four-thirty a.m.
It is the 70s. 1970s? 2570s? Who knows? Audre and I have a penthouse in New York.
I am still waiting for the lion
Mostly he ate what was put on his plate snuck coffee grounds or dirt for a snack Once a zipper Unzipped
Dylan Krieger’s poetry is unflinching, grotesque, and beautiful. Her work tackles trauma, wrestles authority, and is a decadent sonic feast.
you quit wearing pants loaf around your yard in hole-nipped panties
a folksome, gruesome opera of gauze and malcontent.
here is the sky in stop motion, flickering, a still shot in monochrome
and apples, mackintosh mostly, but any kind left in The Pub at the Assisted Living Place
love is a soggy tea stain on a grocery receipt
I would always rather be happy than dignified. Rather held than held in awe.
Part of being a good sad person is always painting the shadows in the right direction and knowing what sorrow to art with.
Long after midnight, we’re talking about our first time
The storm passes without snow. The car waits loyally in the back lot.
Empty vessels make the most sound, I think, as you rip the fairy lights off the handrail.
Live the rest of your life from one worst case to another.
Okay, picture this: We’re in an elevator. The elevator shuts down. It doesn’t matter where we’re going, only that we’re alone.
Winter sat like a wolf on the horizon.
He has stories that I am not in anymore. It’s healed this way.
my friends’ fathers are dropping I mean dying like flies