Jeffrey Jullich


The street light stays the same color
for so long repairmen
drive up in trucks, set up ladders.
Their tools come to a point.

The Venetian blinds tilt, weighted
on one side by paint chips.
So this is Venice at last, a home.
Hot air balloons descend

to the level of mere mortals
plummeting through the floor.
Some clutch their chests in pain
to grow vestigial limbs.

The only hiding place that’s left
large enough to hold clouds
opens at the touch of a hand.
Enter through the keyhole.

X-rays show coins in a stomach.
Mouths stretch wide, filled with coins.
We poor people can’t sell our time,
use pebbles as jewelry.


Let epsilon equal emotion

Fusillade: oblique semi-colon

Marginalia jotted wherever urge
To cry overwhelms speed-reading

Fool-proof encryption (“Get a grip!”)
For corrupt crapshoot rapture

                Strategem: Michael on
Folding sofa bed, spewing phlegm

abysmal “Absalom! Absalom!”
echoes from asylum basement cellar

In margin of criticism book, let pi
stand for poetry/poem Greek to me, too

Rapacious demand for the slightest
Clue whatsoever as to author’s life


awake before dawn, black

outside except for mounds

of snow, the words “geek”

and “virus” in snowdrift
awful left-over take-out coffee
from yesterday tastes brackish
damn hackers awake prior

to sky blackness out of doors
yes terrible headache
dooms mood to dysthymia relapse

               foretaste of intercepted
               signal pulsated on
               cheesecloth and wire hanger proto-

               computer screen ante-

               dating invention of p.c.
               coat hanger antenna
               Peanuts character Linus
               with blanket in ad for Linux

adventures through the looking
glass in bathroom mirror
spunk liquid in sink

child-proof cap on
bottle of prescription
pills becomes prototype for
damn dawn through
bedsheet curtain


Pre-Raphaelite fresco redivivus as
biomechanical hurdygurdy,


               seen in a glimpse of
               stereoscopic, three-
               dimensional full frontality (plenitude)

rotates on its

access nerve,
burlesque biomechanical lampoon of
lissome Coppelia coryphées, as they
pirouette in unison, virulent.

The Damocles obelus that
after at the bottom
of the—buff? ecru? slightly beige
acidified page

on the post office wall


appendages at the base of

small, paired
at the base of the leafstalks

of the rose, where the leaf clings on,
inspiration for
the climax when

Nijinksy bounds—leaps—vaults through
casements of the French
                in the the role of The Rose

VOLUME II: 1939-1962

                         The weight of a thin stem
                         supports, for
                                                   example, its

                         how often, for instance,

                         apart from
the same three credit subject they’re
studying, barely out of their
teens and so no
                         older than

the flower in question, relatively
speaking: up the wall to the roof, fewer

               flowers this round.
               Vines, hedges,—raw
meat of palimpsest the bumblebee
scrapes down to its historical
                     ideation of plaything
                         as a pre-Oedipal poetics
                         locked shut airtight

Jeffrey Jullich has two books of poetry published: Thine Instead Thank (Harry Tankoos Books, 2007) and Portrait of Colon Dash Parenthesis (Litmus Press, 2010). His poetry, criticism and translations has been published in a variety of literary journals, including Poetry, Fence, New American Writing, and the Boston Review; and audio recordings and videos of him reading from his poetry are included on the Poetry Foundation website and Youtube. Videos of American Lit: The Hawthorne-Melville Correspondence, composed by Jeffrey Lependorf and premiered by American Opera Projects, an opera whose libretto he wrote, are also available on Youtube. He was publisher and editor of the literary journal Logopoeia. Links to his on-line work can be found at jeffreyjullich.com. He has poetry recently published or forthcoming in Boog City, The Equalizer, Nerve Lantern, and the St. Sebastian Review.
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