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Yes, Please Pour

I do it again,
peel the gold-foil wrapping
from the neck of another
poem.

I extract the cork,
straight-up, briskly,
neatly.

Out of its element,
the poem first takes
small panting breaths.

I ignore it, pretend to be busy,
a séance with Rimbaud,
perhaps a sonnet of vowels.

It develops nose,
emotes terroir,
softens its tannins.

Does a verse and chorus
of Leonard Cohen’s
Hallelujah.

I swirl it and snort it and sip it and swish it and spit it
out and taste the lingering . . .

Berry, chocolate, tobacco, and leather,
hints of pollen and honey,
grand cru.

This sort is rarely a standalone varietal,
usually, rather, the base for a blend.

I lick every drop I see running,
with expert plucks of my tongue.

I sense the bottle is bottomless,
sugary, vintage, a great year for sure.

© Carlos Chagall, 2013

C”mon bourbon, make me a writer, a rich man;
I grab my castanets, throw my hands overhead, my head’s thrown back, and I sing!
yibba-dibba-dibba
dibba-dibba-dibba-dibba-dee

Huxley – or somebody (too bour’boned to look it up) – under nitrous oxide:
higamous, hogamous,
woman’s monogamous,
hogamous, higamous,
man’s polygamous.

or some sort of carp, or crap, like that.

oh-oh! I’m driffin’ – catch my drif’?

have fun with words! I’m ticklin’ “pudding” and “cockswain” as we speak.

take ’em to the zoo, two by two,
size places, pack a lunch,
freeze your soda the night before, if you want to.

I need a marlboro light so bad right now!
You gotta know that I don’t even smoke!

Where did all these fucking exclamation points come from?!

© Chicheme, 2013

chagall backdrop

I sometimes glimpse angels in windows,
not really sure
which side of the glass they’re on.

I jerk around quickly, a dart over shoulders,
to catch them behind me,
if they are reflection.

But sometimes they are simply there
on the other side,
sub-imposed under light from now.

Perhaps they’re not angels,
merely glimpses, or phantoms,
similarly spectral and drapery-like.

Though the haunted sometimes too are gilded,
tines are rarely mistaken for hand harps.

Flashes on the periphery,
a little frenzy of the optic nerve,
alerts me they’re there.

The more I stare,
the less I see,
the more I search,
yearn, panic . . .

Oh god, I thought I’d lost you,
or worse yet,
that you’d lost me.

The worst?
That we never whir at all.

In the winter, angels collapse feathers and halos,
lie perfectly still in cold white powder,
to hollow out shapes of snow-people.

Once in a while, it’s everyday things,
butterflies on lilacs, or passing birds,
glanced there in the panes.

And once it was just me,
looking back at the world.

© Carlos Chagall, 2013

For Mongo Jerry

It’s dark on the roof of the apartment,
flat, hot tar, I do like that smell, sticky underfoot,
the flutter of pigeons in the coops across,
white light triangles, boat sails there on the Hudson,
cruising steady, big hammocks of linen and hemp,
billow in warm winds, a steady stream of cars,
into Manhattan, uptown and out, along the Westside Highway,
an ice cream truck plays a ditty on Calliope, a jack in the box,
wound up and cranked, plays over again, on the street below,
I gaze out over the edge, watch the children run,
money from moms gripped tight in hand, for the treasure,
Tuesday night, somewhere in time, earth, Alphabet City,
a hundred degrees and rising.

Met game on in a room below, announcer shouting in Spanish,
sounds like a walk-off homer; old vinyl of Eddie Palmieri,
live from the University of Puerto Rico, spills into the alley,
sounds like a party, a lot of people, bottle caps hissing off carbonated drinks,
laughter, men and women raising voices in good times, late on a work night,
you can bet that five o’clock in the morning rolls around pretty quick,
when you’re still on the buzz after midnight.

Weatherman’s map is all orange and red, nothing but heat in the forecast,
hazy, wavy lines, of toasty, sweaty, smelly hot,
an occasional enduring, endearing, cool breeze
blows east and west from the island’s rivers,
invisible knotted wind-streams interlaced, blowing at the southern tip,
shreds kites to pieces that fly too close to the urban sirocco.

© Carlos Chagall, 2013

Trick Question

She said
I will miss you when you go

expecting I’d respond
And I you

because then she would know

So instead I said
You’re nuts, you know?

© Carlos Chagall, 2013

Question

chagall-backdrop4.jpg

Was it Sara who talked
about the tree with lights –
sunlight so languid along its bark,
its rise, that it appeared to be
lit, as if by hollywood,
but instead it stood there,
dead center in the thick,
under a circle of cleared canopy, the earth tilted to catch
the rays, just right –
wasn’t that Sara?

© Carlos Chagall, 21013

The Piece

I play the theme real slow, straight through,
a series of quarter notes,
crotchets in queue, all in a row,
set ’em up, knock ’em down, repeat.

The piece evolves, arpeggios
cascade, delicate filigree,
ornament already ornate
lattice, lurking at the coda.

Here it comes, ten fingers attack,
thumbs and forefingers like talons,
grab major thirds, tight consonance,
up and down, back up the keyboard.

Twin small children in burlap bags,
moving in tandem across lawns
well-kept, cut to a perfect height,
in the fading light of summer.

I ride the swell past the curtains,
catch a small shimmer of breeze there,
that lifts and lilts like melody,
ancient airs, hummed, not often sung.

The motif ends, slowly concludes,
real slow, like it was at the start,
with one subtle twist, a quaver,
a seventh, for the romantics.

And then a ninth for the holy,
with a suspended fourth, for doubt,
questioning if the end will stick,
if all is as final as that.

The last strains linger a long time,
under my masterful pedal,
pressing hard against harmonies
pinned by hammers on the soundboard.

© Carlos Chagall, 2013

Three Is E

Satellite images caught in transmission
between heaven and earth,
frozen in wave,
convey no story, carry no sound,
spark no what-if.

Remember all those trees
that fell in the forest
when no one was there;
implore them please, to reprise their descent.

Metaphysical monologues by a fallen elder,
their white flowers peek through violet berries,
leave us wiser, if unaware.

Light sometimes does not
saturate the silver of the film
sufficiently to graph the photo.

I scream in dreams
make no sound,
I strive to clear my mind,
but fixate instead on that thought.

I make silver dollars disappear,
yet have not perfected the reappearance of those
from behind the ears of my passers-by.

Told him point-blank,
still drew blank stares,
wrote blank checks
for ideas conceived on a blank canvas,
blanked out from lack of oxygen
running to escape from blanks shot in the dark,
filled in the blanks,
a five letter word for hope,
blank, blank, blank, blank, H.

Like a foreign language dubbed flick,
my words don’t sync out of mouth up line my move, now not but before.

That’s right, you heard me correctly.

My uncle used to make his thumb disappear,
just the tip, from the knuckle up.

I place warm kisses along the fine line
of a spectral cheekbone,
expecting cold lips in return,
somehow better than nothing at all.

Premature emancipation?  Call me
for freedoms lasting longer than four hours.

I freeze dry my savored moments
add water at a later date,
whenever I need what was once, again.

I prolong the ephemeral,
reconstitute the insoluble,
permeate the tightly bound.

Sentience interrupts us,
awareness deludes,
covers close sharply on our skulls,
breaking our necks repeatedly.

I breathe through gills underwater,
my eyes fill with cold saline,
miles of ocean pressure over my head,
the sky beyond,
images caught there frozen.

© Carlos Chagall, 2013

If I Was More

All that I did this week
was to move the trivial
a notch forward.

What I do is disposable,
nobody cares, at the end of the day,
nor at the start.

I wish it to be different,
but I’ve exceeded my three
with the genie

I am the epitome of dispensable,
the poster boy for nil,
a peripheral blur.

A blip on your social radar,
that goes dark,
an agent in peril.

I stand to be corrected,
as a rule,
if you say so.

I’ve learned to ignore ignorance,
to focus instead on the indispensable,
the non-trivial:

all-encompassing you.

© Carlos Chagall, 2013

Volta

I often think about people, the past,
the special moments that we used to share,
times together, now more precious and rare,
each second ticking shorter than the last.
Life is accelerating way too fast,
at a pace that’s really too much to bear.
At one time I thought that I didn’t care,
I’d already won my spot on the cast.
But a special play still waited for me
tucked away in the corner of the game,
a card to be played in emergency,
in case one needed to put out the flame,
when the drama’s intense, during act three,
the beginning and the end, all the same.

© Carlos Chagall, 2013