In the House of the Hangman 1126

At that time he traveled by bus. He crossed Goiás. Then he got a ride on the back of a small truck. Early afternoon or early morning he saw an Indian pulling out or planting manioc. No one should die in the memory of fish. No     no guardian will break my fall. I pass blood. Like a straw bird it follows me. I became alert and I was in a garden in Baghdad whose fence I had passed when I was a little kid … ok think this / … / with all your social nails / … / mundane and berserk, as any slave ship / October 2012: Blanqui is still in jail, and as the cosmological city plan becomes ever more compressed, all of us fixed into a collective table of anti-matter that no-one believes in, despite how much its wild flashing reminds us of Nezahualcóyotl’s “only the flowers are our shrouds.” What can make this matter. What can make me feel us. Make me feel this. What can make attention to excesses. What can make explicit disarray. What can make a relentless. In 2057, massive flood-control structures protecting New York City from the rising seas required a redirecting of the Hudson and East Rivers northeast, into Long Island Sound. The resulting dams — the construction of which triggered small earthquakes throughout New England — allowed for the draining of the old riverbed south and east of Manhattan, revealing the unearthly geological circumstances on which this archipelagic metropolis sits.

Hey you, hard-drive for the Ancient of Days —
so bring the scenery with you
(or is that backwards? Sarcophagus
midwife to gargoyles, as if all or something
for all tomorrow’s blogs and tweets?) —
were appropriate, you circle the time inside you,
either way, we salute thee, as worms salute
plant an asterisk next to a kiss,

the rain that drives them to sidewalks to drown
and it was going to be okay again, and the love
in the shapes of question marks and musical clefs
of which much was made settles closer, is a paw
cliffs. Clefts. Whatever it takes to shepherd us toward
against a wrist. Hasn’t finished yet,
grappa infused with stinging nettles and lemon peel,
through the bread-and-butter machine continues to churn out

or White Russians made with your mother’s milk
and liking things is like being a machine?
about her forehead, is as a poinsettia
number twenty-one is my hawk
in the breeze of Rockefeller Center. I don’t like
or sadness? number twenty-two is my window
a glacier telling me to hurry up, the ride down is precipitous.

[Note: Sources: Sergio Medieros, “THE DEATH RIVER…”, in Vegetal Sex (tr. Raymond L Bianchi); Leticia Luna, “Wounded Days” (III, IV), in Wounded Days (tr. Toshiya Kamei); Ghassan Zaqtan, “Like a Straw Bird It Follows Me”, “Alone and the River Before Me”, in Like a Straw Bird It Follows Me (tr. Fady Joudah); Sean Bonney, “Cell 1 / Suite 3 / as in Crisis”, at Abandoned Buildings, 26 Oct 012; JBR; Sarah Dowling, “Sunshine Honey”, in Birds & Bees, at lulu; John Becker and Geoff Manaugh, as quoted in Geoff Manaugh, “Lower Manhattan National Park”, at BLDG/BLOG, 26 Oct 012; Rainer Maria Rilke, Sonnets to Orpheus 10 (tr. Kent Leatham), John Ashbery, “And the Stars Were Shining”, as seen at wood s lot, then interlineated by JBR, semi-a là Ted Berrigan (except for certain bits, which are from Sarah Dowling, epigraph and “Morning”, in Birds & Bees, at lulu]

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