note 28you are beautywritten over and over
just a thoughtdon't let your sadnesscarry you. you can look at it-and rock it to sleep in yourarms and let it melt in yourhands, you can put it outon the windowsill forthe cats. they knowhow to kill fast-moving,sharp things.you canblow it out with black dreamsand the sky will eat it,she will cough in 200 yearsbut she will eat it. you candigest it in a concrete pillthat you can't snort, but knowthat the sadness will come for you inthe morning like the motley hawk tothe long-dead doe who thought sleep would offer some peace, but no-you thought relief would offer some peace, but no-the sadness will come for you inthe morning.you will
justit started out as a message of honest to god tearshonest to god honestyand she was saying she was saying she wasa mistake and we were we were mistakingmeaningless signs for road signs to somewhere wherethe great elsewhereand a qu-quiet whisper-per transformedtwisted twisted and bent and bled andher voice her voice became this monster this monster offeedback and static and feedback and feedback and heartache(the sound of heartache rips the space between your ears till you are nothing left but lightness and heaviness all in one space all in one spaceand you can't breathe you can't breathe you can't fucking breathe or hear or see or taste a goddamn thing)it was all noise noise noise noise no-oise-sebouncing in the fissures of a love-torn mindand it was it was the sensation of falling awaythen the greatness of the jumbled sounddissipated like a f o gandyou saw along the path w
As Paper People Livethey start as cigarettes and we as sculptorstaking parts of them in young lungsuntil ash towers stand upon the floor,our city built burnedwith no cost to us butfor the sound of paper maché lungsgiving way to caustic embers and the flecks ofthem we find in our throats.we live as paper people,close to the heat whereour bodies are food for firewherewe know no more direction than our smokeswirling about in the wake of the ceiling fan.
women in scornwe bought a fire pit and put your bones in it(end to the days in which we woreyour limbs on our eyes,on our hearts,heavy with contempt)and we burned you;wrapped the wreaths around our headsand undressed bare to dancein exaltation ofour freedom(a king is dead tonightand a queen reborn)
note 32 i am so terrified
lukewarmshe had the kind of voice that seemed to be stuck in the hour of four o'clock in the morning - soft and tired and luring,mumbling her way throughsubways and tunnel lightsall pale yellow with noise.there was tea and long bathsand longer absences, hiccups of breath the best she could do. long springs andlonger falls, one equinox to the nextand still the badwas never that bad and the goodwas never thatgood,and she continues to humthe birds continue to singthe apples continue togrow and sour andfall,and bury themselvesagain.
FableMoon cloaksfallen fromshoulders,(and you are)left clad in only the softest ofshadows.
PaginationI perused the pages of your spine,like a desperate and dying womanwould cling to the collar of the last manto walk past and say"I'm going and I'm okay with this."Turn around.And hold me around the hipsso when I fall apart,the last part of me to go would be whereyou spent the better of your timewith me.
copaceticyou know when the person you love andyou decide to break up, and you both say to each other, you both agree that youwill be friends. and you think it, for a daya week even, and he is still texting you andyou are still texting him, laughing like youwould do when you were one. and then youmeet his girlfriend at the mall, some butter blonde bitch whose decolletage busts outin peach ovals and she can't even tell youhow many guys she's fucked or let alone loved andyour boyfriend, or your lover who no longer isyours is smiling like he has what he has alwayswanted, all that is not you, and you becomebitter and backbitten and say something rashand laugh and he gets it but his bitch doesn'tand then the next few weeks you are quietand he doesn't seem to think of you in hisexperiment. you become an enemy and youwatch him from a window on your laptopevery move every suggestion every shirtlesswhore make a common thing out of somethingthat was once undeniably yours. a
[i]my mother always told me that you should never use your thumb to check your own pulse and though i knew it had something to do with the thumb having its own, i never really knew why she told me not to. just like she told me how wedding rings are specialized by anatomists though everything ultimately and eventually comes back to the heart.even fucked up things like adrenaline and sugar and anxiety and pain.her logic hasn't hurt her yet, just like it did with my grandmother. she believed that women didn't have heart attacks. she died believing that because she never had or saw a woman have one - she died of a haemorrhage. i miss her.i never really knew her. and i always thought that it's good that she didn't live to see me. because grandmothers don't like grand daughters who stay up late to wet their pillows with dreams and tears and form sentences with breaths tainted with toxins and sleeping pills. and i just know that she would never have liked how i cross my legs when i sit. she j
Take me homeyou live in me,cancerous white noise,high tide of danger.you consume me,oceanic burial ground,reddened memories,love-making stranger.
to the counselor who thinks i am suicidali really hope that this isn't one of those thingswhere you check in with my teachersand call my parents if i don't show upfor schoolone day,because you knowthat could really fuck upmy sex life, and all thedrugsi've been doing, and all thecarsi've been stealing,people i've been murdering,etcand definitelyall of thepoemsi've been writingnot to mentionall of the sleepi haven't been getting
shallow breath, aching bones.this feeling is too big for me.too giant for my small frame to containand its spreading and spilling out andover my insides and leaving me wakingup with bruises from dreams so realthey hurt.this feeling is too much for me.i can't carry it all, it leave part of itdragging alongthe ground behindme and i tend to forget its thereand i trip over it and fall to ground.i decided to collect bruisesbut i dont have to look to farthey tend to seek me outand scatter themselves across my skin.
may.i lost track of how many daysyou were wallowing around rock bottominsteadi just counted how many shots of espressoit took me putting in your cup each morningto make you human again.
note 52i don't know how to properlywrap my love: eitherin wordsor whips
pacificher longbow mouth is un-strung; loose bottomlip with a cockedjaw -.shebirths into him likea womb
note 51we'll meet in the north somewherebus-tired, train-worn, back-seatbent from sitting so long.we'll meet here because it is far enoughto make you forget that i am a chancewith too many losses, far enough for menot to be called back
hvirfilbylurin the morning i throbagainst a lilac bruisefrom the ache i'vecarried for youwhat if i said i wake up and i look at youand your skin has not blackenedfrom disuse, has not paled fromneglect and stilli find perfection in the wayyour arms hang likea willow and thearch of your backand the width ofyour ribs like amarrow-cagefor mewhat if i said i loved you?
note 48i've hit the partwhere you say'i'm leaving' andi don't ask youto stay
warare you singeing inmy lungs? i breatheyou in like morning dogwoodcaught by flame;the exhale willwait its turn.
"the exhale will
wait its turn"
you are a goddess of words
you
i tried to imagine this in all caps. either way, it reads fantastically