20090629

First Wind

Copyright © 2009 Ernest Bloom.

The first blistering wall of wind and trash to bash
the summer afternoon is welcome, and more than
welcome, more than you who do not know the
Sonoran Desert can conceive. Dead palm tree fronds
and junk break free and hurtle down with ebullient
Thorian abandon and appetite, targeting
scurrying mortals in haphazard roulette, and we
happily essay to dodge these pot-shot
supernal missiles. The lights and power flicker
off and on, off and on. Dirt swirls in sucking vortices
around the wayward cars while traffic lights
thrash madly. Our eyes and nostrils clogged
with grit, we make it home and hear the wild,
felicitous howling wind around the garage door as it,
like a pharaoh's last pyramidal stone, descends,
then hurry to unpack the groceries, these
trifling items of base subsistence ‑‑ for this
(finally!) is the herald of the violent and spectacular
summer monsoon.

What Tarantellas

Copyright © 2009 Ernest Bloom.

The tired cliché of the starving artist?
Yes, but not like you'd imagine. Her words
in digital bits blast sparks in savage
torrents underneath my ringing cranium,
like the cleansing tempests pounding
Prospero's sacred isle. My love, my love!
What tarantellas you chase my broody heart
and dreams into! What unanticipated tides of
oxytocin and dopamine you tug upon these dry
and lonesome shores when you speak of the smut
and low-brow books you use to sop up worthless
tears, when I could (and would) cradle a starry
constellation like you in these, my famished
arms, for a million years!

Barking Trees

Copyright © 2009 Ernest Bloom.

You fling a round net of words and watch
impotently the better context dripping through:
the map is not the territory, and superstition
strikes the heart more forcibly than facts.
Grasping meaning, promptly discard words
like the hollow yellow shells of seven-year
cicadas clinging to the bark of transitory trees
they are. Men burn up their bodies and minds
at work, oblivious to a salary's negligible worth.

And Peas!

Copyright © 2009 Ernest Bloom.

Action movies, soulless, factory-made
Pop music, liars, morons and peas:
What kind of misguided deity stirred up a
Pot of world to include the likes of these?
If it please the court, we submit the
Evidence speaks volumes for itself.
This epic tome we're wading through might
Better go unfinished right back on the shelf.

20090628

This Black Heart

Copyright © 2009 Ernest Bloom.

This black heart, rocking, punched out and quarter-
decked, punctured and mutilated, drips incandescent
green rainbows from severed coronary arteries. This
torn, conflicted dragon at war, all darkness and
streaming light. This surging, recurring aortic strain
ought to be confined to a narrow cask and lashed
down below decks against the typhoon. These
massive iron bands that bind its chambers with their
accordion expansion joints, they feel the heat and
the passion, the chill and the mortal motor brushes
along the whirling rotations and beats. This image
of a black heart, tossing, rocking, this grisly gimbaled
binnacle magnetic anomaly, this portrait of everyday
agony and temporal decay, this candle at midnight,
friends to toads and vicars and crossroad fiends.
These howling winds bleat their spectral refrain and
ice up the rigging and lines. It goads, it gloats, it
glows, it snows in fragrant flakes of ambergris. This
ship's lamp burning astern, this cold wind of the dark
passage, pitch night, brilliant stars, it goes, it goes
on, it grows along like embroidered verse below the
captain's quarters. This cruise, this curse, this fell
dragon, these joints, these brushes, this wasted,
untasted wine gurgling in the scuppers of this arch
black heart.

Sittin' Round Cryin'

Copyright © 2009 Ernest Bloom.



brown pelicans drift past gray battleships
modern sculpture bright before the ocean glare
drinking crimson-warm chianti in little italy
a pleasant specter bobbing above an empty chair

peacocks scream like mirthless murder but
they're nice and they don't really mean it
save you a chair at the world premiere
if they ever conclude it's safe to screen it

fat senator chairs the truth committee
he stinks of green tobacco and cheese
sergeant-at-arms clears the balcony for
sleazy banners written in strange chinese

he tripped the hours and tied the loop
he kicked the habit and then the chair
beside a pile of shredded letters long used
to keep him suspended and dangling there






Stringjerk

Copyright © 2009 Ernest Bloom.

Underneath the gloomy gray
they bragged of fenced-in
Edens perpetually sunny
before they massacred our
innocent TVs and demanded
mercury funeral money while
cartoon executives laughed
hilariously at marionette
jokes not the least bit
funny, and so we
killed 'em all.

Spindled

Copyright © 2009 Ernest Bloom.


broken and bent,
broken and bent:
that's where all the
money went

bent and broken,
bent and broken:
i wish i'd not been
so outspoken

Those Pesky Clayton Boys

Copyright © 2009 Ernest Bloom.


Four batteries that need recharging
Seven dwarves who need enlarging
Three workdays screwing steadily down
This side of the horizon you're
Not to be found

Three years gargling fermenting words
Swatting at the biting birds
Djinn wishes swallow ninety-nine nights
I've exhausted the vales confident you're
Fearful of heights

One white cross on each Boothill mound
Seventeen more ounces for every lost pound
Zero zebras prefer white on black
You take sixty-two steps toward me and then
Sixty-three back

Ninety-six tears drip crimson in clover
Twelve kids beckon Red Rover right over
Two cats complain for food or for sleep
It's a shallow slope to you but inflation
Keeps the price too steep

20090627

To See

Copyright © 2009 Ernest Bloom.


to be
to see
to read again
to see the light stream in

to be
to see
to lens it in like
photon lasso rodeo cowboy performance
to capture pieces of this fugacious fancy in
microscopic pixels of flash-freeze retinal retention

to read
to read like once we read
to swallow whole another's visions
to moby-dick one hapless jonah after another
to feel the rush of gulping down
consciousness exploding

to be
to see
to read again
to let the light blaze in

to see
to be



20090626

Two Militating Pairs of Feet Conspire (Amnesiac Empress)

Copyright © 2009 Ernest Bloom.


Two militating pairs of feet conspire to contest
the advance of a single line of footprints. Last
time I felt so fissiparous was during a total
solar eclipse. I read such strangeness in your
battered down countenance that's backlit by
flashing visions of flaming wheels that fill up
all the royal-violet sky. For the life of me I
can't imagine why someone with all the world
to gain would cling to the shredded and moldy
yards of a pirate frigate decomposing among
seas of mud-caked rats that flow down weedy
ditches ‑‑ a woman like you should really be
smart enough to reach her slender arm up and
scoop a few handfuls of all these loose diamond
stars. You ought to realize I'd gladly crawl
across the sun anytime just to get close to you,
but I'm uncertain you'd cross the street to
meet me. What can I tell you about corpuscular
cars that paint metallic swaths across oceans
of golden graham cracker desert sand? I
gazed at the reflections along the Tuileries
gardens and saw your face peering back from
every cherub and in all the strawberry statuary
and while mounting the steps at San Giorgio.
Madmen wrapped in neon and beggars with
top hats and canes read in wind-blown
newspapers from the late 30s of the troubles
in Germany and all those other salmagundis
of sorrow and disorder waiting to boil over
and infect us from somewhere beyond a
comforting, reassuring borderline. But you
make it hard, you make everything so very,
very hard, but I'm speeding. . . .speeding. . . .
speeding. . . .Three kings doff their crowns,
embarrassed to discover themselves suddenly
in the presence of a deluded and amnesiac
empress. I could push my limbs through
crocodile skin and descend into the lowlands
you haunt, and tramp saltwater marshes and
the redwood forests and the great Grand
Coulee dam just to get close to you. Things
sure would have been different had we met at
Pearl Harbor; I mean, just think about it, me
as a wounded soldier and you my nurse.
Cicadas sing and locusts whistle to the burbling
of the brook. How can you explain these kinds
of things? You can't. Just speed. Just speed
on, let the waters glide past the rapids, let the
rivers dump us into their blazing Pacific tomb.

20090625

Junk Re-Glued

Copyright © 2009 Ernest Bloom.


Thus spake Lajos Egri:
"The principal aim of all story telling is to
Expose the inner workings of the human mind
Through conflict. . . ."

Through conflict.

"Found art" is junk re-glued
At random and welded against any
True hope for emergent purpose.
The gear teeth are melted off or
Sheared away. That's no way
To seek immortality in sculpture,
Or in poetry or prose.

To expose the inner workings
Of the human mind. . . .
By a deliberate process of peeling back
The psyche, assault by dreadful assault,
To make 'em sweat and
Keep 'em guessing.

That, my friend, is drama.

20090622

Let

Copyright © 2009 Ernest Bloom.


we travel
MMMMMfor perspective
MMMMMMMMMMfor definition

we return
MMMMMthe world flattens

MMMMMMMMMMif we let it

20090616

Your Castle Walls

Copyright © 2009 Ernest Bloom.



My fists are bloody against your castle walls
And I run around in circles

My fists are bloody against your castle walls
And I run around in circles

And I run around in circles
And I run around in circles
And I run around in circles

My fists are bloody against your castle walls
And I run around in circles

Zephyrs

Copyright © 2009 Ernest Bloom.


you
busy people with
your big people lives
hectic in the soup and
soap and folding
clothes and washing
dishes while friendly
eager souls go rolling
and tumbling in the
dust bowl wind outside
they're here right now
but they're all too
quickly gone
again

Benignity

Copyright © 2009 Ernest Bloom.


Look up for my kite, or I'm
swinging on that Gate.
When I'm in Heaven I trust
they'll let me be eight.

Play's, You Know, the Thing

Copyright © 2009 Ernest Bloom.


Just a lot of cracked bones and
broken crockery. When do we decide
to give up our tree houses for
mortgages, and does anyone
remember why? I see psychedelic
right whales in the sky, but they're
torn down for obfuscating emails
pretending to clarify moving target
official policies, and it seems to me
these people should be smart enough
to prefer grabbing our bikes and
go riding down to the sand cliffs for
some hiking, and to get away from these
patently harebrained adults for a while.

Inscrutable Imposition of Insularism

Copyright © 2009 Ernest Bloom.


of all the lamentable and wondrous people who
have ever walked in the dusty streets and narrow,
possessed ravines of this world, there are

surprisingly few i'd really and honestly care to
talk to or meet, whether they be famous
musicians or painters, or pivotal politicians,

or mercurial metaphysicians. one of the few, the
very few, in fact, is peerless you. . . .but

of all the burned down mortals stalking this
hard and lonesome world, it turns out you're the
only one i'm prevented from talking to or seeing ‑‑

maybe by the time i'm on death's doorstep
this bitter irony will finally make even the
slightest bit of sense to me, just as it

seems to make right now to you:
but i seriously doubt it.

20090615

Two-Tone Pontiac With Ohio Tags #88

Copyright © 2009 Ernest Bloom.


He'd have none of it in the beginning, nothing
but the feeling of electric destiny in his palm,
and those clunky, clumsy things without the
butterfly wing scales lifting finespun and
delicate on the breeze, free-floating and
falling with soft-puffing lung bellows of
near-sleep. Bursting with enough symbolist
lyricism to transport you to Mars. Now that's
the secret hidden power of language, my
friend, hidden that way in plain sight. Topless
time's been sneaky-suspended, and you feel a
bottomless well cracking and yawning up
beneath your feet, a dreamy invisible elevator
shaft to the center of the cosmos, or close
behind your navel, but you can't ever see.
Someone like you never can. What kind of
dime store hoodlums need these barebones
anthems anyway that stick in the throat? It's
the poor whites in the back of the train who
eventually notice how real world objects emit
sound and song, feeding on rattling breezes
and buckets of rainbows. We'll begin
timorously tomorrow to trade in a foreign
currency, for this is my mother-tongue, and
these words are gonna mean what I want
them to mean when I declare them to mean it
cos I want them to mean it. Just isolate any
single phrase from the chorus, pare it out
surgically, and try to say what it means
without writing some dumb new OCD
dissertation. Who needs anymore Santa Claus
songs or sonnets or Easter bonnets, make the
list and check it twice? But take away that
evanescent restraint and everything collapses
as any other topical diatribe that's ever eaten
your minutes like a crocodile chugging down
milkshake tumblers full of golden molasses.
You're forced at last to open eyes that do
more than see, ears that do more than hear,
tongues that do more than taste. You gotta
rip down the curtains and penetrate into a
new kind of consciousness and existence or
remain trapped between those who horde
scraps of meat and those who throw away
rusty iron ore. See, you can't linger way out
on the high wire forever, though something in
the structure defies simple comprehension of
the individual words and their special
relationships. Synergy. You gotta come back
down now and then, but there are suggestive
glances over rims of wine glasses that promise
so much more than they ever deliver. They'll
probably compare it mockingly to War and
Peace
, overlooking the whispery, foreshadowy
hints of everything yet to come. Her eyes are
really some other color, you may have
noticed, this femme fatale out to crash
through you. Aural oscillations, aural
waveforms. What is this freakish Rimbaud
stuff supposed to be, anyway? What signify?
Start noodling on a general philosophy of life
and see where that carries you. Who's
exploited, baby? It may be a trick, or a crafty
device, but it's a good one; it works, it's got
you
. We're all exploited! They couldn't latch
onto any crystal-clear imagery, and anyway
those moldy folkies had already gone to seed,
and they still demanded her dead as dust
ancient stocking ballads. She's some left over
character crudely trimmed out of Poe, her
borderline pornography tacitly understood,
desperately clawing about in secret places
lusting for salvation, just waiting for the
velour voice in pointed boots to come slyly
stepping in. See, your mind is chewing over
that one single line, struggling to grasp its
true and infinitely slick surface, isn't it? He
used to hijack his former girlfriend's concerts,
and that caused a lot of fuss just cos they'd
never heard it as a single, or on an album,
and they didn't know the words or the tune
under the hungry fingers of smirking, cold
cloud idolatry. Snags up in your fiberglass
consciousness and holds it hostage without
you ever guessing what's been done to you.
It's like they can hear without listening,
paragliding along the slick surface, absent
participants, and it's clearly the case cos
they're not instantly thrown into wild outright
rebellion and revolution. Aw, it's all too
complex for the soap and toothpaste hawkers,
jamming in these machine gun rhymes.

20090614

Copper Crawdad Pageant in Chains

Copyright © 2009 Ernest Bloom.


Alright, alright, alright! We must
barter our way back from God then, all the way
from Genesis, creeping backward, back, but
keep your opaline eyes fixed forward, keep your
filthy hands to yourself, and keep your feet
on the platform at all times. Don't look back.
Too many wine jugs and coffee cups and mugs
of chicken noodle soup back there. We'd gone
up to New York and stared upwards at those
soaring steel canyon walls, craning our own
aching necks, stiff-neck stunned, and then
all those museums glutted with paint and lapidary,
and once more staring at the pulsing tide-tugged
humanity through the corner windows of Italian
restaurants. Horses and hay bales and old
ice wagons and yellow dogs that bellow
and slump away into litter alleys. Joceyln
puffing steady-fast through puffy lids on brown
cigarettes, gazing languidly down along her
horsey nose, sniffs disdainfully, all-knowingly,
been there, seen it all, done it all, don't
need any more advice from a hillbilly nobody like
you, and I'm more jaded and cynical than
you'll ever be in your wildest dreams. The elms
are pitifully pulling up the concrete, fingers
reaching for the air and light. River tugs
blare distant-cool. In the purple mountain mist
they say the ghosts of the revolution may
still be seen on certain cold nights in October or
early November, glittering when the stars
behind them are in particular conformations. Myself,
I'm skeptical of all these kinds of
legends and innuendo. Rose Marie pulls a pen out
from behind her ear and starts scribbling furiously
in the tiny notebook she totes about everywhere
she goes. "For my novel," she volunteers
when no one will ask her about it or even
notice, and she makes a wry try at a smile, but
I know for a fact that Rose Marie never
even finished fifth grade, and I'd give a pretty
penny to look in that book, cos I'll bet it's
just hen-scratched to help her feel
herself into life, or maybe two pennies, but it
wouldn't be worth any more, and probably not
even that.

We were still up in Nebraska Territory fighting
the Indians when word came of Henry's parole.
No one cared. Henry never had any sense anyway,
common or otherwise, and besides, we had the
horses to mind and our noses down in the dirt, sniffing
out the signs. The war hadn't really got rolling
yet, but we were all pretty excited about it
and keyed up, you bet. At nights we set our sentries
and built our fires and whetted our knives and
thought about certain girls we'd known or
hadn't really, mostly, but it being unlucky
to talk about such things, we mostly listened
to the sad wailing of the wind and anticipated the
fast food franchise chains and dirty
strip mall clones that one day would
ruin all this savage, wild land. The buffalo
were already long gone. I had a harmonica and I was
pretty good playing it. Could speak Spanish
real good, too. I always wondered what
the wolves thought about all that spectacle; but then again,
the rattlesnakes were a greater caution,
and they said the rattlesnakes were all deaf and
couldn't hear a thing. But you never know. Do you?
No.

Like how Bridey Lee Tullison used to could play harmonium
and even dance passably before she lost her leg
to shark bite. Now she steps up to the pool table, just
tottering barely. "Anybody feeling lucky?" she thunders out.
None of us is, I guess. Bridey likes to slide
the beads along with her cue, back and forth, back
and forth, the green lamp glow making her face go
all Frankenstein. She's a big girl, is Bridey Tullison. She
racks them up after a while for herself,
loses the game.

There never is really enough time in outer space to
get all the work done that you really need to do, no
matter what they claim down in mission control. That's just
babble-babble for the TV consumers anyway, they who
eat their TV's with no salt and only a little chili or gun
powder. I saw how somebody had sneaked through
the park during the night and covered up all the bums with
sheets of green lettuce and a few hundred dollar bills. Like
waiting in one of those sterile county office buildings for your
driver's license all afternoon. Evidence-based medicine? They
don't do that anymore; haven't for years. Whatever
it is you're waiting for or you were expecting, you would
probably be better off on one of those
steam locomotives, great big iron horses
clanging and cutting through the
soft substance of the American night, and grasshopper
abdomen walls and thoraxes and all. No
matter how elaborate their insides are, all burnished
with glass and crystal and gold leaf and
wet plaster paintings and skinny shining people with
champagne glasses and tiny spy ear buds sneaking
into other unwelcome private conversations
in tuxes and black evening dresses diamond cluster earrings
and pearls, the rooftops all look equally patched and shabby
from high and dry satellite eyes. I asked Veronica
for a glass of buttermilk, but she just climbed aboard
the Spruce Goose and was gone: whoosh. Never
heard from her again, but they say she landed a
big fish way down in Argentina. A gunrunner, I heard.
Meanwhile Dale Anderion calls me up on the phone, so I
don't answer, and he leaves a roaring message: "Dale Anderion
here. Just calling to let you know your batteries have been
roasted and frosted and are ready to be
picked up tomorrow after nine." I don't know anything about
any batteries, frosted or plain, and I don't
know anyone named Dale Anderion anyway, so I
pull on my Stetson and catch the next
ostrich caravan out of town. No one ought to
be made to live like that, clearly. Those are some seriously
twitchy leg tarantulas climbing up and down your back.

Antonio's Market is this tiny, cramped, hot little store down
Galveston way, with high towery ceilings and, for some strange
and mysterious reason, it always smells like
pipe tobacco and pig meat and Tabasco sauce. We used to
hang out in front of the store and watch
the fishermen come back home after they'd been on the Gulf
for about a week, eating raw onions and drinking pop. Sometimes
oilmen too, and other types of cowboys
and miscellaneous ballerinas. When the weather turned cold
and the daffodils came exploding down out of the clouds,
or the moon got pregnant and the window boxes winked,
the suspicious-eyed widows would start their
salt-throwing rituals ‑‑ crazy Russians! ‑‑ and they always
insisted how good managers impose order on chaos,
while bad managers only layer more turmoil on top
of the bedlam that's already reigning. Down there where
the banjos and tremendous trombones were playing
all day and on into the night, grown men and women
have been known to throw down all their sundry accoutrements
of their professions or allotted trades and dance intoxicated
in the streets in funeral ecstasy, granular
red fire steaming from every letter, especially the vowels.
Despicable witches. Charity: thy name be unknown
to any man. No inferiority can be attached to this hand,
this hand which clutches the pen rather than
guiding the hard-biting plow over this grueling,
backbreaking ground. F55. Press enter and
clear apertures. Pesky pyridium. What we need is
a little more carnauba wax and gelatin. I'd
aimed to sleep more today, but I
awakened too soon, it seems. Hitchhiking down blue
and lazy highways to lands crowded with lost
shade-grinning fathers and abandoned dreams. Surprised
as strawberries, of such stuff these colossal
mountains are built. Science and the spirit, I say,
always: science and spirit. The spirit is weak;
the spirit falters, but onward, science, to the bitter end!
How weak is my spirit, but how dear has my
blue valley grown. We'll raise up our foreheads to the
bright green sun, eyes closed, mouths
hanging open wide, expecting casual revelation. Instead,
I dwell among cavemen who'd eagerly, pruriently, trade all their
computers in for the monks' candle-lit cells if they thought they
could only get away with it, scattering chocolate
dewdrops wheresoever they might venture, eating
handfuls of coconut-flavored cake, they who require
that I copy out these interminable chains of
alphanumerics in my own clumsy and indecipherable longhand,
apparently only to prove to them, over and over, what
tricks are included in my tediously limited repertoire. Alright,
alright, alright!

20090611

Author's Notes: "Acts of Dissipation"

Copyright © 2009 Ernest Bloom.

Je deteste this kind of commentary about one's own work as unseemly and uncouth, but. . . .

I can't see this as particularly confusing or complex. The syntax is uncommon, but I don't think the vocabulary is unfamiliar.

I think the grand theme is apparent enough in the title and the first few sentences. Out of chaos emerges order, which has its day, imposing its own structure and forms in its arts and sciences and forms of communication, its own architectures, before eventually beginning to shatter in the face of the new, the unanticipated novel revolutions in perception, in the rising forms of unforeseen organization that are obvious and readily apparent to new, youthful eyes unencumbered by the blinders of the past, whole new blossoming worlds to which old eyes are not privy. This is a continuous process in creation as old-timey belief systems must shatter and rupture and decay in the face of new ways of looking at things. But as the line about Ymir indicates, the new world is fashioned from the body (the doings and history) of the old: in the anti-transubstantiation, the flesh of the god is made mortal and youthful and fresh, a theme to be revisited when we make it to the tree and stream. But first. . . .

The gaping matronly abyss is the birthing of the new prevailing worldview; the continuing act of the birth of creativity; novelty spilling from the womb of wondrous imagination. Briefly reference to the legend of Marduk and Tiamat follows, which is simply another version of the tale of Ymir and the creation of the world out of a dismembered body. Then, beginning with the words 'These long-hoarded seeds implanted,' there follows a long sentence, extremely simple in its construction: every phrase structured exactly (or almost exactly) like every other phrase, before the punch line at the end, intended to catch the reader up in the drumbeat of inevitably heavy, pending doom as all the truths and logics that have constituted a lifetime commence to splinter and fragment and dissolve and dissipate. Everything that once was whole is now dismembered, drawn and quartered, all familiar and trustworthy structure broken, hewed and scattered and scrambled. Immediately an apocalyptic vision sets in, beginning in the last few words of the long sentence in which the seas break their bounds and invade dry land, submerging the continents, and then so on.

This is the epic overthrow of every life, of every worldview, though perhaps this is a myth-cycle no longer fashionable to the orderly, scientific gestalt of the modern Western world (wherein we neglect reflecting on the fact that this gestalt is itself a secret language built upon axiomatic faith and shared folklore and fairy tales and legends). Finally, the image of the tree and the river makes the whole cycle organic; Ymir was not slain fully unwittingly by Odin, Vili and Vé; Ymir at least subconsciously was an active participant in his own creative, generative destruction, and now his body/wisdom are returned to the tidal pool of genetic knowledge from which future generations are destined to be stirred together and constituted and born. In this final act of shattering, fallen leaf by fallen leaf, his spirit is recycled and redistributed and will be reborn again and again into all futures, as it has been in the past. The damning lie, I suppose, might be that of incomprehension that we tell ourselves, of our incomplete, short-sighted understanding, of seeing ourselves as unique and independent and singular products of our own creation, as if we're the authors of our own souls, perhaps; although, in truth, I prefer to leave this as a lesson for the student to resolve. . . .

And then, at the very end, all the foregoing is revealed to be the eddying action transpiring within the cauldron belonging to the fateful witches in that Scottish Play, a play all about broken down body parts and minds and intermingled psychic nightmares and prophetic visions and the crushing powers of subconscious imagination. But one must not speak of such things, and the only way to ward off and dispel evil spirits is to quickly quote from The Merchant of Venice, as the final line does.

But this is about -- if my lines, or anyone else's, can be said to be about anything (and I would never profess that; but for argument's sake) -- this is about the psychological meaning of severance, of disassociation, particularly as symbolized by severed body parts, the fragments uncannily implying the absent whole; the stitching together Frankenstein-wise of horrific, unfamiliar new bodies out of the found fragments of the past, taking bits here and there but discarding the bulk and boiling it all together with a horrible and noxious aroma. This is organic life; this is the march of our recorded chronicles; this is the recurring generation gap that makes a broken step function of history. The demolished and shredded cannot be rejoined and healed; all looking into the past is a product of fantastic archeological reconstruction and story-telling and creative guess-work that reveals as much (or more) about the missing pieces as what's glued together. Memory fails; large swaths are unrecoverable, unless they become the humus of the soil of future dreams. Interpersonal drama, the stuff of our day-to-day lives, fails too; old conflicts, if they are carried on across generations, are practiced out of ritual, not out of retained primal beliefs and the founding psychic wounds. This kind of formalized (or stylized) mutilation, this psychic dismemberment, is inherent to the myth-structure of man; it is not particularly calculated for shock value; it is an organic, eternal process; but then, so is the return to the river, although it's hard to remember this, maybe, during the preceding ages of dissipation.

I guess this is an assertion of what I had in my mind before I started writing this; if the piece fails to convey these notions, then it fails, and I accept that judgment. "Acts of Dissipation" is free in the world, and is open to anyone's interpretation, anyone who might care to muddle all the way through to the end. But I don't think it's a collection of mingled poetic phrases, although I would find that criticism of many other things I've written completely justified.

[Steps down from soapbox and skulks away, but feeling a little better about self.]

20090610

Acts of Dissipation

Copyright © 2009 Ernest Bloom.


Forms enter into being, they dance,
They explode, dissolve. White light's
Broken irreparably in the prism glass,
Hot souls condensing from churning
Soupy mists, they cavort, they move
Under mysterious self-volition. Old,
Familiar forms freeze up, fall mute,
Unvoiced, inert as dirt, rusted over,
Their fluttery flag tongues cloven,
Disjointed slam-bang utterances soon
Neglected and gratefully forgotten.
Too long Ymir has slumbered, now
His giant body's duly carved up in
Life-giving chunks, this indolent and
Half-conscious, anti-transubstantiated
God. A primal matronly abyss yawns
Wide, beckoning, this pink horned
Cornucopia chasm from whom all
Nightmares and reason issue, awash in
Blood clots and amnion flow. We look to
Heroes to sever the inward parts, the air-
Filled belly of the dragon-mother, and
Tread upon her bloated liver and spleen.
These long-hoarded seeds implanted in
Too rocky fields; this bubbling cauldron
Catching every squeezed out drop, every
Final fragment of limbs dismembered
And hacked out softer organs; these
Faces with shining scalpels precisely
Excised, or with much-worn gelding
Knives, glove-slipped, inter-traded,
Exchanged and street-bartered and
Rearranged; these ruthless hours for
Self-reflection, for reintegration, for
Reconstitution of the inorganic and the
Dead, animal, plant and mineral and
What's been claimed as human; these
Ghosts of fallen warrior-kings and fools;
These accursed memories both exploded
And stirred by merciful forgetfulness and
Operational disregard; these uncounted
Stars raining down like orange autumn's
Withering litter; these much prized but
Worthless exchanges of monkey-chatter
Voices in their insect points of view;
These harbingers of disaster and after,
Cryptic calm; these long absent and too
Soon returned, deplored, never fully
Exhausted or satiated; these monstrous
Chimeras with their ridgebacks bristling
And yellow tusks curled and blunt, but
Deadly; these vicious scorpion-men from
Distant deserts returned and restored;
This admixture of the real and surreal
Inseparable, now got indistinguishable;
These mysteries, these murder-crowned
Majesties, these dialectic catastrophes
Recast in piebald flesh and glorious,
Sun-burnished steel; these chrome-
Plated hearts of the merciful; these tired,
Wheezing lungs dipped in credit and
Unchallenged avarice; the open wounds
Of midnight's velvet sky still weeping,
Weeping; these slaughtered archangels
Evermore creeping in this God-forsaken
Realm, their golden-feathered wings
Short-cropped, their visions crippled;
These hobbled horses of bay and red
Forcibly led by all too familiar jesters in a
Stumbling idiot's parade; these violent
Thunderstorms of sin and shock with
Their mutagenic lightning bolts; these
Systemic mutilations to which everyone
Is subject; these odd old friends now
Reduced to flapping ribbons; these cut-
And-paste travelling companions whom
You believed you recognized, who
Misremember what each one's unique
Crime is or might have ever been; these
Barbaric reconstructed artifacts of buried
Civilizations once imagined that maybe
Never will be or have been; these
Transitory ephemerals, shriveling jewels,
Temporary exchanges of warring,
Mangled views, regurgitations from the
Glossy production of evening news, all
Shattered vases reglued precarious;
These mismatched and restitched china
Doll faces and their serrated fragments
Stretched across unfamiliar mastoid
Bones; these hurtled down thrones of
Failed messiahs and the half-gods of
Technicolor advertising and political
Sermonizing; these princes become
Paupers and beggars put in charge of
Society's most dangerous attack dogs;
All fall now as these raging seas burst
Free and invade the lands. We watch
The towers tumble, smoking stoves
Belching flame and brimstone. All the
Planets rupture and disintegrate, they
Trail their crumbling guts beyond their
Orbits. The sleeping dragons awaken
From deep subterranean lairs and take
Flight. The swords of men are bared
And whetted to be about the requisite
Business of hewing limb and bone.
The tongues are hacked out, the eyes
Are all gouged, the noses cut off and
Dropped in place, the ears dried like
Leather shells and strung into hideous
Necklaces. All hair is set in flames.
The nostrils are split and the breasts
Are carved. The skull is cracked and
The brains are scrambled. The dire
Wolves have come back to haunt the
Forest eaves once more; the werewolves
Scratch at each and every darkened
Door. Venom pollutes the water and
Poison dust befouls the air, and I'm
Become the hoary tree whose long limbs
Bend down toward the river, quicksilver
Gleaming, racing on, on, chasing flashing
Visions in startling reflection. I am
Handfuls of dead leaves, bug-eaten, that
Fall down one by one upon her fickle,
Mutating surface; she takes me away in
My departing sherds and adherent bits
Of glossy glaze. Piece by piece she must
Redistribute me past the green meadows
Under a golden sun, back past a young
Earth, a younger day, into a brand new
Way that you can't imagine. What kind
Of reincorporation declaimed from
On high could untransmit the damning
Lie?

None. None.

The witches stir the cauldron: this
World's all undone. Fair thoughts and
Happy hours attend on you.

20090609

The Artist in Killing

Copyright © 2009 Ernest Bloom.



The mass has come forward, leaving the hind quarters
disproportionately small and light. His mass, his essence, is
centralized in the great hump of muscle located just behind
the head, the morillo, the focus of all his tension when he is
aroused and enraged. When he enters the ring he sees
and hears the noise of the spectators. He smells the horses,
sees the picadors. The matadors. Two engage in a last
elegant dance whose outcome grows increasingly obvious.
When the last charge finally comes, the bull's head is low,
his eye locked to the muleta, tail held straight out.
And the matador leans in, he leans far in over the horns,
following the sword as it finds its way home in the estocade.
The black tail flips around at the instant when his
pounding heart is burst. The colorful banderillas dangle
from the sagging morillo now. Dark red blood spills down
from his puncture wounds, and the blood is all over
the matador's belly as well.

The swirl of dust particles is suspended in the
white shafts of light, transparent and holy-bright and hot.
He trembles; a shudder passes through him, and he
crashes down in spectacular ruin, the air heavy with
animal musk. He's a blue mountain of silky short black hair,
slain all at once under the white sun's glare. The matador
stands long and thin in embroidered silk, yellow
and pale green, pigtail hanging straight down his
sweaty neck, his long, Modigliani arm still slowly
withdrawing from the pommel of the sword. In this
death-filled moment his dark eyes remain fixed
on the bull, that massive heap of tension abruptly released,
relaxing, collapsing in the center of the ring. How hot it is.
How hot it is.

The artist in killing, the true artist, never loses his fear;
his art is in the mastery of fear, rising on his toes
unflinching when death makes its last fateful charge,
and with perfect concentration and grace he locates
the heart of his well-matched adversary, his partner
in the dance. And this is why the dust particles now
are motionless, and the light is so intense, and he hears
nothing from the spectators, no sound, and there is only
the light and the heat and the buckling of his opponent's
knees and his last blasting breaths from swollen nostrils.
Then he is a mountainous blue bull with bright banderillas
and a rolling tongue and crimson blood flowing like
liquid flame, like an enormous volcano of a quickly
dying animal. Then, as always, the matador feels
the animal connection, feels the truth between them
that very few in the stands, now erupting with cheering,
can see or guess.


Degrazia bullfight

20090608

Spoils of War

Copyright © 2009 Ernest Bloom.



Several tall baskets were arrayed along the inside of the low mud wall that encircled the town. It was very hot when we rode in, and we were anxious to find water for the horses and ourselves and to continue on as soon as possible, but the baskets caught our attention. They were fashioned crudely from rather wide swatches of yellow straw or heavy flattened cornhusk or cattail, or probably some kind of cactus fiber, and they had shiny green ribbons woven in long diagonals, the same kind used for Christmas presents. The fighting was over now, and the town was very quiet. We had missed the fiesta from the previous night. Black marks from firecrackers still marked the hard-packed road. Some of the baskets had lids fashioned of the same material, but they bulged thickly with their contents, and several of the lids were tucked in between baskets or else had fallen off, or been blown away by random gusts of the scorching breezes so common to these parts. You knew from the smell what they contained before your eyes picked out the details in the dark shadows from the wall. They were curved and dirty things, brown and black. They must only be storing them here for a few days, I thought, before distributing them to the rest of the villages, these baskets overloaded with hands and feet taken in battle from the enemies of the tribe.

We found a trough and let the horses drink deeply. There was a slow-moving stream nearby where we filled our skins, not saying anything to each other. There was nothing to say. A few of the dark-eyed children were there, staring at us silently from behind the great cottonwoods. We were there less than ten minutes, and then we were gone again, riding back into the trackless desert.

Temporary Like Beowulf

Copyright © 2009 Ernest Bloom.


This old brown boat's been tied up at the pier too long under
unruffled, pale skies of aquamarine. The yellow strand runs
flat and passive, untrampled even by happy children, between
a few ramshackle bait houses and deserted gas stations. Her poor
gunwales grow rotten with barnacles and worms; she's been
sequestered too long in a calm, protective harbor where
sandpipers madly scamper and lost grebes scream. She was
made to travel, not rot in place, cut off from space and experience,
with ever deepening texture and character, but atrophying,
infertile discernment.

Apathy of the spirit is subtle; death is not, and the politics
of the moment tricks us into false pretensions we may be
years in penetrating and discarding. This modern art, though,
is made in the moment, not raised like medieval cathedrals down
generational centuries. We inhale, we exhale life; we live;
we must live right now before we die, before we die, before we
have to die, for no one else can do it for us, not even on Lost or
Arrested Development. And when did the sluggishness begin?
When, the spiritual ennui set in? You know. You know precisely when.
You've read your Joseph Campbell, and you're familiar with the
call refused. But someone keeps on calling you, paging you,
pinging you, poking you, beseeching you, entreating you, reaching
out for you, texting you to get up off your withered laurels and,
like Beowulf, disembark on one more dragon hunt at least. Splash a
fresh coat of paint on that lonely boat and let's move out onto
deep water.

Facebook the Dead

Copyright © 2009 Ernest Bloom.


I wish we could Facebook the dead,
Find out where they hid the gold.
Tell them what we never said, like calling
Down a safe and distant hole.

Come to think of it, I guess we can.
Most of them just happen to be
Not quite officially dead yet, or else they
Totter on the fence where it doesn't really seem to
Make an awful lot of difference.

20090607

Deserue Corne Gratis?

Copyright © 2009 Ernest Bloom.


Ill-baked republic high castled in the round,
the stage is set for tragic skirmishes between
rising power-hungry tribunes and gray-head
aristocrats. How soon the prattling plebeians
forget the scars your imperial service earned you!
Dare they now so soon demand demonstrations of
humble fealty, that you be made to prance around
for them like some sick and swaggering pony,
to seduce them of their tawdry, volatile ballots?
But are you so haughty that these seething skies
have gone transparent before your warlike eyes,
which now fail to apprise how hunger churns the
unspoken, recondite climate? You misread the
oracle in the sheep's bowels, the flights of crows
beyond the fields, an interpretive miscarriage of
your own changing times: anger itself's become
the true meat that calls the peasant mouth to water;
anger over disparities long since presumed the
noble born's just due. Aristocracy, through no
misstep of your own, has grown synonymous with
tyranny, but this new dictum you can't quite work
your mind around, can you, Caius Martius?

The meteorology of republican politics is an infant
science, vagaries of loyalties adherent to no
apparent pattern, honoring no familiar convention.
The words are muttered with obvious passion, but
coherent significance remains elusive, and you
write it off to lower-class foolery. But secret
Powers are afoot, well-versed in how to stir the pot
of Citizenry; how well they plot, these grinning
marionettes whom you despise and dismiss, their
hollow heads not now so straw-stuft as you long
presumed; they're conspiring cautiously calculative,
pulling new pragmatisms near into their breasts
with close, whispered counsel. They wit well how
they may hope to plunge their puppeteers down
into the pit. What's become of the truism that
the belly must purvey and sustain first the princely
head lest all be slaughtered? But: see! Now the
master's mastered! And is that not the way it
should be in any rising republican democracy?
Heads must be made to roll.

Ravisher of ringed cities, monolithic penetrator
of curving battlements, beware: the very milk
which suckled you to strength cannot but bid you
treason yourself and reason with these lesser
mortals a way back into their hearts, tainted
with the low grit and grime of local realism, to
coil there like some cursed worm after love from
holy Rome, which so recently without pity or justice
cast you out. You have no city now, you traitor,
you banished thing flung backwards to a narrowing
appendix, a tight cul-de-sac in time, where your
bloody wounds, so esteemed by your hungry dam,
must now be put on base public display through the
rapturous streets of Antium, whether you would or no.


20090606

If Reincarnation Be True

Copyright © 2009 Ernest Bloom.


If reincarnation be true then let
The wheel be about its turning, for
All the learning got in this life's
Brought me no closer to satisfaction.
Clad in another body, the prizes
I've earned would have been mine
To reach for and claim a long time ago.
When you're still young it's already
Plain enough which ones will shine and
Which thugs will pass their days
Behind bars. It's true! It's no
Consequence of wisdom or fairness
Which ones float and which ones slowly or
Stone-like sink, and I've had enough with
Bobbing about the storm-tossed seas.
So let's get the wheel rolling, and we'll
Pray better pips get turned up the
Next time around.

20090605

Cheap Seats

Copyright © 2009 Ernest Bloom.


"Lord, what fools these mortals
be!" Puck declared, and I, from
the cheap seats, was sudden-
struck by such simple wisdom.
We're all ensnared in visions
blind, or binding brute bad luck.
Should you, by chance, one day
become unstuck and waken
from your nightmare in a
dream, I hope you'll pick a daisy
and then pluck its petals,
weighing what my love might
mean, for though I know you
can't believe it's true, you'll
know no greater love than
mine for you.

Oldies (But Goodies)

Copyright © 2009 Ernest Bloom.

This dog-eared novel's not irredeemable,
Just a trifle soiled.
This road-tested heart's not yet broken,
Just a little bit parboiled.

Grimy Plugs

Copyright © 2009 Ernest Bloom.

time ticks by
slips plays tricks

sigh

moments w/o
clarity
lucidity of vision
will not be
encountered again

a congestion of inputs
diverts around the
clog up and you

missed it

20090604

I, Polonious (Advice to Undergrads, and My Phase Uncle's Unexpected Incursion)

Copyright © 2009 Ernest Bloom.


Too intelligent to be one they concerned themselves about, I
remained too invisible and too unwise to learn much of anything
truly useful. I never learned to read the literature
as an undergrad. I never found a mentor to guide me. Cast to
the mindless inertia of lecture-auditoria housing some
two hundreds plus, I was quickly lost in the regurgitation
of factoids I'd long-since mastered. I had no money. I had to
work while I was in college, cooking breakfasts for others
while I remained hungry, or answering their phones,
or assisting the dorm's Head Resident. I was too tired in those
lectures, and I sometimes found myself dozing, my pencil
trailing off the edge of my notebook paper. Flung like a
meteoric missile into college and immediately forgotten
when there was no email, no Internet, no cell phones, and
long distance calls were still a pricy extravagance.

Several years later I first walked through the door of
Bob Hoshaw's Algal Research Laboratory. I was autoclaving
soil and water bottles for him, brewing up instant
growth medium for the propagation of his extensive
collection of American strains of Spirogyra. I pondered
occasionally how to enkindle passion among their
(+) and (-) strands and generate football-shaped baby
zygospores, but never to any avail. I even considered
attempting to fuse denuded protoplasts with
polyethelyne glycol, just as I'd been trained to make
chimeric human-mouse hybridoma cell lines, but there was
always that pesky cell wall to negotiate, not to mention
osmotic pressure. Back then there was too much I
didn't know that I didn't know.

Undergrads of course have to prove themselves, a fact I
could not appreciate. We were a dime a dozen, or less,
and few enough would ever go on into academia or
other research, and those are the true professorial passions.
Your professors have no incentive to invest their precious
time with those who show no sign of taking up the mantle
and following in their footsteps. Despairing of my choices,
I even came fairly close to changing my major from Cell
and Developmental Biology to English. I was a First Son
of the Space Age, though, and society, with its Cold War, had
successfully infused Science into my genetic make-up, but I
also loved to write, although I knew nothing about either
discipline, really, in those days. Discipline: everything I'd
known about discipline I'd long since forgotten or abandoned.
But then, out of the blue, seemingly, I received a letter
(April 1982) from an uncle I seldom saw or spoke with,
advising me to do that very thing: to shun science, to
become an English major*, to lose myself in the classics:

(1) Read everything you can get your hands on. Start
With Shakespeare, Chekhov, Dostoevsky. Read Kafka,
Hesse, and Thomas Mann. Read D.H. Lawrence, read
James Joyce. Read Hemingway and Steinbeck. Read
'em all. Read 'em and weep.

(2) Get out and observe. Live life, see the people, talk
to them. There's never been a character created that is
half as interesting as real people.

(3) Write it down. I'm sure you know this one. Write
down your feelings, especially. Try to capture them.
Writing is just a tool ‑‑ you learn how to use it by using it.



I cannot tell you the shocks this sent through the system. It was
as though this person were reading my mind from a distance,
and the timing of this letter was impeccable. His distant,
clairvoyant mind seemed oddly in tune with mine, and we
took to calling him my phase uncle. This added more fuel
to the fire to get out of science altogether, although in the end
I decided not to do so. It was apparent to me that it would be
easier to learn science and do writing on the side than
the inverse, and that science was more likely to provide
an income in the meantime. Someone else will have to judge
whether I made the right choices or not. I am something of a
Hugh Everett devotee, and I believe myself that I made
all possible choices​​. . . .

During my last semester as an undergrad I took as few
classes as I could to graduate, and made them as enjoyable
as possible. This included an oceanography elective, with a few
trips down to Puerto Peñasco, Sonora, Mexico, on the
Baja coast, where I was first introduced to the unicellular
alga Procholron, which grows symbiotically on certain
leathery sessile tunicates found in the intertidal zone. This
connected up fairly neatly with my work in Bob Hoshaw's lab.
The imminent threat I now faced was that I was soon to
graduate, and I had no idea what kind of job to get in the
averred Real World. Another interest I'd always had was the
Antarctic so now, consulting with Dr. Hoshaw, I went searching
for intersections between algae and the Great White South.
I identified several possible labs, among them that of
Greta Fryxell. One day I had a scheduled telephone conference
with her, which I made from a payphone outside the
BioSciences West building. I arrived with a few pocketsful of
quarters and thus set the stage for the next phase of
my career, which would eventually find me shivering in a
walk-in refrigerator at the heart of a towering white building
located deep in the heart of Texas under a flesh-scalding sun,
where we sustained culture flasks of ice diatoms recovered
from the receding ice shelf, including my own personal
favorite, Eucampia antarctica. But my days spent as a
reluctant oceanographer comprises another strange tale; I'm
talking about the undergraduate experience here.



If you want my advice, learn all about your professors'
personal interests as early as you can, and find one to whom
you think you can relate, at least more or less, and then
try to land a place in his or her lab, or among the local
office staff, and do it as early as you possibly can. Then you'll
see what's what, and what matters and what doesn't, and
then it will all start to soak in, no matter how slowly at first.
Then your undergrad experience is sure to be so much richer.
You require a professor who sees the spark of passion in you,
and who will take you under his wing and guide you, subtly or
not so subtly, through the mysterious mazes that beset you.
No matter how intelligent you think you are, or how intelligent
you truly are, you require what I never found: a wise mentor,
whether or not you always agree with or adhere to his sage
(or not) advice. And force yourself to read the literature,
even though it's sure to mean next to nothing to you for a
long, long while as, without suspecting as much, maybe,
you're slowly building up a database of facts and opinions
that will carry you far, although you don't even notice it
at the time.









*In truth he did not quite encourage me to become an English major:


So you think you want to be a writer, do you. Then what the hell are you doing wasting your time in college? I'm sure you've discovered by now that school is 90% bullshit. The best thing about college is that it delays adulthood for four (or more) more years. If you want to write, you should be doing three things.


His three recommendations are listed in the text above. I could not conceive of dropping out of college; nor would I advise anyone else to do so except under the most extreme circumstances.



Delta

Copyright © 2009 Ernest Bloom.


Delta, Δ, at least in chemistry,
Most often refers to heat, to introducing
Increasing thermodynamic chaos, usually at
Very high temperatures. But lower case delta,
δ, signifies change; that's all: smooth,
Continuous change from one state to
Another. We know intuitively about the
Three dimensions of space, and we infer
One dimension of time; melt them together,
Minkowski advises, into conceptually useful
Four-dimensional spacetime. Now objects
In motion in spacetime experience
Continuous changes in position (s) in
Unit time (t), or in other words, velocity (v) is
δs/δt. And when velocity itself changes over
Time, objects experience acceleration (a), or
δv/δt. Interestingly, our good friend Albert
Conceived how gravity is only a kind of
Acceleration arising from the curvature
Of spacetime.

There's something very funny about
Acceleration.

4 x 4 Grid, 1 to 15

Copyright © 2009 Ernest Bloom.


This body,
Cut up into large squares
Like brownies
That are readily stacked
And stored
In heavy brown cardboard
Boxes, like
Blocks of hard cracked golden-brown
Velveeta cheese,
Reassembled at the destination, or
Every morning
Anew, not unlike those clicking
Number puzzles,
Trying to rediscover the
Integer sequence,
But there's always that final
Dissatisfying hole
Where the last piece remains
Forever missing.

A Few Notes on Prochloron
















Genome Sequence of Prochloron didemni: an obligate cyanobacterial symbiont of the marine ascidian Lissoclinum patella [The Ravel Laboratory for Microbial Genomics]

Procholoron [CyanoDB.cz]

Photosynthetic unit size, carotenoids, and chlorophyll-protein composition of Prochloron sp., a prokaryotic green alga [1978]





I became interested in Prochloron in 1983/4. I was working in Bob Hoshaw's Algal Research Laboratory at the time, primarily maintaining his extensive collection of Spirogyra isolates. Robert W. Hoshaw Scholarship [1993]. Here's a photomicrograph I took of Prochloron at the time, which I'd collected at Puerto Peñasco, Sonora, Mexico:

Prochloron


Genotypic relationships between Prochloron samples from different localities and hosts as determined by DNA-DNA reassociations [1985]

Nomenclature of Prochloron didernni (Lewin 1977) sp. nov., norn. rev. ? Prochloron (Lewin 1976) gen. nov. , norn. rev.? Prochloraceae fam. nov., Prochlorales ord. nov., norn. rev. in the class Photobacteria Gibbons and Murray 1978 [1986]

Sequence of Prochloron didemni atpBE and the inference of chloroplast origins [1991]

Light-harvesting chlorophyll c-like pigment in Prochloron [1993]

Isolation and characterisation of oxygen evolving thylakoids from the marine prokaryote Prochloron didemni [1999]

Structure of a photosystem II supercomplex isolated from Prochloron didemni retaining its chlorophyll a/b light-harvesting system [2003]

Patellamide A and C biosynthesis by a microcin-like pathway in Prochloron didemni, the cyanobacterial symbiont of Lissoclinum patella [2005]


20090602

High and Fast on the Outside

Copyright © 2009 Ernest Bloom.


minutes crawled by in
hours of dim green
light when bobby
was a speed freak
and his hair curled up
tight like balls of snakes
or wriggling roundworms
nestling in a horse's
warm stomach so you
gotta know if you don't
know that your parents
are a reciprocating
fraction who've passed
through all this same
punk before

give you all my money
baby go with you all the
way up around the bend
and back then down the
lost highway but you
can't tell which is the
numerator and who's
down on the bottom
with factors seen and
unseen that cancel and
hidden variables forever
plugging in just like way
back when (but you know
you'll never know) bobby
was so saturated in
amphetamines

20090601

Tell Me

Copyright © 2009 Ernest Bloom.


The only thing worse than a sick car is a sick person. Or a sick pet. The only thing worse than a sick pet is a sick person. Depending on the person, that may not be true.

I woke up behind bars, a little bit more insane than when I went to sleep. Pacing. Pacing around a too small cage. If I can't hear from you sometimes I start losing it. You sometimes need a friend to talk to, but I always need you. I just need to hear from you whether it's consequential or not. The slightest contact resets my day, and without it I suffer a little bit more, and a little bit more. Don't tell me you don't know what to say. Look out your window and tell me about a cloud, or a piece of a tree. Tell me of the childlike drawings on your refrigerator door. Tell me anything, anything. Tell me of the bitterness of your morning coffee. Tell me anything, just talk to me. These long days and nights without contact send me spiraling down into despair, and I turn into someone I don't care to be.

Look in the mirror and tell me how your eyes look. Tell me of your eyes. Your eyes. My God: your eyes. Tell me of the touch of your fingertips. Tell me. Tell me. I always need you. So tell me.