Shelfari Shelf-Life

I have consolidated library pages on the Shelfari site for Cheltenham, Apparition Poems, Equations, Opera Bufa, and When You Bit. Cheers.


Apparition Poem #1289


“Take the bait, you little brat,
or I might be forced to eat
shit and try to fuck you again,
efface myself from your obsession,
become a priceless possession
you can forget about, now that I am,
again, yours, & that’s that— take it!”
Out stare the eyes of your mouth,
as you out-Jesus my parts, but from
a side of heaven under-mentioned
in your Bible of half-meant jests,
& I watch you get a cross—

Library Thing rides again...

More completed Library Thing doc/pages: Equations, When You Bit..., and Opera Bufa. Thanks to Library Thing.


Links : Philly Free School : Spring '15 Pt. 2 (Scribd)


Library Thing Emendations Pt. 2

Significant additions have now been made to more Library Thing Fieled/PFS pages: Race and Vine, Letters to Dead Masters, Shadows Numberless, and pages added for Exile and Exegesis, and Phenomenology : Cheltenham Elegies. Cheers.


Onread Onwards...

Substantial renovation work has been done on the Onread pages for When You Bit..., Opera Bufa, and Equations: click tabs for Audio, Reviews, etc.


Apparition Poem #1215


Every day to face how innocents
die from lack of adequate treatment,
is like having to watch the same
car-crash over and over endlessly;
it will spike your poesy prosy,
sharpness sheered from metaphors,
make hairs stand on end, and turn
you to Dante; surgically, it burns.
The cruel thing about innocence
is that it can’t come twice; senses
that have registered infernal things
will never be surprised again; yet
the bitterness of witnessing human
corruption, whatever form it takes,
is that it is all-pervasive, all-consuming,
all-powerful against whatever virtue
anyone has, even as genius wins in the cue.


Library Thing Emendations

Updates to Library Thing pages for CheltenhamApparition Poems, Posit, Two Teens Trilogies, and at Author's Den for Cheltenham as well. Cheers.


Apparition Poems #1291, 1304


As I’m aging (painfully) I see
I notice discrepancies fall in,
out again, leaving no trace in
my eyes I would see into, & it
seems I am waiting for some
new thing to memorialize, that
I might feel alive again, up
for conquests of the non-elegiac—
blue skies, scraped streets, roses—
but what moves the human
world is a complete, total
inversion of what’s supposed
to be there, and what flakes
from trees stands upright
here dictating terms to an
ostensible emperor no older
than a dog in the manger—


Julia, 3 am dreams came to me,
looking to frazzle memories
hewn into my bed-sheets—
what she placed in me
was careful, precise, tender,
I moved into her as into
a lane on a freeway, but at
the crucial moment there
was a ridiculous softness to
the excursion that turned her
eyes gossamer, which I came
through in six dream-points, &
can never leave off from, unashamed.


SUNY Buffalo Special Collections

I'd like to thank SUNY Buffalo for keeping several of my books in their special collections: Cheltenham, When You Bit..., Opera Bufa, and Posit.


Clear Ether : John Keats in the Twenty-First Century (youblisher)

Clear Ether : John Keats in the Twenty-First Century

And in full-text from IA...


Against the Nothing Game Pt. 1 (youblisher)

Against the Nothing Game Pt. 1

And in full-text from IA...


Exile and Exegesis (youblisher)

Exile and Exegesis

And in full-text from IA


Apparition Poems : Before the Sun Rises (Youblisher)

Apparition Poems : Before the Sun Rises

And in full-text from IA.


A 2nd Load

Trying to op for solidity over prestige again : in the net : Desmond Swords on Apparition Poems on PoetryEtc (UK); Apparition Poems release announcement on the SUNY Buffalo List; J. Side ad for Disturb the Universe on UK List-Serve; Over the Schuylkill on Open Library; Mortuary Puppies in full-text; and the Outlaw Playwrights advert for Mortuary Puppies. You hit me with prestige, I hit you with this, G.

PFS : Flickr : Freeze-Frame

On Blogger, one wonders if the walls have ears. Who knows? But I do think it's high-time that some of PFS's Flickr achievements be freeze-framed. So that, here we have: Elegy 414, The Lost Twins, The Skaters, App 1488, Toiling in Obscurity, and Tranny Dream all granted solidity. Thanks to Flickr and to


Apparition Poems : Walking the Square

A tentative structure I’ve divined around Apparition Poems has to do with what seem to be the four most salient themes of the book: the city, the night, sex, and art. The city is usually Philadelphia; New York, Montreal, LA, and Washington also put in appearances. So much of the book was written in the middle of the night, and so many poems are set roughly in “wolf’s hour” dimensions, that the night itself, its vicissitudes, has to be a major motif. Sex I’ve discussed as involving, to use pop culture as a reference point, a James Bond/Marlon Brando protagonist, who is very successful sexually with women but also frequently heartbroken and therefore emotionally vulnerable. Under the aegis of “the art,” I include the meta-poems, character monologues, and the poems which address philosophy and academia. So, that’s how, when you configure the four motifs together, I allow myself to call Apparition Poems an American epic, and an epic in fragments. No book is all-inconclusive, where human realities are concerned; but Apparition Poems takes a vested interest in covering as much narrative-thematic ground as possible. Divining also, for an Apparition Poem which brings all motifs, the entire motif square together, I stumbled upon 1341:

Secrets whispered behind us
have a cheapness to bind us
to liquors, but may blind us
to possibilities of what deep
secrets are lost in pursuit of
an ultimate drunkenness that
reflects off surfaces like dead
fishes at the bottom of filthy
rivers— what goes up most is
just the imperviousness gained
by walking down streets, tipsy,
which I did as I said this to her,
over the Schuylkill, two fishes.

The first eight lines could be oracular, or just drunken babble— I prefer to think of them as a little bit of both. Intimations and insinuations of gossip soon give way to intimations and insinuations of murder, corpses, carnage— death, in fact, hovers over the poem and its two protagonists, as does the night and the city. The Schuylkill is filthy; and, as the protagonists cross the Walnut Street Bridge, drunk, perhaps in the middle of the night, they have to make peace both with their own mortality and with what, both inside their minds and outside their minds, is filthy beyond repair. As to whether this semi-Brando stand-in is as impervious as he thinks— the thoughts of death, of “ultimate drunkenness,” suggest that he is not. What sex is there is not revealed; and if the connection to art has to do with the end-rhymes and other poetic devices which configure the formal structure of the poem, it roots 1341 in a history which reaches back from Philadelphia to London and Paris. I read 1341, and how it ends, as a fragment or apparition documenting the pleasures both of intoxication and of psychic dissolutions into larger realities, both inside and outside the mind. It is also worth noting that the eight lines of “drunken babble” may be answering one of his companion’s questions, maybe about gossip, maybe about death, or about both— she may bother to ask him if he has any secrets, if he is hiding anything important from her, or if there is anything sinister in his past. Does his answer suggest he’s a bullshit artist? Maybe.