faces in wood grain

blacklisted



Stubborn orifices of steel block my vision.
I am tapped;
though malignantly, not dripping.
Cosmic joke.
Clots of core being
surge out of my system,
lumping my cauliflower veins with yesterday
and liquefying said obstructions tomorrow.
In this fashion,
my core self has been leaving me
alone, hardly breathing
in a mire of self-pity.
My soul, I fear, now clumps,
petrified by judgment
and withering into tumors of former ambition.
It remains imprisoned by my frenzied ego
who’s encrusted by the fear that simmers with
the rite of internal suicide.
Jump.

by Gia

peregrina, variation 1 (still roving)

CIRCADIAN CLOCK NO.6 
from The Master Circadian Clock Cycles 1-8

Pergola on fire;
the reminiscent coalesces
with breathless robes of doubt.
Honeyed covenants perfuse,
lacking preemptive right.
Devout and impetuous,
demanding restless unquiet.
Premalignant perfunctory
consecrates, sanctifies
reams of abyss to exist.
Reminisce. Resist.
You are dismissed.

a variation on peregrina (the rover)

“all the rage” (a proposition)

CIRCADIAN CLOCK NO.5 
from The Master Circadian Clock Cycle 1-8

Jocular,
somber,
transcendent–

like a cat
wandering along sill,
eyeing the moon
with wide yellows
and long jowls;
you bleed.

Perch perch.
The Ninth Symphony
crawls into crashing sycophancy-
but only inside your head,
and in the flap flap
of domestic curtain ropes,
golden for you.

Die die.
Snowy Brooklyn hood
beckons
the peninsula’s lusty line
with wind bustling through porches.
Lady Manhattan, stoically xenophobic,
lies still beneath her cloak.

Prospect Park sleeps, as good as dead
hides the sleeping life
in her pillowy bed-
the hipster’s last
premature domestication.

I had a dream once,
this night in fact,
of sitting still
with pomegranate juice
rolling down my chin,
and of little bliss roller coasters
climbing up my brain.
               Somber,
               transcendent,
               fortifying–
ejaculate.

in waiting (patience)

CIRCADIAN CLOCK NO.4 
from The Master Circadian Clock Cycle 1-8

Patience is a woman who walks far ahead,
knowing too well what drives us,
connives us into
the brothels-of-mind.

We stew in her solace,
unable to forage meals without toll.
She shows us, six feet ahead,
how dawdlers get themselves
goosed
every time
for their troubles.

Clinging to sycophantic trance,
we’ll be our own pallbearers before
wisdom conjures up
the next sculptor’s hand.

“…patience is a woman,”
we wait for her.

Tom Clark Photography

meditation on a brazil nut

The starkness of a chestnut glazed table
willing to stare back at me with a dare.
It challenges with a static potential,
that which only a table can muster.
I cannot be envious of that.
But I do envy that on it sits a brazil nut
contoured by shadow.
A brazil nut that
too may desire purpose.
If it could,
if it were not
just a legume.
Though it too has grown out of itself.

I being more than a nut,
or at the very least
greater than or equal to,
do percolate with such desire.
But lying here, wrapped in chenille and scarves
find the realization of my purpose
much further off than the arm’s length
fulfillment of our artless brazil nut’s fate.
If I do extend my non-hungry palm
I will eat the nut, for the sake of Brazil.
I might.
But instead, as accustomed to,
I will not force purpose into my palm.

Thus, I continue to sit.
Encloaked less by blanket
than by denial.

misery, a poem

misery

 

Misery
roams deserted alleys.
Is gorgeous
in every city, blanketed.

A seductive gravity
ravishes, standing alone on a street corner.
She does not draw crowds
though every passerby and wall
slide her a sidelong glance.
Tall and willowy statuesque,
a voluptuous silhouette from collar
breastbone to pelvic pleat.
Her clothes are a sin.

Cruel confronting barriers,
she’ll climb your wall
before you heed wanton chances
to re-navigate Adam’s fall.

This girl is a woman who knows
why she pants and stalks the street,
what perineum beholds,
how to slacken her stack
then retreat.

Though when she enters your mind,
you alone in your apartment,
she is naked
for your scalpel eyes only,
bared rags of pristine flesh.

Why so prevalent?
Her bloodstains bereave smooth flesh.

As you shrivel into a plate of wrinkles,
all you can do is bemoan
that she did not come sooner.

 

loosening the noose of desire

loosening the noose of desire

My trembling words pass so lightly
over your eardrums
to anoint imprisoned passions
and dally only where descent purrs with possibility.

Even with the stammer of uncertainty,
my rapture sings loudly,
dying to graze your feverish,
without misdemeanor of too much or too little
along the way.

With each pass of ribcage
over beltloop
and near swipe of eyelash across belly;

I shudder.

Perfecting flip of wrist and thrust of soul
heaves last year’s worries out of storage
and into applicable juice.

Our ginger approach innocently betrays
the incendiary fascination
we know better to be
-pertinent information-
for an affair.

Descent of the imprisoned
diffuses the beast asunder
to haunt with oscillating pride,
a relic of pawing ginger kisses
deliberate with forethought.

If a sigh can say it all,
imagine the lifetimes a falling body
might gesticulate, one vertebrae at a time,
through thickets of wanting.

A slight realization creeps in,
bereft of consummation
heavy on disappointment.
and loosens the noose of desire
that has been dragging me so sweetly
through the fantasy of you.

Our broken illusory drags my strong feet
through the mud of still unknowing
where you might have led me
had pedigrees and inclinations
passed differently.

There’s no failing here,
we can only have or have not.

Photograph by Deana Mitchell

awareness as a courtesy

awareness as a courtesy

Nighttime muses caress breezy shoulders
careening over little known instincts.
For bliss, for virtue, for loss, in folders.
On blocks of lady luck, we connect.
Using whichever craft of needlepoint
canoodles us best, to resurrect.

We sit and soak our nimble hips
in nebulous.
Jubilee delight
(so I like to call it).

               Some drive cars, most eat shit.
               We decay at computers becoming illiterate.
               Mouths flap, ears close, dogs still prance and babies pose.
               Little’s the same but most still here.
               Quintessentially remiss.

Togetherness, anti-retro world of narcotic bliss.
You know what I mean.

               Everyone talks about the same.
               The people, the places, and worst, the things.
               We’ve got shoes, we’ve got pants, we’ve got shirts
               and sometimes even skirts.
               Hats, purses, jewelry, blame, all the same.

It’s a kind of madness, this sickness is.
Oh, do tell.

               We drink, eat, shit, fuck, breathe.
 And move, we all move.
               Capacitize, monopolize, reiterate.
               Concretize, idolize, create.
               Philosophize, dramatize, rejuvenate.

It’s a kind of sickness, this madness is.
Rusty days, layback mattresses.
Don’t.

               We are parody, we are myth.
               Satire, blasphemy, tragedy, tryst.
               Hardly there, always here and closer to death.
               For those with bodies, only birth was first.

It’s a kindness, this awareness is.

a love poem

love in eight stanzas

I.
We have each traded ourselves in
for the other.
Seeming to fulfill the dense plot of desire
that we continually harvest,
the perennial property of our existence.

II.
Do not love me, for you do.
Disengage the affording branch
from my corridor
and plug it into your own.
Reintroduce your ambition to its origin.
Here it may meekly dip only one trait in
(but permit practice sessions).

III.
You are being beckoned now.
Your old self of reality
screams through me.
Breathe yourself in;
I know that you see me
and think that you love me.
In fact, you do. 
But the love for your soul
must thrive in harmony,
strengthening each individual love.

IV.
We are one.
And previously, as two,
we found ourselves, alone and connected.
Brief brushes often maybe, at times,
even now; elemental brilliance is still possible.
Merely, understandably, in hiding.
Don’t you think,
that sometimes, we should all just live
from within the masquerade?
Like it is a masquerade.
(For it is.)
Here, we star in our own plays
allowing ourselves to be playwright
by entitlement and luscious capability.
Ultimately culpability, I know!

V.
Will you join me in the forest of decadence?
Wear your costume of true self.
Not the daily duds of conformity
that we have become so accustomed to,
but those that exude
the exuberance which draws.

VI.
This game is not for them; it’s ours.
Shear your landscape
into the most outrageous design imaginable.
Curse the censor;
fold him up into his can.

VII.
I cannot fall in love with you anymore
as I repeat every three beats of my heart.
And yet, I will.
Regardless, bubbles do brew and tumble
voluptuously, so far from our union.
Stop scrutinizing!
Encouraging eruption, minus becoming,
will not.

VIII.
Just take the swell of the storm
into your body
and simply allow yourself to become it.
Feel that you will lose yourself;
and there, sitting divine and naked,
you will find yourself.
And meet the one that I love.

by Fabian Perez

foster girl (the medium)

CIRCADIAN CLOCK NO.2 
from The Master Circadian Clock Cycle 1-8

Chasing on coattails of sex,
the animalistic bride
               gravitates
into the ring cycles
of her own spiraling sanity.
Time.

Erda warned her,
               “continue to believe,
               breed courage… ”
Smiling, she continued her gibber
into the wayward funnel of inner ear syndromes.

Mysterious gurl leftover from childhood,
gleeful peace spreads legs of mind as
electric blue heels
               assault
cobblestone streets
in neat click-clack patterns,
click-clocking to other less attuned orbs,
along international side streets,
               the earfuls
               of what they want to hear.

Executing perfect stares,
she refuses to fan or giggle,
nor will she release
her spent maidens of yesteryears.
               They’re in restoration.

The Norns already crawl her city-
too Madrid, Lisbon, Vienna, Seville-
in shattered bridal gowns,
floating gossamers
               soaked with red,
laced with brown.

               Barstooling alongside rectors of drink,
               her cross strands erect,
               betwixt
               legs of maidenhood.

Eyes pricked,
she eats at their sex holes,
scooping out fingerfuls,
and sniffing up the rest-
               addict that she is,
through laden conversation
and neat tricks.

But no one knows,
no man or woman could tell.

Their repressed chunks of sexual dough
yet unformed,
congest her filter
               with apathy
and funnel through, unchanged.
Left as dribble for the masses,
vomit on a bar-room floor.

She reverses her stride,
revert, retort, restore,
chiding all the way out the door.
               “Chill your feathers
               in ice water please… ”
Brunnhilde growls.

And her divine palindromes
did not release
               their exhaustive streak.
It was 2002.

(references to Richard Wagner’s epic musical drama
Der Ring des Nibelungen, a.k.a. “Ring Cycle”)

Painting “Saba with Red Wine”
by Fabian Perez

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