your body. I know your scars, badges
earned in the grave pursuit of scienceâ
jump rope whips along a curve of calf,
toes stubbed purple, tender uncolored
patches of skin woven shut over your
small traumas. Wily dervish, you flip,
hurtle, fly, daily rattle your soft spine,
send your bones to the wailing places.
This is play in the age of Grandma, who
knocked those buildings down? This is
8 years old in the age of could-die-soon.
This is life as collision and scrape, hard
lessons in the poetics of risk. Daring
the world to harm us, you pull hard
on my hand. Grandma, letâs run! We laugh
and trip as the sidewalk sniffs our skin
and stars along our path flame shut.
Die fast, die slow, die giggling, die anyway.
Our speed tempts the Reaper as I shelter
you in this first death, the loss of our throats.
STOP THE PRESSES
My job is to draw the pictures no one can voice,
to soothe and bellow toward the numbed heart,
to breathe in your chronicles, discuss them out
in lines weak enough for you to read and swallow.
My mouth is a jumble of canine teeth, I bite only
at the official whistle. My job is sexy leads for the
bones clattering in your closet, to sing you sated
each night with a forgettable soundtrack of paper
and ink. I am neat, easily folded, a sifter of truth
born to be burned. I count your dead, fathom their
stories, bless them with long, flexible histories
and their final names. There are no soft stanzas
in this city of curb sleep and murdered children.
We need soft words for hard things, this silk
brushing the inevitability of rock. Birth truth in
this way, just once. Craft the news and overcome
all that you ever wereâa reason to turn the page.
WHAT YOU PRAY TOWARD
âThe orgasm has replaced the cross as the focus of longing and the image of fulfillment.â
      â Malcolm Muggeridge, 1966
I.
Hubbie 1 used to get wholly pissed when I made
myself come. Iâm right here!, heâd sputter, blood
popping to the surface of his fuzzed cheeks,
goddamn it, Iâm right here! By that time, I was
in no mood to discuss the myriad merits of my
pointer, or to jam the brakes on the express train
slicing through my blood. It was easier to suffer
the practiced professorial huff, the hissed invectives
and the cold old shoulder, liver-dotted, quaking
with rage. Shall we pause to bless professors and
codgers and their bellowed, unquestioned ownership
of things? I was sneaking time with my own body.
I know I signed something over, but it wasnât that.
II.
No matter how I angle this history, itâs weird,
so letâs just say Bringing Up Baby was on the telly
and suddenly my lips pressing against
the couch cushions felt spectacular and I thought
wow this is strange, what the hell, Iâm 30 years old,
am I dying down there is this the feel, does the cunt
go to heaven first, ooh, snapped river, ooh shimmy
I had never had it never knew, oh I clamored and
lurched beneath my little succession of boys I cried
writhed hissed, ooh wee, suffered their flat lapping
and machine-gun diddling their insistent câmon girl
câmon until I memorized the blueprint for drawing
blood from their shoulders, until there was nothing
left but the self-satisfied liquidy snore of he who has
rocked she, he who has made she weep with script.
But this, oh Cary, gee Katherine, hallelujah Baby,
the fur do fly, all gush and kaboom on the wind.
III.
Donât hate me because I am multiple, hurtling.
As long as there is still skin on the pad of my finger,
as long as Iâm awake, as long as my (new) husbandâs
mouth holds out, I am the spinner, the unbridled,
the bellowing freak. When I have emptied him,
he leans back, coos, edges me along, keeps wondering
count. He falls to his knees in front of it, marvels
at my yelps and carousing spine, stares unflinching
as I bleed spittle onto the pillows.
He has married a witness.
My