Saturday, February 7, 2009

Sour As Gin



I'm as foreign, he thought, as every other one else. Thought so, used to, then didn't, now think I do again. So few streets between these old neighborhoods different like night and day, one way there's this, one way there's that, them; shit: us.


The stench of body, dirt, mud, muck, skin in its natural or unnatural state, it bellows about him. An old man with empty eyes, an aging man if not old, sits on a city bus in the middle of the afternoon but it's Seattle, it's winter, so it's dark. Black tar dark at four and a half, four and three quarters for sure. His smell rolls around him like a globe and he sits, knees pressed into the seat in front of him, he's looking out the window, straining to see beyond his own image in the light-reflected window, image of a dark, wrinkled, busted man who isn't who he remembers but might as well be himself, detached as he feels from that younger man, even the older young man, and especially the child, himself some fifty years ago, maybe, fifty?

It's been that long, hasn't it, he thought, holy balls it's been fifty goddamn years. Fifty years, I was sneaking cars, me and Ronnie, not stealing because what's the stealing in it when you know the car, and the owner, and you give it back—later that night, even—what's that called, it's sneaking. Ain't stealing. Fifty years, anyway. Sixtyfour and what do I have for it.

He truly believed that depression made a man smell worse, more sour, like a gin hangover, if that actually was a sour smell and he thought it was, and he shuddered to imagine the smell coming off him, a man more homeless than not, what he smelled like with the sourness, the depression sour pressing through, he wondered whether people, anyone, whether anyone had any idea that it make him sick to his stomach, too, that he sometimes threw up on his own torn shoes because of how bad he smelled. That he made himself sick. He moaned when the bus stopped to drop three people off on the way down the hill, and as he moaned he pressed his back to the seat with all his power to keep him from falling straight forward, stop him from hitting his nose or forehead on the seat in front, and he moaned again three blocks later when it stopped once more. He was completely coherent.

What kind of dumb old bastard must I be, he wondered, dying in this old dark town in the goddamn winter.

He had imagined going somewhere else to kill himself, Miami or Mexico, he wanted sunshine to watch him go. To watch sunshine himself as he went. He believed he would be forgiven if there was sunshine, or else he would forgive himself. Same thing, he figured. But he couldn't, couldn't even probably have the heart to make it down to the airport even if he did have a ticket, much less actually leave on a plane.

A tall young woman stood near the rear of the bus as it came to a stop. "Back door, please," she called quietly to the driver.

So many pretty women this part of town, he thought, fifty years it ain't changed that at least. Don't remember one of them that I've talked to the last twentyfive, though, so what's the difference. What's the goddamn point is what I mean. Pretty women love a sneaking old dog, shoot, they do, and a little chit chat. But what have I got left. Don't even have chit chat.

The bus, with its electric wires overhead, wheeled slowly up the hill, climbing out of the stunted Central District valley and heading east toward the lake. The old man wanted to see the water before he died. Every time someone pulled the cord, lighting the red next-stop sign, every time the light lit and it dinged someone's next-stop ding he felt sick because he remembered he wasn't really all alone in this, he thought of his sister who expected him for dinner in three days, Sunday at five, and acid in his stomach seemed to burn through his belly and his skin and out onto his white undershirt as he remembered her legendary southern-accented bus driver impression, her "Next stop, y'all!" calls that still made him laugh every time, made everyone laugh, even decades after she did it first. She would say it, holler it really, with her eyes aimed high up toward an imaginary rearview mirror, her hands out in front of her eighteen inches apart, looking almost like she was carrying and shaking an invisible tray, to simulate a huge bus steering wheel. The acid felt like it leaked out all the way to his jacket. She would be furious with him. More angry than sad, because she made people laugh, made everyone she ever met a little bit happier, so he would kill himself and she would be insulted.

Ain't about you Sherry,
he thought, any more than it's about these pretty women or that bus driver with the heavy brakes boot on him. Ain't about any you. About me and this bent up old brain. Crooked-ass thoughts. And this sour old gin stink.

The trees, what was left of them, bent in the wind and blocked street lights as the bus, now almost empty save the old man and the conductor, moved down the last hill, no stops, toward the lake, down the last slanted street before the water.

. . .





Saturday, November 29, 2008

—Sometimes You Sulk—

Tonight we watched you press your face
to a beat-up broken black table
in the middle of a wide-open room
in the middle
of whatever that was
you were singing

You and your sulking
remembered a song to me,
it’s British and sad but
it sounds just like fire
with its crackle and spark

You and your face pressed
to a table
looked broken and sad,
but the singing—
it burned like fire, or ice,
and it was neither British nor sad

Obviously I can’t make any sense of it at all.

But I’m out of practice with sense-making—
I forgot how to pause a long time ago

You see,
Dysfunction is a quiet little fucker.
But then,
So is rising.


It occurs to me now that
I remembered in the moment
to hope that you
would just keep singing.
Any song you like,
whatever beast of a worry-filled tune
your little bent-up heart desired,
as long as you sang it with that head
on my table
and the ache in your throat

as long as you agreed
not to watch me unravel
at the sight
of you singing.



Sunday, November 16, 2008

Scoot and the Labels

One of the sample labels provided by this website when writing a post—you know, those little "labels for this post" things that are intended to signify what a given post is about—is scooters. Which, really, I mean, how is that not supposed to influence what people write about? I can only imagine that there is some ungodly high percentage of posts on this site that include discussion of scooters in some form or another. Way higher than the actual per capita percentage of people who either (1) legitimately have scooters as a part of their daily lives or (2) legitimately have such a connection to non-part-of-their-daily-lives scooters that they are willing to write about them. A collection of scooter-label-suggested sheep, if you will, just following whichever next sample label that comes along.

It's just a theory. I don't actually know of any scientific way to test it, other than visiting a significantly high percentage of these blogs, of course, looking for scooter talk. But let's get real: that would be far less interesting than just blindly throwing out a theory and watching it take great flight.

Maybe I'm wrong about all this. Maybe most people aren't actually impacted by such suggestive wording. Maybe people hit the "new post" button and then merely commence writing a new post, rather than stare at the bottom of the screen and read the sample labels over and over and over.

Which, while we're on the subject, in case there's any doubt, I obviously have nothing to write about. And I am, I suppose, nothing but one more in a worldwide herd of scooter-led sheep.

Friday, November 14, 2008

Save It For Later




It's an all-night diner
on the side of an all-night highway
and a waitress who calls me baby,
who tells me about the worst of worst that
I haven't seen yet, don't want to see
even for the iron balls or the stories,
she says,
knowing I tell stories when I need to stand straight up



Hey, she says, snapping her fingers,
looking at me with ice-cold water between us,
Don't be such a sad motherfucker, ok?
I laughed, we laughed,
I said, Shit, and it took about three
seconds to say it all, those four letters,
because I've learned to extend words
in southern diners
She said it right back and took about twice as long
I said You can't make me blush just
by calling me baby
so she leaned forward
and said Then come to momma's house
and make her feel loved, on the inside,
again,
and I blushed,
and we laughed

Fuckin' storytellers, she said.










Drink More Water


What are you writing, I asked

It's a parody of all the bad blood I carry
inside of me, he said



As in hemophilia or as in sharpened old stories,
I asked, about the blood

Hemophilia, he said, and chuckled,
listen to this goddamn jokester

Parodies can be about blood disorders
and broken hearts
and mineral deficiencies,
I said,
and they can
but I don't know enough about hemophilia to
venture a guess

I told him to forgive his family
and drink more water
It was good advice, I figured,
regardless of the specifics

Everyone needs more water,
and forgiveness
is anything but aging.

Thursday, November 13, 2008

What Worries

Awakened in a cold sweat, I was,
with a nightmare about my old nightmares,
with a bone-bending fear of falling
in reverse:
A fear of rising at the expense of myself—
in spite of myself, even—
and a lock upon my lips, my teeth,
opened only by silence or acceptance
by either or both

Today is like the evening following a hurricane and
the morning after climbing a big snowy mountain
all wrapped up together;



Today is like holding onto the side of a hot-air balloon over
miles of jagged rock
after shadow-boxing a strobe light all night the day before
Today is strange and tired and tiring

but here’s the thing:

I’m worried about tomorrow.

Stillness scares me a lot more
than hot-air balloons and hurricanes

I was nothing innocent when I got here
but I wasn’t guilty either
Perhaps I was a witness

I’ve gotten dirty in the process
I’ve seen breaking and blood and more than I wanted to know.

Though I have to admit—it came with caution tape,
I had my crossroads and all

Yet, still, I thought poverty would have been
uglier than this
I thought maladjusted children would break me
quicker than
the concern of
too many keys in hand and
the drunkenness of knowing it

because
at least poor people laugh freely.



Yet, still, a stubborn light maintains,
flashes in and out, on and off,
remembers itself and I follow it,
I remember it
and
against every better sense
I believe it.

Let/Go

In the West we take shapes for granted—
probably the mountains explain it.

I take words for granted
and only remember in the absence of
sermons or sunshine or
time to smoke between
trials and time-clocks

But I steal rhythm every day from songs
from words
from phrases and questions
and train-tracks and the past—
the past that we all want to believe

But it wasn’t and we know it

. . .

The problem is no one cares
anymore about words.

Now that's a ridiculous thing to say

Feels like it, though, and
sometimes can't imagine
anyone but 87 elderly
gathering to spit smoke
on poetry

But why should they, anyway?
Every day,
in the middle of every afternoon,

there is
no getting around the fact
that we've lost it
and have no reliable guarantee
that we'll find it

I've mine and you've yours
and an occasional
stranger with a wink reminds a man
what he promised to do

Every day, twenty minutes
before sundown, my eyes
fix upon western peaks
to make sure
I am who I say
I was going to be

But it shouldn't surprise you
that I'm not as certain
as the stone is to sink
as I to ascend, to rise
for the sake of
tasting smoother air—
if that's what it is


Have you ever seen
pastry crumbs sink down
into coffee?
Me neither.
But I know they're down there.
That's change:
I see nothing of it,
but it doesn't taste
like it did before.