She has an hourglass body.
By which I mean,
That the last few grains of sand are sinking into the lower atrium.
She has an hourglass body.
By which I mean,
That the last few grains of sand are sinking into the lower atrium.
I resent the term push up; it’s
Press up.
I press myself to the carpet with
Inhale.
I hold the contraction, until
Up. Three.
I like to pretend, on my
Way up,
That my breath assists with
The lift,
As if I were a hovercraft,
Exhaust-
ing through the nostrils, escaping
Trace smells,
Like footprints, or my best friend’s
Vomit.
He raised his wine,
Just to lower it twice as far:
A half-arsed toast.
The window scene Swung full into view:
Five other guests, who of the botched
Behest, were ignorant. The culprit had
Burrowed his eyes into a stain,
Whilst his failure snapped his neck at
90º.
He looked silly between the laughing bottles,
Like skinny jeans and gel amidst four
Women in corporate noir.
The kind of faux pas
To make a man say
“I am just going outside and may be some time.”
He turned
and lost four years.
Panicked, turned
Back
Only to find the same scene,
A decade on.
He pivots
Now,
Toeing each patch,
Foot-sniffing the precise
Degree.
Meanwhile, wrinkles
Profound, and hairs
Wrinkle like leaves.
Every night a different thought:
I ought to write them down.
But to my consternation
I frown, like a clown
Unlaughed, and lose all
Motivation to arrange.
Surround
The rumours, when they began, were
Sound.
Gratuitous in-wall speakers, every room
(Even the bathroom,
So a piss was no respite).
In fact, the architect had seen fit
To affix one device within the
Basin. It’s bass vexed the pool, and
Growled lemony spittle across
My new white jumper.
I’d flip flop back to the hallway
And curse,
Because I had to buy a new white jumper.
I heard a rumour that the proper realms of poetry are Love and Death. Well, I’m only twenty-three, so I won’t be talking about death. And I find myself under an encroaching suspicion that love operates in a similar manner to memory. When you remember an experience you are not remembering an experience. You’re recalling the latest recollection of that experience. Like a photograph of a photograph of a photograph. No matter how good the camera, you’re still haemorrhaging pixels. What if love is the same? You get one shot. And every subsequent love is a sketch of the first. the sketch may have been done in a steady hand, with a Blackwing on paper of 120gsm. But it’s a sketch nonetheless. It’s taken from a model.
Peter was a funny boy
Who’d masticate raw cabbage;
He’d drop dry leaves into his mouth
And crunch them like a savage.
Peter was the kind of boy
For whom the age-old adage,
“Eat your greens and you’ll stay lean”,
Was stooped in excess baggage.
Peter was a quirky boy
Who made up his own language,
Codifying leafy greens
As pudding good enough to ravage.
She had the face
Of someone on the cusp
Of fame,
Eyes vying for space with cheeks,
Eyes very convex, like fishbowls
Granted centrepiece,
Granted the entire sweep of
Her adoring oglers.
Her trousers were maroon leather;
I thought it clever how they matched her handbag.
I thought I was the homonym phenomenon,
But today an eight-year-old informed me that chilli is a contranym.