if someone only listened/only heard/only knew
tried to keep him alive
what would he do?
glimmer wins
but only at night
it’s easy to tell the wrong from the right
it’s not so easy to follow through
marbles underfoot
oceans too
iknowwhattodoiknowwhattodo
i know how to say it just don’t know if it’s true
this music
it’s making me
you
is it telling
the
truth?
truth?
this one’s a smile this one’s a joke
this is that one time you convinced me to smoke
this one’s amazing that one’s apparent
the one by the door is simply inherent
what a mess now that it’s all come to naught
your sisters d’ they tell you? weren’t you taught?
look
this one here’s from ninety-six
that one is made out of bitters and bricks
that one waited until the drums had gone out
this one looks like sam smith’s oatmeal stout
the one on the rug is certainly too proud
to ever call back
or say it out loud
and there’s two in the kitchen made entirely of lust
and one so well hidden you might think
that it’s us
the promise you made is the promise i keep
every night when and before i can sleep
when angles are open and arrogance dies
when the hopes/hearts/and dreams mix
with the supplies
when the last of the gentle have eaten and gone
and your line of defense is a tom waits song
it’s the saddest sound that you’ve ever heard
without the need for a guitar
or a word
and the pride that you thought would carry you through
is as useless to me as white boy blues
but every syllable leaving her mouth
is soft
and assuring
just like the south
hope is fantastic and meaning the word
the melody felt
not the melody heard
the remedy thought but never applied
and the lonely ghost
of a question
why?
* this is part one of a two part series written with Alexandra Clifton.
you can see both in the new issue of we, the notorious pronouns
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