This Poem was Submitted By: David S Harewood On Date: 2000-09-25 06:58:48 . . . Click Here To Mail this Poem to a Friend!

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(Untitled Work in Progress)

;and I swore that it had been all of six months or sevenican’tyellatthem before she brought a trite philosopher to ride as designated persona non gratta, against (whom she’d filed grievances) anyone’s better judgment, otherwise gossiping (since he’d once been the lecher, now expected to absolve and purify her wandering index fingers) --and I gathered that the sot had lost his saving grace, that his lint-filled pockets would have no seams-- about some overwrought and heavy-footed Amos fan who chased the Goddess to Cincinnati & who found Her bloodless. -- so she would-have’d her inadequacy to mend briefly-- She begged him “dismiss,” but he’d taken vows that (her accusations were confident) fortified the ideal to shoot any self-proclaimed Buddha, so he felt his hands grow holes and shuddered. (The idiot. . .) --the tied hands and sore fourth finger-- (. . .raised his hand to profess a belated love-lust, praised Tori’s sugar’d hands, had foresight enough to save the comb as a candy-boxed souvenir. i listened to them with my pen, and thought it better to show them other people’s poetry in adulterated bar-lines.) or someone on the trip remembers the pleading, the justification of months lost in monotone when he slept with reptiles under his eyes and not her. the objector/poet listened with more than justified selectiveness, and isolated his left hand (his subsequent drunkenness would dissolve status for a while, and twoness of his own got its day, too ephemerally focused for the tasks of his own making) remembers the grimacing passers-by as they selectively listened to her challenge their deduction, our Feste still lies aghast at his own presumption lets his Ohioan quill dry, and stares into them (when i admit him, you’ll stop straining your insight) and when she screams her last aphorism, we recognize a dissociate curmudgeon with a monogrammed poem and picks his teeth with a feather .   We       look slack-jawed through something  of an      --I’ve looked through the same—      acolyte’s eye;                   bait him into his                         argument & bleat our way into the Idiot’s Mustang. ************************************************************************************************************** (She’s said “Yes— He’s puffing his  cheeks, locks his jaw               and watches her                           denounce               --“I will Yes,”— his need to be  unnoticeable.  So, she’s his first                                  twoness,                                  lacks his pontification because                             --but i never said “You will                                 what?”—                                she understands and has                shunned martyrdom, but                                     might                                          (break his vice for it,                                    and that she could is wrong!  What’s worse, and get this,                         I woke up hung over next         morning, thank you.)                                          be a better nurturer than                                      he is an                               --i’m no moron!  Okay, i’ll admit it:                ask me after i’ve seen her.                                           She has (breast) pocketed         pastel shirts & says                                     “but i got the job for—                                       (intellect)ual lowbrow,                  whiny curmudgeon,                                             or any Henry Higgins.                  What i mean is                                  she’s more the                                                    Eliza Dolittle                   than he’s a                                 (moronic liaison)                                                    good soul,  ("He" denies!                        You’re right; anything I say should be taken and shoved;   I’ve no idea of my intentions, whether they're to muse or rebuild; destroy the paper and board again as an undesirable;  I love you, too.  Tell me what that means!)                                                                                                      and becomes a real kind of gorgeous                        despite that                                  she hates her own lips           --“you!”  I haven’t recovered from my growing                                                     admittance (of her, I swear i)  as I haven’t                                       (haven’t tried to anger her) learned to—                                           and her legs, her feet. . .                                  Despite my own gawks & Coltrane                                                                recitation                                       (nor recognized those LoveThis lines as they were.            I said “yes yes” to each sense,                                           but knew that I would                                                          only allow their sex to show itself.                                          i                                              try to be a true poet through her. . .                                                  --reconcile the resilient                                                                          egos.  She                                                       looks at me & my convoluted senses &                            fallacies collide                                           ;she  still gnaws at her                             bottom lip                                             and sometimes                 forgets                   to                         breathe                          !                                   i I i I i I wish she saw herself through her                                      own adoration.                                 

Copyright © September 2000 David S Harewood

Additional Notes:
"Yes--. . . I will Yes" is from the last line in Joyce’s Ulysses. Molly Bloom’s last line refers to late-night fumblings with her husband. --"Twoness." This is the only time this word shows up in section II. It might be a titular idea, as I’m realizing that the whole damn thing is dealing in twos. See part 1 --"But I got the job for--. . .you!" This is from an argument. As the piece is a weird ego-breakdown, I thought it worked. --"Henry Higgins" and "Eliza Dolittle" are Pygmalion (and My Fair Lady) characters. There’s an Audrey Hepburn calendar in her room. --"Coltrane" and "LoveThis" refer to two long poems. One was structurally based upon a Coltrane piece, while the other is a kind of Browning ode. Okay, guys, There are a lot of dualities here that I need to explicitly identify and then merge with the "twoness" ideas, which might just be the death of this piece. Though I'd initially planned for this to be a four-parter, I don't think that I can do what I need to in such confined space. The notes at the bottom refer to the second part of the piece, since I thought you might ask for some of them anyway. Most of the piece is, beyond a lot of my naturally subversive verse, kind of muddled: These drafts are incredibly rough, as I won't know exactly what will go where until I've completed the cycle. Here's the real idea: While a young man listens to his friend complain about her failing marriage, he starts thinking about his own close relationships, and rests on two of them: Within each relationship, two things must be reconciled. The last installment (out of a projected four to six,) will be the same character's look at the husband in reference to the first part. By then, I'm hoping that I'll be reduced to one line of thought, too. That way you can stop "straining your insight." Thanks for your patience! PS The first part is in no way the structural idea; I only put it there as reference to the second. Thanks!


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