January 19, 2012

Crime and Desire

(c) 2010


“All human acts and all human creations constitute a single drama, and in this sense we are all saved or lost together.  Our life is essentially universal.”  Ponty

Dominique Hughes was picked up for shoplifting
by the Bon Marché security guards. 
This yellowed index card says he was nine years old. 
Another card stapled behind it —Dominique— age twelve,
weighing in at a slight 95 pounds, was caught peeking
into the women’s dressing room. 
All of us articulate want as legibly as we can.
I skip to another card, the one with my name, accomplice.
It shows I’m fourteen and is a lie.  I am tempted to rip it
like one does with paid tickets. Or at least scratch
and replace accomplice with observer.  After all,

when Shelbie snapped the rose-etched, leather bracelet
around her wrist I hissed, put it back, remembering
Glenda and I stopped and searched at J.C. Penny’s
just a month earlier for palmed lip gloss and dangly earrings.
I didn’t even have pierced ears. Those blue beads looked cold
as ice cream, like polished milk.  I was hungry with want,
but a want that yearned to receive more than this take.
Shelbie didn’t put the leather band back

so between tears, her mouth contorting like a hooked trout,
the security guards squeezed and bruised her upper arm.
Not one, yet, to challenge authority, on command
I lifted my shirt, shivering and self-conscious
as drafts in that gray concrete cellar hardened my nipples
into worthless currency.

I am momentarily surprised, but there it is,
the Bon Marche hired me to track and add
shoplifter’s names to that collection.
Thousands of cards, each documenting someone who,
for want, gripped some small watch,
or slipped a pair of shorts under their skirt, 
as though stealing is humanly natural.
I am not sure if I am here due to oversight,
or to the store manager’s act of charity.

And Dominique.  Three years later Dominique,
got sucked into a maelstrom of violence,
concealed a loaded gun and strutted into the Bon. 
Although, I’m adding strutted, who knows? 
The card descriptions are stark,
the handwritten scrawls fading. 
From where I sit any theory is possible.  Conspiracy.
Vengeance.  A force-administered soup
of psychoactive drugs. Nature or nurture.
Dominique’s history may have been nothing more
than a series of bad choices kick-started
by an over-abundance of desire.

These are old memories surfacing.
This is my break time.
I am reading in the news that today
Dominique Hughes is being sentenced for murder.
Before I can tag this in my brain onto an imaginary
white index card, something flat and easily misplaced,
something I can set down and put away,
my new manager waves me over.

He’s playing video footage of American Air-fighters
zeroing in on insurgents.  I grimace and walk away
before the blood which would probably
at this distance, not be visible, all that rubble.

They deserve it, he says, punching his desk with his fist
to make sure that I get it.

Just the day before he was telling me
about his annual hunting trip with his nephew.
He had stopped talking to apologize
because he can no longer bring himself to shoot elk,
about how he can only catch and release fish;
that’s how soft he’s become.
He said he hopes I won’t think less of him,
his new want to hold back the kill.

Some days all the want and shame,
they become too much for me to sort through.
We are all connected, I suppose,
and this is why I can no longer tell
where one desire ends and another begins.

Yes

(C) 2009

As the last geese V South,
a mob of crows shift through glinting foil and debris
as though only the crafty can make this place home.
This season’s final seeds swirl across fist-tight soil.
The water line— high and restless.

And just as the world permanently tips to cold
I find someone warm.

I would say you are like coming home,
but home was never like this.
There is still lavender scent, though harvested,
faint behind the last mown lawn clippings
rotting and covered with reddened maple leaves.

Death and living, leaving and staying;
this season feels complete, whole, as if
all of it mattered. And I am saying Yes.

Val Mesmo: Go Then

(c) 2011

When I fuck you it is a Mardi Gras in my head; sweet,
Sweet with my mask securely on, and you
like a slide trombone, like a pandeiro, a reco-reco in your hips.
I put it down—down like a Samba enreda,
its succulent pulse the beginning of our everything.

With my mask secure—and there it is: one rabid fuck mask or another
trepidation obscured behind yellow feathers, a tenuous chiaroscuro
frescoed on my skin barely covering my tempestuous contextualization
this concreting whatever the hell it is we are up to,
and my mouth which would say I am about more than just fucking
stuffed up against the pillow, my hair caught in my teeth like reins.
Jesus, pinch me again. Your fuck rips me up; yet it isn’t all that I want.

The sun has gone down, or maybe it’s about to rise,
I’ve forgotten where in the world I live. Seattle—Brazil?
Quero Vocé doce amor. This stank funk,
like a newly discovered epidendrum, it pervades the room
and you are telling me again you need to go? You need to go!

You go with my juice slathered on your skin; a taste or two of me
hugs your tongue, my sloughed skin clinging to your nails
like evidence from a crime scene. My god! What will your wife say?

When we fuck it is Carnival and in my head I’ve concealed
my fears under an abundance of feathers and fabric and sequins
and wherever you touch me I squirm; gimme, gimme, gimme.
I am desperate hungry. Your leaving rips me up; this isn’t what I want at all.
I want to be seen with you. I want to be seen by you, unmasked.
This smell of you is on my hands, the throbbing where my jeans ride up;
It’s clear you know where I live. You need to stay.