I am still waiting for the lion
There is so little left of the tomato plants.
Lights on the dashboard spell out “You still can’t kiss me”
My grandmother asked, “Does it feel like being widowed?”
The sin is existing.
the man is stayed bent over the canvas of my sofa. the man is me the man is him self and I bring down the whip…
my love is a glass shard, a knife made of madness and moonlight, and there are already way too many fragments in this house
Try not to see your own predicament in every fucking thing.
I have an axe with hearts gashed
We stop doing dishes while a mile unwinds from the tree outside.
It is the 70s. 1970s? 2570s? Who knows? Audre and I have a penthouse in New York.
my friends’ fathers are dropping I mean dying like flies
my father holds his favorite drink
Part of being a good sad person is always painting the shadows in the right direction and knowing what sorrow to art with.
I count my homes— those of my scattered youth the sanctuary of our young family the intermittent rest stops of apartments and vacations.
The poetry of Brian S. Ellis unravels, inverts, investigates, and complicates. His poems are radical koans and invitations to forego common narratives.
I slumped in front of a massive desk, a passive patient corroded with failure and dread.
you quit wearing pants loaf around your yard in hole-nipped panties
I am not a guide for every traveler of loss.