask me to pick a card.
If you know it’s the
white-capped waters
of love long passed,
then what’s left for me to say?

photo by Harry Rajchgot

Of Autumn

Of Autumn

for Josephine

Rose Maloukis

light—

days when the wind

floats branches on the far

side of the park, 

pushes slow and rolls 

light onto leaves—

they bow, turn, lift 

their shoulders I

I cannot look away

your shoulders

light brightens—

naked yellow lapping 

the last warmth 

before stepping 

into cold corridors

little little girl in light

determined, walks

with her father—

he glances at me

you glance at me

light—    

photo by Harry Rajchgot

Things Fall Off

Things Fall Off

John Reed

Things fall off and roll under other things. 

And sometimes they break when you’re almost done. 

And then you’re late but you have to go back. 

And people think they’re being so clever. 

And the cords are tangled just out of reach. 

And what should we do with our precious time?

And what would we do without Novocaine?

Maybe eat with our hands, much too loudly. 

Maybe ask our frenemies for more money. 

Maybe take the extra party favor.

Maybe flip the switches and hitch the latches. 

And itemize what we can’t leave behind. 

And scream in tunnels on the sleeper train. ⠀

photo by Harry Rajchgot

Climbing Mount Royal, 2020

Climbing Mount Royal, 2020

Peter Richardson

You’re twitchier than usual coming up this path

that shadows the curves of Camelien Houde road

but at least you’ve sloughed off the windy effluvia

of other people’s sidewalk breath as you slowpoke 

up the last three turns to the guard-railed belvedere.

Here’s where muscle cars idle in parking spots. Fans

of flaming tailpipes pass blunts between leather seats

till someone coughs which sparks a round of guffaws

and loud heckling. You remember that kind of a scene

taking place five decades ago in someone’s apartment.

Can it really be that long? Taj Mahal and The Doors

provided background music in the last years of a war

that ended on an embassy rooftop. You sat in circles

in rooms reeking of patchouli oil, while somewhere

graduate students struggled onward to their degrees.

You wonder if the guys in that Camaro give a crap

about becoming accountants or even laying cement

so it doesn’t crack after the first frost. Looking east

to Rougemont, you attempt to quiet your thoughts,

seeing them as clouds hanging over Mt. St-Hilaire.

At last, you stumble onto the Olmstead summit loop

with its west-facing glimpse of Lac St-Louis. That,

surely, is what you came for—a far off panorama 

of shoreline and river that just keeps on flowing

beyond jammed ICUs and sleep-deprived nurses.

Aren’t they the ones you should be saluting 

as you head for Beaver Lake, Tu Fu’s Selected

riding in your back pocket? All honour to that 

frail court advisor who, despite bouts of asthma,

penury and near-death treks over snowy gorges,

could praise the hoe he used for digging wild roots.

photo by Harry Rajchgot

Françoise Singing

Françoise Singing 

Peter Richardson

It blindsided them and ended the awkward

talk they’d been making when finally they

rustled up three cups of over-steeped tea

and sat across from her in recycled air

in the long-term care canteen—bald

son-in-law and grown granddaughter.

Wasn’t Françoise down to three words

of greeting? How could she sink a shaft

far enough down in her mind to recoup

this tuneful blues banisher? If pressed,

her visitors might’ve said they sensed

a slippage to a crowded kitchen table

on, say, a Sunday in Montreal’s vanished

Faubourg à mélasses, her father tapping

a glass for her to sing a snatch of Piaf.

The war in Europe over, rationing ending,

butter on the table, mint jelly, leg of lamb,

her kid brother and sisters called to order

by the faux-gruff father. But that’s fantasy.

This is Françoise at ninety, holding notes

in a lunchroom with no one to press record

just two maladroit listeners trying to field

what’s thrown to them—flats and sharps

that peel through air—sonic tchotchkes

that won’t come again, much less a medley

for the dazed father-daughter duo who clap

with hands that don’t know what else to do.

photo by Harry Rajchgot

Promenade

Promenade

Peter Richardson

I used to be able to lope along at the clip my daughter’s maintaining,

the younger one—fifty years my junior—cruising a step ahead

as we cross St-Denis. I tell her I’m bemused by the speed

with which she eats up ten blocks, then twenty and I remember

my father asking me to speak up, to repeat what I’d just said.

Can you please slow down a bit? I ask, and she decelerates 

before zooming ahead again. My father’s early hearing loss 

brought out the callous teen in me. I wanted him to try harder

as if he had a character defect that would get better if he made

an effort. Are you going to a fire? I ask. She sighs. We approach

Parc Jeanne-Mance. I used to be as fast as you. These days

I have to double-time to gain the half step I need to keep up.

My hearing’s shot too, I say, which she claims has more to do

with my not listeningthan with needing space-age hearing aids.

And what does pretending to be deaf have to do with dawdling?

she asks, as we dogtrot across Parc Avenue and up the brick

walkway past the gazebo. Was I ever this rude with my father?

I bow to her peppery wit. She’s fed up with my non-sequiturs,

my failure to listen when she and her mother talk in that elided

mother-daughter French which, although always grammatical,

leaves me in the semantical dust—but isn’t it up to me to hustle,

to cinch in my belt and listen with renewed zeal in the new Babel?

photo by Harry Rajchgot

kingdom of nil

kingdom of nil

john sweet

grey on grey in the kingdom of nil,

and kay would understand this

you escape only to return of

your own free will

you dream of suicide

of windowless rooms

within windowless rooms

doors that open onto

endless variations of your

lover’s naked corpse, 

and is there still the possibility

                                      of joy?

quietly, maybe

cautiously

the future always

remains a possibility, 

the past can always be

torn down and built again,

                             or this –

we are only ourselves, but we

can learn to be flawless liars

we can keep saying i love you

until it finally means something,

but you knew this already

you came back again

only to plot your escape

only to prove how easy it

was to leave me behind

i don’t feel anything no more

i don’t feel anything no more

john sweet

the death days,

everywhere and always

the decorations hung, but

most of the lights burnt out, and so

fuck the past and fuck

the present

ignore the future

you will fall in love, yes, but

fear will always be the stronger emotion

the house,

collapsing slowly

the drugs your children take to

help them forget you,

and listen – 

christ’s hands are too small to

hold all of the

pain we cause each other

these cities are destined

to become deserts

man builds a house 

just to set it on fire

buys a gun and then

shoots at the sun

understands that there can never 

be anything more

terrifying than hope

almighty

almighty

 

john sweet

 

two in the afternoon and

cold enough to understand the

meaning of hell

 

corpses of children still

smoldering in frozen ditches

 

dogs sick, dogs starving and

always the need for a

war that will leave only

          peace in its wake

 

always a clock running

backwards in an empty room

 

fields full of anonymous

bones and nothing beyond

them but more of the same

 

Cosmology of Beat

Cosmology of Beat 

Rana Bose

In the Cosmology of Beat

            there are back-bent cars parked on roads, detritus beside lampposts.

Rooftops above the Five-spot, with curling smoke,

           rising,

           rising from black-grey still-shots on walls of poetry on fire with desire,

uppermost in the narrow corridors of prized lofts,

           going for cheap.

                                                                                                                                                   

Still-shots of a messiah standing slouched, 

           Spouting, pouting defiantly 

on Wooster and Bleecker,

                      mumbling!

Mumbling Sanskrit slokas

Le Sang des Poetes painted on the walls.

                                                                                                                                                   

Leroi Baraka, 

           the lone gunfighter,

           pensive in a loft up there, or

standing in the wings or

           leaning against a piano 

           that weeps and faints,

           that weeps and faints

as he begins to recite-

           the tale of his baptism by bop,

           in a black and white space, 

           septic, surrounded 

 by Peter and Jack, 

           pounding on Underwoods

fuelled by whisky,

           with handwritten labels.

                                                                                                                                                   

In the cosmology of Beat,

           there are black iron stairs,

           that escape to below

           that escape to below

where sulks a twist,

           at the end of a martini,

at the bottom

           of the glassy pit, empty,

           as muffled horns screech to a cued stop,

for jalapeno and chips

 and a squeeze break

 for the needy.

                                                                                                                                                    

In the cosmology of Beat

           the mind sits,

armed only with a swizzle stick

Swirling the dust

           from the Buddhist tantra

That makes the cosmos

           sound like physics-

gone to shit.

                                                                                                                                                   

In the cosmology of Beat

           there is hope,

that the hum and the swirl,

           And the chance that

           a sound will emerge

and bulbs will sway

           and faces will turn,

In corridors

where whispers and chants, 

Once did ricochet.

                                                                                                                                                   

In the cosmology of beat,

           It is said that

           Beats will come

In technicolour, 

in ekta fuckachrome,

           beats from a bongo, a harp

a piano will bojangle-

           and bo-beep 

           from a sax on the edge of the metro,

           will tunnel down,

           will tunnel down,

and take you away

in a whoosh, 

far beyond

           any obsession with Om!

                                                                                                                                                   

Notes:  

Five-spot: Five-spot Café (1956-67), a café and performance space in New York City that featured cutting edge bebop and progressive jazz and attracted a host of avant-garde artists and writers.

Wooster and Bleeker: an intersection of two famous streets near Washington Square, Greenwich Village.  Bleeker Street was once a major centre for American bohemia and remains an important nightclub district; Wooster is home to many boutiques, restaurants and cultural institutions including the The Performance Group (later the Wooster Group), an experimental theatre company.  

Peter and Jack: Peter Orlovsky and Jack Kerouac

SPECIES-EUPHORIA

SPECIES EUPHORIA

Karen Ocana

                                                                                                                                                           

I am having dinner with a goldfish.

It is not a dream, my eyes are open,

the fish is looking at me, swirling

   solicitous of my solitude.

                                                                                                                                                         

It seemed rude to refuse the waiter

approaching with the fish in a bowl, 

as if I were some character in a

   story book. 

                                                                                                                                                      

The fish sizes up my curries and naan,

I eyeball its buoyant swishes,

our body language slides into

   complicated complicity.

                                                                                                                                                          

I raise my fork 

and something spasms

            a flash of molten gold rises

                        light cascades in the fish’s wake, 

            an improbable message

making its escape.

INVOLUTION

INVOLUTION

Karen Ocana

A Purolator truck drives by the living room window 

as you listen to Sam Rivers’ Involution and expect a parcel, 

expect it to contain a dehumidifier.  UV index reads 9/10 

and a heat warning is in effect.  Blinds are drawn, windows shut  

and you’ve been watching the drama of leaves 

fluttering in the breeze 

reflected on the grey wall 

as you work out 

how to translate 

certain key phrases.

You’re waiting for the delivery of a parcel, a dehumidifier 

and your dress is magenta, clinging to your damp skin 

as you translate certain key phrases 

in the book you find impossible to finish,  

the phrase about obsessively tracing hands 

across the new and old decomposing walls 

sitting still in the white space of a room 

listening obsessively to the rollicking riffs 

of Rivers’ Involution.

Key phrases in the evolution of the tenor saxophone, 

subtracting oneself from death 

like engraving in white-on-black 

the risk of a window. 

Camera obscura.

            How do we see, exactly?  

Listen.

            Heat rises from her middle like frothy magenta foam 

on a strawberry milkshake, and she dreams 

of fording a river on a steamy night in June,

her blue pencil scrolls, pacing, spacing the words, 

the meanings trailing with the ease of jazzic fluidity, 

horns, percussion, heat, voices, 

the apparent free flow of highly stylized phrases

those of the conversation

those of the hushed 

lush conversation 

when you tell me the events,  the dates,  the places,   the spaces 

you last heard music like this.

            The record ends in the shimmering shade 

            of the living room where the sun lingers 

            like the risk of a door opening onto the street 

            where a crowd rears its head and no one hears 

            the roar of the rivers that scream underground 

            day in day out, as potholes creak

            under the weight of ambulances.

HOW TO QUIT SMOKING

HOW TO QUIT SMOKING

Karen Ocana

                                                                                                                                                                            Dear one, 

Have you ever wondered which came first,

the poem or the letter? 

                                                                                                                                                                            I cycle to the canal to meet you —

you, who still smoke half a packet a day;

(We met at a poetry reading five years ago

among books and fine speakers with so much to say.)

                                                                                                                                                                            We saunter and speak but rarely in iambics

more rarely still in swishy hexameters

at best in blank verse, citing common parame-

ters, our aches and our nagging pains emblems 

of the strained life we lead in a metropolis,

with deaths in the thousands from

this novel coronavirus;

How the people we love we don’t see anymore

How friends have left and we’re tempted to flee

How chain-smoking was only recently banished

When ‘twas once the source of grace notes such as 

            these:

                                                                                                                                                                             Du feu s’il-vous-plait

             Haben Sie Feuer, bitte

                        Baby won’t you light my, um, cigarette?

                                                                                                                                                                             A writer we both admire once wrote

A poem called How to Quit Smoking

Where Felicity, smitten with Fred

Punches Bob in the gob, I’m just joking.

                                                                                                                                                                            It’s a poem wherein, as you know, the rhythm flows along quite unencumbered by rhyme scheme, in no way or shape bending to preconceived pattern, balanced on the triple knife edge of pathos, irony and delirium, along which it tiptoes acrobatically, following lyric chords strung invisibly like tight-ropes within our cerebral cortex, upon which stories of love and loss leap and pirouette…

                                                                                                                                                                            leaving me breathless,

              speechless

with visions of a simile

                          (Go ahead and blame the pox of romantic cigarette advertisements if you will)

                                                                                                                                                                          “… like the smoky whorls issuing from the rosebud of your dreamy lips…”