It is the 70s. 1970s? 2570s? Who knows? Audre and I have a penthouse in New York.
I slumped in front of a massive desk, a passive patient corroded with failure and dread.
I don’t know why I’m in the garden kneeling on dirt
People have always coped with flooding, and they learned to cope with death.
and then her eyes fully opened — blazed through with strands of mud
anger, like you can sink teeth into, candy apple
The storm passes without snow. The car waits loyally in the back lot.
The collective failure of ethical standards
I imagined a cascade of slow death for all / that mattered…
Mostly he ate what was put on his plate snuck coffee grounds or dirt for a snack Once a zipper Unzipped
You are strange, my mother said, dwelling on the past.
The poetry of Brian S. Ellis unravels, inverts, investigates, and complicates. His poems are radical koans and invitations to forego common narratives.
Do not say anything anybody else has said ever. Things are not “bleached by sun.”
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…
Her brown eyes, how a fig considers itself.
Part of being a good sad person is always painting the shadows in the right direction and knowing what sorrow to art with.
Live the rest of your life from one worst case to another.
Long after midnight, we’re talking about our first time
I imagine that undressing a color, though, would be so much like peeling a memory away from the grey and the white matter of your brain.
Even from this distance I could go out the door it would bang shut and crumble