20191230

Sheila E. Murphy


Separation Envy

You ask me to give back
the aphrodisiac in favor of perfume.
I witness nothing spooned,
I hold the moon in high esteem.
I replicate cuisine I have been cured of needing.
Now is high time to redeem the skin
of being fed to linger past the seed.
Revocable bliss may sprout new selves
and bless the mood trapped within
day-glow happiness about to be bled young.
An overarching speech made sudden
splits into unequal code meant to divide
and alter late-term individuality
as though a serial indifference rose
to the plateau of jaundiced whole.




Hypothesis

He mentioned having a life, perhaps the stillness of a manor where the people pay a little to lie down and pray the moon into completion. Or the integers she used to fray to make a living as she did. Or stars against the strong lean wooden beam we noticed more than watched. How is it he could sanctify by merely breathing. I had a father who could fuel the town with confidence. I had a mother who could warm. And any incident might be erased for our good and the good of all our neighbors if they watched. Or ever learned. A sequel to the shade we sought to reach, as if a culture of indifference might stand the test of tempo. Anymore, the faculty of memory subsides into indifference, and the soft swoon of a written text would blunt the seeming mood.

Overture, a lark, a seam, the sense of sight




Sheila E. Murphy's recent books include Reporting Live from You Know Where (Meritage, i.e. Press, and xPress(ed), 2018), As If to Tempt the Diatonic Marvel from the Ivory (Broken Sleep Books, 2018), and Underscore (Luna Bisonte Prods, with K.S. Ernst, 2018).
 
 
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Kristian Patruno


Hate Speech

Ode to Ms Thunberg

Black Hole Worksheet

Vote Yes

Paint by Letters

War Memorial

Hindsight 2020


Kristian Patruno is an Australian poet whose works have appeared in Westerly, Rabbit, Southerly, Otoliths, Australian Poetry Journal, and Cordite. Additionally, Kristian’s visual poetry was exhibited in POETRY 2017 an exhibition of text-based works that bear a formal relationship to the space they occupy (George Paton Gallery, University of Melbourne Australia).
 
 
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Penelope Weiss


Procession
(please read out loud)

Wrapped in their skins
words burn in ashes
of world fire
in the struggle to be seen
to be heard
to see
to hear
to be sung
to sing
to be alive
to live
to die
to be dead
to be here
in the void
in the voice
of procession
a percussion of night.



Tattoo

The tattooed lady on Times Square looks bored.
She flexes her biceps, and snakes open their eyes and dance.

We embrace, while we think to ourselves, she’s so weird.
Someone takes our picture. No one knows we’re cousins.
We go our separate ways on the sinewy streets of NYC.

She’s wearing her backpack with colored chalks and spray cans.
She doesn’t know the glory days of graffiti art are over.

The tattooed lady herself isn’t well, but she won’t admit it.
I’ve seen her stagger as she crosses 42nd Street,

but she won’t let me help her.
Strength is her watchword, and strength is her undoing.




Penelope Weiss grew up in New York City and now lives in Shrewsbury, Vermont. Storiana, her collection of stories, was published by Casa de Snapdragon Publishing and is available on Amazon.
 
 
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Volodymyr Bilyk


from The Song of the Great Tits

1
fa', fall.
err.
v -/- | v -/- | v -/- | v -/- | v -/-
dubitatione_.
nibble.
moan!
no craven,
vale!
too

ea, etc.).
si- ma- az- zum
do so?"
nothing
stroke.--P.

.
o! ff., 439, 456 ff.
probably...
j! oooh, ooze - eerie
bi bonk; knock
uu- u- -u -- | uu- uuu u- (so-so.)
goo; ...gob astern... odd
-quaint bedew
"coo" lo! ("woo")
baa...

cramps:
-pang, tick tick-
" 2-------------- " 477.
" 9-------------- " 478.
zigzag, hideous "hi ding do."
flap-flap; opaque buss
zing!
ta-dah!

2
Big A Little A
Ha Ha Ha

2,3,4,6,8,9,10,11,12,13; 1,5,7
2,3,4,6,8,9,10,11,12,13; 1,5,7

Oh-Oh-Ay-Oh

"Nothing"
Tired
Knock - tick-tick-tick
- "So-So"

Scrap Un Un
"Sho lo, lu la lo, sho lo, lu la"
"WWW Dot"
slop
"Doh!" – 0:20 Ah-Me
Shhh: SHHH.
Snip.
Slap!
mouth - whine woof
Doo Da Da
Bee - Backwards

Drip Drip Drip
"Drip Drip Drip"
"Drip, Drip, Drip"

Shaved

Bobby – saxophone (9)
Ward – saxophone (9)
Curtis – percussion (7)
Die Ant – percussion (7)
Johnnie – percussion (7)
"others" – percussion (7)

3
Sound scene

(eerie ebb):.. -.-.-.-.-.-
21 21...: enfeebles crackle of the loom -
"lams the hardened vague veer dab”
"yowl" ): tap:.....: - tuck "

(eerie: tilt):
brows blown - dire pitch...
wink swish thumb smirk.......
Opaque.......

Wave of the hardened hardened hardened hardened hardened
drawned out sithes draw
wry seethe... seethe:

tilt -blink )

* 34 (lisp click reflux: sway-wink)
* 34 (lissom chink reflux: sweep-blink )
* 34 ) ---"utter” tsk tut

jib thwacks a whist
" wry wink...

Tap (tear reeks
Tap (tear wrecks): flump tick...
(tongue goes beyond
-twang-
wry void yowl: taciturn twist...
a tad soothing
unfeigned:
" heave... " heave... " heave... " heave... "

duck thud
* tit tit- ratatat:
fiendish blink bat,-
pesky skirt -blink clout bubble babbling flinch
fain to pinch the sky…

...

and now: nil belch

4
bore waltz

Deep sigh

Woola Woola Woola.
Boom Tish
Doom
Click tap tap
THWACK Ow!

eanu-nu-nu, Gasp:
'aaar' - , 'aaar haar haar haar' - , 'yah, yah, hallo, ah haah haah haah.'

"nudge nudge wink wink"
(Whistles) chuckles,
wrrrr-- wrrrrrrrrrrr--COUGHING:

'hrrahheraghr',
'hrrurrsrruggsrher',
'hrrurrsmarrhghr'.
"Rmmemm Hrreesmmm."

Quiet, quiet, quiet, BANG!‏

Dong Dong Dash
Yah Yuh!
….hmmmm
Boom.

Foo Chu

(uh) ... (uh). (uh)...'! ...! ! Oh!! ...
Oh it's... oh! it... it's. Oh!
– Ah! It's... it... it's a... ah!
I... Ah! I... I... I... I. I... Ah, ah... I...

(XXXX), XXXX, XXXX
XXXX. XXXX
XXXX XXXX,
XXXX. XXXX XXXX
XXXX XXXX XXXX XXXX XXXX XXXX
XXXX XXXX, XXXX XXXX XXXX
XXXX. XXXX XXXX, XXXX XXXX, XXXX XXXX XXXX XXXX
XXXX, XXXX, XXXX. XXXX XXXX.

5
oiseaux

zZz
M (5:00)

Sound Of Earth - Jazz-Funk Edit

Diminished Feeling
eyes
Blue Line

AHH FFF SSS (5:38)

Zig Zag
Clouds

Mmm (2:32)

Tears Down the
Cheekbone Wormhole
Tongue
Sparks Sand Whirling
Ho Dat Uh Uh

smell
undecided
“...Must Be a Camel.”




Volodymyr Bilyk
writes: "This is from my current project cyberpunk poetry thing which is an exploration of poetic text that reflects modern pattern of information perception. This particular sequence is something of a feeling out process. I was trying to figure the best way to express the overarching idea that culminates in the fifth poem."
 
 
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Jeff Bagato














Making America Great Again

great great great great great great great great
again
great great great great great great great great
again
great great great great great great great great
again
great great great great great great great great
again again
great again
great America America
America great America
America great again
great America again
great Americans again
great great America again
make it great
make it great again
make it great
make America great great
great great great great great
great great make America great
again and again
make America great again
great America again
great America great again
great Americans great America
great again
and again
great army again
great navy again
great air force again
great marines again
great highways again
great plains again
great mountains again
great lakes again
great business again
great skyscrapers again
great airplanes again
great trucks again
great cars again
great steel again
great grain again
great guns again
great homes again
great women again
great men again
great cattle again
great meat again
great milk again
great fruit again
great potatoes again
great takes again
America takes again
America takes great again
great Americans again
great taking again
taking America again
American swamps
American lands
American roads
American tools
American sales
American talk
American takes
American great
American great takes great again
great again
great great again
great great great great
again
great great great great
again
America makes great great again
America great takes America again
makes America
takes America
takes great again
make taking great again
make America take again
make American
take American
take America great again




A multi-media artist living near Washington, DC, Jeff Bagato produces poetry and prose as well as electronic music and glitch video. His published books include And the Trillions (long poem), and Kill Claus! (bizarro/SF). A blog about his writing and publishing efforts can be found at http://jeffbagato.wordpress.com.

He writes: "The vispo are exerpted from a large batch of work that comprises a kind of diary from an extraterrestrial colony world.

"The text poem is part of my AI experiments, using a vocabulary matched to the magical thinking of the general American public."
 
 
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Bill Freind


March

As always, it seemed like a braking situation. Where was the hoped for vanishing? Every floor was a blithe denial, anyone’s provision steeping in the inadequate light. A peep for the founders beyond replay They emerge limed, calling for an origin they would have placed. We await with fingers in our mouth, a clatter from across the street. I wouldn’t say merely. No flag among abolished shelves.



Obsolete Apocalypse

Once, that certainty of sudden heaven –
a morning amid the bran flakes
and passable shame, then a lifting up,
the present sundered.
The dented Camry remains below, bills
drifting across the patchy lawn
as neighbors gawk in their dailiness.
Blank eternity a cheery, unpunctuated pronto.
That wiping clean in null freedom.

Now each minute dances
then whirls archaic
all exits arcing back to waiting rooms,
prolegomena on eternal loop. Instants pile,
novelties age and exit sheepishly.
Disheveled tongues,
expiration dates on a cracked screen.
The wait for the unveiling becomes
the wish for the veil.
And yet the obsolete lingers presently
the fruit almost eastered. The obsolete remains.
There is never any now. Only the end ends.



Flora and Fauna of Southern New Jersey

Verbose warbler. Wild pear. Lesser crested nuthatch. Swamp begonia. Slotted fir. Mottled shoobie. Laggard finch. Slack-shouldered deer. Belgian celery. Backward-facing moth. Stink moss. Serous footed plover. Nesting maggot. Ruby-finned wrasse. Squat-nosed vole. Widow’s grass. Orphan’s grass. Trilling koi. Dead man’s lace.




Bill Freind is the author of two collections of poetry: American Field Couches (BlazeVox, 2008) and An Anthology (housepress, 2000). He has had recent work in Noon: A Journal of the Short Poem, Journal of Poetics Research, Perversely, and others. He's also a contributing editor at Dispatches from the Poetry Wars.
 
 
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Christian ALLE



Allegresse


Anarchiste


Bilateral


Casanière


Concrète


Débridées




Since the 90’s, Christian ALLE, painter, collagist and photographer, has been active in the networks of mail art as a participant on various projects, but especially as publisher and animator of Nada Zero, information magazine and free participation in the spirit of FLUXUS.
 
 
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Jack Galmitz


The Boy

The boy was born late in the marriage of his parents. So late that they hadn’t the energy or interest in exploring the world with him. They were disappointed that he had added nothing to their lives, and he could feel this, so he withdrew from them. He collected stamps in lieu of a family and friends, particularly foreign stamps that came in bulk. Since they were inexpensive, his parents always obliged him in his requests for more. They even bought him a magnifying glass on a stand, so he could look for long periods of time without tiring his arm. The glass magnified 7x, which meant he could virtually see the engraving lines with such clarity that it seemed as if he were inside the stamp.

He particularly liked stamps of places, of cities, ones that showed streets and monuments. In those he could walk and look and find all sorts of hidden places — public and personal.

His ancestors came from Russia, peasants subject to pogroms, many of his great grandmothers and their female children raped, the men beheaded. It was his grandfather, who smelled like a cigar up close, who came to America at age nine, to become a farmer.

That day he received a package of fresh stamps. He opened it and dumped the contents on his bed. He scanned the images and colors. One stood out and he placed it under his microscope at his desk. It was dated 1966 and was Russian. There was a small map on its upper right hand corner with the location of the place marked in the far west. He was delighted. There was a castle there of white stone and behind it a mountain. Trees grew large to the West and in the distance were more mountains. Groups of people walked in front of the castle, each with a small boy pulling one of the adults ahead. He was intrigued.

He had no way of knowing that the stamp depicted the home of Russian dissident Aleksandr Solzhenitsyn, who would later be exiled to America — Kislovodsk, city in Stavropol Krai, Russia. Had he known, he would also have known that the region of Stavropol was built as a military fortress, by Don Cossaks, the very military men who had raped and beheaded his ancestors. He also had no way of knowing that the name meant “city of the cross,” which might have confounded him. It was located in the middle of the Caucasus Mountains and helped Russia secure control over the region. It was the child, a boy, leading on every happy group before and around a church that looked to him like a castle that made him happy. The real history of the place depicted in the stamp meant nothing.




Jack Galmitz prefers the imaginary to the real. He spends most of his time alone creating stories and visual images only some of which make it to paper. He is nearing 70 and hoping that Herman Hesse was right: that after death we enter our dreamworld.
 
 
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Hrishikesh Srinivas


The Ferryman
a translation of Émile Verhaeren’s poem ‘Le passeur d’eau’ from Les Villages illusoires


The ferryman,
            hands at the oars
Against the tide           
                                    so very long,
a green reed    
            between the teeth                     heaved on.

            But she who hailed him,
                                                alack!
                                                            Out there
                                                beyond the waves,
                                    Always further on, there
                        beyond the waves
            Amidst mists
fell back.

The windows with their eyes
And the clock faces of towers on the bank
Watched him toil and persist
Torso in two plied
Muscles in spasm.

A sudden oar’s breaking
            The current’s for the taking,
                        In gravid waves, toward the ocean.

            She out there who
                                                hailed him
                                                            In the mists and in the wind
                                                seemed to him
                                    To twist
                        her arms dearer
            At his getting
no nearer.

The ferryman with
            remaining oar
Went at his work so
            hard
His whole body cracked with
            the graft
His heart shook with
            fever and terror.

In a swift blow the rudder’s breaking
                        The current’s for the taking,
                                                Doleful tail rag, toward the ocean.

The windows on the river est.,
Like wide and febrile eyes
And the clock faces of towers, old wives
Thousands on thousands on the riverbanks upright
Were stubbornly set on
This loggerhead, in his wanton
Prolonging of his mad quest.

            She out there
                                                who hailed him
                                                            In the mists cried,
                                                cried to him
                                    Her head
                        frighteningly prone
            To the exp-
anse unknown.

The ferryman, as if made of bronze
            In the white storm stemmed
With the single oar between his hands
            Beat on the tides, bit at the tides, even then.
His old imagined instances
            Lit up the distances
Whence still came her cries
            Pitiful, beneath cold skies. 

The remaining oar’s breaking
                                    The current’s for the taking,
                                                                        Like stover, toward the ocean.

The ferryman, arms down, worn
            on his seat collapsed forlorn,
haunches torn in futile labor.
                                    A jolt hit his vessel adrift
He saw behind him the bank’s lift:
            he hadn’t left               the shore.

The windows and the clock tower dials
With their wide, unsullied eyes
Took note of his plight of passion
                                    But the wily old ferryman
Kept, till God knows when,
            The reed between his teeth                  ever green.



The Fountain
a translation of Rainer Maria Rilke’s Vergers poem 26 ‘La Fontaine’


one lesson
I only want the                         that’s yours,
Fountain, who back                 onto yourself falls, —
again
precarious waters
That of                                                             to whom befalls
This heavenly                          toward earthly life
redescent

your
As much as                              myriad murmur
None would begin to                                                   serve me exemplar;
You
oh light column                        of the temple
   itself                                                                            of its own
Destroying                                                                                                       nature.

In your                         how flexes
drop
Each water flume         ending its dance.
How I find myself                   a pupil, amanuensis
To your            nuance
immeasurable

But what more than your song sets me on you
Is that moment of silence in delirium
When at night              across             your liquid move
Your own return passes, breath taken.




Hrishikesh Srinivas hails from Sydney, Australia. He enjoys reading and writing poetry, with poems having appeared or forthcoming in UNSWeetened Literary Journal, Hemingway's Playpen, Otoliths and Mantis. He was awarded the Dorothea Mackellar National Poetry Award in 2011 and the Nillumbik Ekphrasis Poetry Youth Award in 2013, also being included in the 'Laughing Waters Road: Art, Landscape and Memory in Eltham' 2016 exhibition catalogue. He is currently a graduate student in electrical engineering at Stanford University, USA.
 
 
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20191216

Michael Ruby


from Sounds of Summer in the Country


CATBIRD SOLILOQUIES


I

Leonard Speevee

Leonard Speevee

Leonard Speevee
Hey you, over there, come here
The over under

Leonard Speevee—and how!
Over here
Yes yes

Send her Speevee

What are you doing!
Fish them

Send in Speevee
What?
Oil the camp

Who you?
Hat
Where at?

Wake up the wake

Open up Speevee, see

See you later
Gotta get going

Did you—get home?
Gotta get going
Aaanh
Well you did
(Wake up chops)

Hey you, see that
Hamlet, cherie
See her
Right over there
Then, they went!
Eh
Treat me
(You know)
Here they are, up up
We stomped
See-ee, even
See old we



II

…See, there’s a roaring brook, we’re going to need to do something
see, holiday, we’re near
but if you’re asking me, with all due respect, I don’t know, don’t know
I saw a…healthy duck over there, you did, you did
will you, would you, who knows, there’s self
if you’re going, go ahead
my view, looking ahead, hill towns
see you, Tuesday, he says, and runs ahead
so do-Do, do-do-do
get the horse, ahead, incontestably
get there, without many times, ahead, behind

Listen, have you heard, they’re saying it’s time, so she started, and then she, you’re not saying this, but yeah, yeah yeah, we’re going right to the tailgate, we went, hey you, come over here, but you have to, if you’re a serious person, won’t you join, we’re here, well, if you want to, we’re going over later, still, the rooks are in the garden, and the holograph is here, if you want to know the truth, and you have a minute, there’s a guy you should meet, still, there’s a rough and tumble time ahead, you know what I’m saying, and lots of fun, right

I’m thinking, in the end, what’s this hut
Sue, going fast, here
and we’re going to spend a week
together, here, tomorrow…



III


…Eh-heh, first the door, then the dog, then the yak

Eh-heh, first the door, then the dog, then the yak, and then we’ll see

Eh, pretty putty, you zee?, and then he ran the gauntlet, yup, yes he did

Are you two, and you, without the price tag/the fancy lines, hot on the trail, speed up, you get a kick, you get a kick, what, we’ll find out later, bleep, you don’t know, well up, well it up, put the Peace Now movement

Look at this, will you, there’s a harlequin over there, I don’t see him, where is he, what the heck do you know, where is Lee, where is Lee, this one, right over here, know what I’m saying, did you go, oh sure, did you see, they thought, they worked, very well, yes, “Speedy Gonzalez,” speedy God, whatayagonnado

Eh-heh, yes’m Miss Jen, chee chaw, they’re over by the curb, with root beers, and they beat the record

Eh heh, you can’t cheat, not now, wait, it’s Speevee, he did it, I saw him, bingo, there you go, there you’re going, who knows, he does, we’ll see, the trip, hip, they were going on about it, wait, she, they said they knew, the trailer, the train, how do you know, how do you know, when they, I’m going to tell you this, I shouldn’t bother, after what you just said, fortitude, fortitude, Fort Hood, Sis, you know where this is going, they’re not going to tell you, they don’t know themselves, so I said, oh yeah, and then I finished…



IV


…Do you know, now you know, who monitors the rickshaw, who runs the cat, and who, if you would follow me into this room

Heh, who are you, the spritz

And the Blare Spiegel, the tension

Eh, yes you do, see it

Eh, yes you do, stop, wait, click, he went, I saw him, you know, the getaway car (the wrong bridge), if you follow me over here, inside the bridge, fadeout, she ran down the embankment

Hey you, seed it, hey you, they walked right in, and Rand, it’s her, c and e to d d (that was nice, finally)

And you, where’s Steve

And she, tzee-eep, and she

Clarify, please, for me, clar—

Wingdings, bottle blue, I don’t know, there will be others, if you, but not a peep…



                                              SCENES FROM A PARLIAMENT OF FOWLES


ROBIN: It is my opinion, my considered opinion.
CATBIRD: And? And? And?
ROBIN: Go, on the double, they’ll never see.
SPARROW: Go, go.
CATBIRD: And?
REDWINGED BLACKBIRD: Don’t even think about.
ROBIN: Go, you coward, the water’s warm.
UNKNOWN BIRD: You better not go. You better not go. You better not. You better not go home.
CATBIRD: And? And?


*

HAWK: Watch out! Watchyouronions!
BLUEJAY: Hey! Hey!
BLUEJAY: Nay! Nay!
REDWINGED BLACKBIRD: You think? You think? You think?
HAWK: Watch out! Watchyouronions!
UNKNOWN BIRD: You better not go. You better not go. You better not. You better not go home.
BLUEJAY: Mine! Mine!
UNKNOWN BIRD: You better not go. You better not go. You better not. You better not go home.
REDWINGED BLACKBIRD: You think? You think? You think?
MOURNING DOVE: It fails, I know it does.
CANADA GOOSE: You go.
CANADA GOOSE: You go.
SPARROW: Go, go.
CANADA GOOSE: You go.
ROBIN: Go, on the double, they’ll never see.
ROBIN: It is my opinion, my considered opinion.
UNKNOWN BIRD: You better not go. You better not go. You better not. You better not go home.
CATBIRD: And? And? And?
BLUEJAY: Mine! Mine!
REDWINGED BLACKBIRD: Don’t even think about it.
REDWINGED BLACKBIRD: Yep. Yep yep. Yep yep yep yep.
CANADA GOOSE: You go.
MOURNING DOVE: It fails, I know it does.
ROBIN: Go, on the double, they’ll never see.
REDWINGED BLACKBIRD: Don’t even think about it.
CATBIRD: And? And? And?
BLUEJAY: Nay! Nay!
REDWINGED BLACKBIRD: I won’t go. I won’t go.
SPARROW: Go home.
UNKNOWN BIRD: You better not go. You better not go. You better not. You better not go.
ROBIN: It is, believe me, extraordinarily unlikely.
CATBIRD: And? And? And?
REDWINGED BLACKBIRD: I won’t go. I won’t go.
BLUEJAY: No, no!
ROBIN: It is my opinion, my considered opinion.
REDWINGED BLACKBIRD: Don’t even think.
CROW: No, no, no, no. No, no.
BLUEJAY: Mine! Mine!
REDWINGED BLACKBIRD: Don’t even think about it.
MOURNING DOVE: It fails, I know it does.
CANADA GOOSE: You go.
ROBIN: Go, on the double, they’ll never see.
BLUEJAY: No, no!
REDWINGED BLACKBIRD: Yep. Yep yep. Yep yep yep yep.
REDWINGED BLACKBIRD: Don’t even think.
REDWINGED BLACKBIRD: I won’t go. I won’t go.
SPARROW: Go home.
REDWINGED BLACKBIRD: Yep. Yep yep. Yep yep yep yep.
REDWINGED BLACKBIRD: You think? You think? You think?
REDWINGED BLACKBIRD: Think? Think? Think?
BLUEJAY: Nay! Nay!
UNKNOWN BIRD: You better not go. You better not go. You better not. You better not go.
BLUEJAY: Hey! Hey!
REDWINGED BLACKBIRD: Don’t even think.
REDWINGED BLACKBIRD: Don’t even think.
REDWINGED BLACKBIRD: You think? You think? You think?
ROBIN: It is my opinion, my considered opinion.
REDWINGED BLACKBIRD: You think? You think? You think?
UNKNOWN BIRD: You better not go. You better not go. You better not. You better not go.
REDWINGED BLACKBIRD: You think? You think? You think?
ROBIN: It is, believe me, extraordinarily unlikely.
ROBIN: It is my opinion, my considered opinion.
MOURNING DOVE: It fails, I know it does.
BLUEJAY: Mine! Mine!
ROBIN: Go, on the double, they’ll never see.
SPARROW: Go, go.
SPARROW: Go home.
REDWINGED BLACKBIRD: Yep. Yep yep. Yep yep yep yep.
REDWINGED BLACKBIRD: Don’t even think.
REDWINGED BLACKBIRD: You think? You think? You think?
CATBIRD: And? And? And?
CROW: No, no, no, no. No, no.
CANADA GOOSE: No, you.
ROBIN: It is my opinion, my considered opinion.
BLUEJAY: Hey! Hey!
CROW: No, no, no, no. No, no.


*

MOURNING DOVE: It fails, I know it does.
MOURNING DOVE: It fails, I know it does.
MOURNING DOVE: It fails, I know it does.
TWO CANADA GEESE (in background): No, you. No, you.
REDWINGED BLACKBIRD: You think?



A FROG POND AT NIGHT ON THE 4TH OF JULY


                                                                                                         (for many voices)


O     see     you     can               can     seeKnute Knute Knute Knute Knute               see     youcanoe canoe canoe canoe               O     can     see               can     say               see               see               see               say    see              O    can    see              say    you    say              can    say              see              say    you    see              O    you              you              you    can    say              say    you    say    see              O    see    you    O    seeoverthemoon overthemoon overthemoon overthemoon              say    seetell me how you do it tell me how you do it          O    see    youI don’t know I don’t know I don’t know              youyou mean you mean              O     can     see          you     say              say    you    see              say    see              O    say    you    say                   can    you             can         can    you              can              can    you              you              you              you              you              you         can

see               say     O     say     youHagedore Hagedore Hagedore               O     youhis room his room his his room his his room               O     say               say     say               you               O     canAaron Aaron Aaron Ah-ha-ron               can     say               O     can     sayMohammed Baruch Mohammed Baruch Mohammed Baruch Mohammed Baruch Mohammed Baruch               can     say               say     can     you     see     you     say               see               say     can     you     seeescalator escalator escalator escalator                         say     Orupedeedo rupedeedo rupedeedo               see               O     O               O     O               O     O               see               O     Oyou you you               see               say     O               can     see               O     say               seeyou-oo-oo you-oo-oo-uh               O     say Ruth’s mother               seeEdie’s mother               say     O               see               see               say     can               O     say     O                see               can     youI dug I dug I dug               can     see               O     can               say     say               O     say     you     say               see               see               O     say     seeand then and then and then and then and then and then               say     O               see     you               O     you               O     see
see               O     you               you               you     O     you     can     see               O     see               see               see               say     can               say     see               can     you               you     see               you     seeare we ready are we ready are we ready               see     you     seewhat did the what did the               see     you               you     see               say     O               O     can     yourunning running running high running fast               O     see               O     see     you               you     see               O     say     you               O     see               O     you     see               see               say     sayand how and how and how and how               you     say     say               say     seewhen and now when and now when and now when and now               O     say

say see               O     you               O     say     saywhat to do what to do               O     Onot a sandwich not a sandwich not a sandwich               you               O     say     say               seeFederal Reserve Federal Reserve Federal Reserve               seeand now               O     O               say     O               see               see               O     seenow now now now               say     you     say     you               O     O               you               you               O     you     say     youand after that and after that and               O     you     say     you     say     you               O     say     you               you     see               can               O     can               O     say     can                see               O     say     canfirst first first first first first first first               seeper per per perhaps perhaps      O     see               O     see               you     seesale sale sale today sale today    
you     can               you     can     say     you     say               can     see     you     can               O     Oafter you after you and then after you and then after you               can     see               O     Osee see see see see see               can     say               see     you     can               O     you     say               O     see     you     say     say                see     youmany hopes many hopes many hopes many hopes                O     O               say     see               say     O               O     say     you     say     O               say     youwhat’s it about what’s it about what’s it               O     see               O     see     you     say               see     you     can     see              say     see              
say     say     can     youI’d say wouldn’t you say I’d say wouldn’t you say              you               you     see               can     you               can    see     you     see              you     can               you              you     say     can          O     see     youFerrar Ferrar Ferrar Ferrar               O     can               O     see     you     can               you    see               say     say               you               you     canwhen and why when and why               you               O     O               you     say     you               you     can               you     can     see               say     O               see               say     you     canOtto do-do Otto do-do Otto do-do     say     you     see     O               you     can     see               see               say     can     you               can     see              can     say     see               say     canhe ran he he he ran               see     you               you               you               you     see     you               you               O     can               see     seehe ran through it               you     can                      




Michael Ruby is the author of six full-length poetry collections, including At an Intersection (Alef Books, 2002), Window on the City (BlazeVOX [books], 2006), The Edge of the Underworld (BlazeVOX, 2010), Compulsive Words (BlazeVOX, 2010), American Songbook (Ugly Duckling Presse, 2013) and The Mouth of the Bay (BlazeVOX, 2019). His trilogy in prose and poetry, Memories, Dreams and Inner Voices (Station Hill Press, 2012), includes ebooks Fleeting Memories (Ugly Duckling, 2008) and Inner Voices Heard Before Sleep (Argotist Online, 2011). He is also the author of the ebooks Close Your Eyes (Argotist, 2018) and Titles & First Lines (Mudlark, 2018), and four chapbooks with the Dusie Kollektiv, including The Star-Spangled Banner. He co-edited Bernadette Mayer’s collected early books, Eating the Colors of a Lineup of Words (Station Hill, 2015), and Mayer’s and Lewis Warsh’s prose collaboration Piece of Cake (Station Hill, 2020). He lives in Brooklyn and works as an editor of U.S. news and political articles at The Wall Street Journal.
 
 
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