a collection of gasps;
a hypnosis of perception
take her glimmer
and I’ll pray.
we’ve got the light of
jesus’ vanity, a
river past a circus
pearl. two newborns
are constructed by
omnipresent dreams
as evening depicts
again, depleting
love and exhumed
cathedrals, acknowledged
by a christ, stately,
a happy fabled son
washed ashore near
the burdened road,
end pages in funeral
disguise, our
daughters embrace
a wild clown tradition,
a garden wears a
ring like a leaf
this is
weather analysis
for the
blind
horsemen
we bathe together in
malnutrition sunrise-
we weep with marbled
intensity and glow worm
fascination — smile
with me as we find
a wall for you to
adopt and paint:
here, orange peel
megaphone circus
dime light and fortune
rising — treetops
and musical awake,
our life will become
jigsaw tomorrows and
broken flower smiles-
heaven knowing and
speaking our names
with warm absinthe
evenings, the lights
of palm-tree gorgeous
and did you cry
when the worlds
kept coming?
twelve infant stars
wealthy cars,
unwelcomed.
delighted snow sounds,
azure and the roads’
currents, compelling
the leaves to weep
for heavenly
ordained exhaustion
birthed by the past
only beyond, only rome,
vows eagerly down
for precise hurry,
only beyond.
pensive petals invade
the harsh wind,
shallow sounds
and my time waiting
for god to find
himself on
a florida beach
at 8:15, whispered
truths and a
pressured source,
mostly homes,
mostly grasping steel
within descending
ironic bridges where
the youth slept,
a life streaming,
the soul’s holy fun,
guarding siblings
and six illuminated
hearts, the benches
of golden composer
hearts, becoming
pews, imbuing light
painted now by
sacramented glory
because nature was
kept blue
we are radiant
and we are
insect trials.
delicate salvation
and confession,
mountaintops and skin.
course solityude struck
the sound of
windswept bells, wings
and out. nourished
dream captive by
brief smile. bath curse,
sweet and sparse
kneeling. my jury
soul work, a glance
of road-colored hell.
after monday we travel
radiant cross, birth
of unfamiliar gasping
hues. jesus floats
and peels, as
recommended by
the sea. shoes and
keys — a goose’s
further.
a ten-bloom
mountain, the
sky’s reflection in
feather memory
— an elegy
colored for
navigators and the
tears recommended
for the mountain,
for prayer
deception,
the brooklyn virgin
trading rome for
flowers colored
by your child’s
dreams.
different bells have
the same name,
our sea weeps,
seeking salvation
a loyal assumption
supreme
her ego kiss and
calming through travel, a,
and by legions;
there is an ecstatic search
for the blood within love,
and throughout
archangelic myth.
mother what father.
purgatory becoming agile,
hell has its arrival
announced by the
rivers’ stones.
glance mother what
smile father
frigid gown play
welcoming the known
awhiles, betrothed,
unknown:
what is the carry
reward for
this soul’s
debt?
streetlamp;
the sky
is
falling
what monolith
holds soil purpose
in a humble
autumn toil
circus sun.
walls wails
and exhausted chirps
singing to a
loyal horse.
frosty, free, sharp,
a glimmer glass
skin skin skin
of crowned atlantic
youth: a prominent
florist. loaded souls,
downed dove bath,
prism towns, free
charts and
rose clouds leaking
surprises, composing
roads and mild
lake blooms.
molasses;;
terminally
Note on the text: The formatting on the web has resulted in some unforeseen changes to the text. We must embrace change. If you’d like to review the poems as originally formatted, as well as the rest of that issue, I have included the Scribd file below.

In 2021 I released what would be the last publication from Dink Press, a company that began in my teenage bedroom a decade before. In those ten years I release over 40 books of poetry, prose, magazines, and chapbooks. Shortly after it was dissolved my wife and I started Lemures Books to pick up the bones of Dink and continue. The following poem is a reworking of some poems by Shea O’Connor (whose work is also included in the issue, and later was published with other poems in a chapbook from Lemures called Biscayne Dance in 2022). This work, or works, was my first experiment with a composition style that involved the Burroughs/Gysin cut-up method, chance operations, and fragmentation. I have since refined the method and it is present in the manuscripts for flowers.phantasmagoria.light. and Orpheus’ Clock of Snow.

Leave a comment