An all-night barbeque. A dance on the courthouse lawn.
The radio aches a little tune that tells the story of what the night
is thinking. It’s thinking of love.
It’s thinking of stabbing us to death
and leaving our bodies in a dumpster.
That’s a nice touch, stains in the night, whiskey kisses for everyone.
Tonight, by the freeway, a man eating fruit pie with a buckknife
carves the likeness of his lover’s face into the motel wall. I like him
and I want to be like him, my hands no longer an afterthought.
Someone once told me that explaining is an admission of failure.
I’m sure you remember, I was on the phone with you, sweetheart.
History repeats itself. Somebody says this.
History throws its shadow over the beginning, over the desktop,
over the sock drawer with its socks, its hidden letters.
History is a little man in a brown suit
trying to define a room he is outside of.
I know history. There are many names in history
but none of them are ours.
by Richard Siken
|—||From Junky by William S. Burroughs|
By Vita Sackville-West (via bushbabygirl)
Vita and Virginia Woolf had a passionate affair. I thought that was interesting.
Tell me about the dream where we pull the bodies out of the lake by Richard Siken
and dress them in warm clothes again.
How it was late, and no one could sleep, the horses running
until they forget that they are horses.
It’s not like a tree where the roots have to end somewhere,
it’s more like a song on a policeman’s radio,
how we rolled up the carpet so we could dance, and the days
were bright red, and every time we kissed there was another apple
to slice into pieces.
Look at the light through the windowpane. That means it’s noon, that means
Tell me how all this, and love too, will ruin us.
These, our bodies, possessed by light.
Tell me we’ll never get used to it.
Tell me about the dream where we pull the bodies out of the lake
by Richard Siken
You saved my life he says I owe you everything.
You don’t, I say, you don’t owe me squat, let’s just get going, let’s just get gone, but he’s
keeps saying I owe you, says Your shoes are filling with your own damn blood,
you must want something, just tell me, and it’s yours.
But I can’t look at him, can hardly speak,
I took the bullet for all the wrong reasons, I’d just as soon kill you myself, I say.
You keep saying I owe you, I owe… but you say the same thing every time.
Let’s not talk about it, let’s just not talk.
Not because I don’t believe it, not because I want it any different, but I’m always saving
and you’re always owing and I’m tired of asking to settle the debt.
You never mean it anyway, not really, and it only makes me that much more ashamed.
There’s only one thing I want, don’t make me say it, just get me bandages, I’m bleeding,
I’m not just making conversation.
There’s smashed glass glittering everywhere like stars. It’s a Western, Henry,
it’s a downright shoot-em-up. We’ve made a graveyard out of the bone white afternoon.
It’s another wrong-man-dies scenario
and we keep doing it, Henry, keep saying until we get it right…
but we always win and we never quit, see, we’ve won again, here we are at the place
where I get to beg for it
where I get to say Please, for just one night, will you lay down next to me, we can leave our
clothes on, we can stay all buttoned up?
or will I say
Roll over and let me fuck you till you puke, Henry, you owe me this much, you can indulge me
this at least, can’t you? but we both know how it goes. I say I want you inside me
and you hold my head underwater, I say I want you inside me
and you split me open with a knife. I’m battling monsters, half-monkey, half-tarantula,
I’m pulling you out of the burning buildings and you say I’ll give you anything.
But you never come through.
Give me bullet power. Give me power over angels. Even when you’re standing up
you look like you’re lying down, but will you let me kiss your neck, baby? Do I have to
tie your arms down?
Do I have to stick my tongue in your mouth like the hand of a thief, like a burglary
like it’s just another petty theft? It makes me tired, Henry. Do you see what I mean?
Do you see what I’m getting at?
You swallowing matches and suddenly I’m yelling Strike me. Strike anywhere.
I swear, I end up feeling empty, like you’ve taken something out of me, and I have to search
my body for the scars, thinking
Did he find that one last tender place to sink his teeth in? I know you want me to say it, Henry,
it’s in the script, you want me to say Lie down on the bed, you’re all I ever wanted
and worth dying for too
but I think I’d rather keep the bullet this time. It’s mine, you can’t have it, see,
I’m not giving it up. This way you still owe me, and that’s
as good as anything.
You can’t get out of this one, Henry, you can’t get it out of me, and with this bullet
lodged in my chest, covered with your name, I will turn myself into a gun, because
it’s all I have,
because I’m hungry and hollow and just want something to call my own. I’ll be your
slaughterhouse, your killing floor, your morgue and final resting, walking around with this
bullet inside me
‘cause I couldn’t make you love me and I’m tired of pulling your teeth. Don’t you see, it’s like
I’ve swallowed your house keys, and it feels so natural, like the bullet was already there,
like it’s been waiting inside me the whole time.
Do you want it? Do you want anything I have? Will you throw me to the ground
like you mean it, reach inside and wrestle it out with your bare hands?
If you love me, Henry, you don’t love me in a way I understand.
Do you know how it ends? Do you feel lucky? Do you want to go home now?
There’s a bottle of whiskey in the trunk of the Chevy and a dead man at our feet
staring up at us like we’re something interesting.
This is where the evening splits in half, Henry, love or death. Grab an end, pull hard,
and make a wish.
by Richard Siken
There are so many things I’m not allowed to tell you.
I touch myself, I dream.
Wearing your clothes or standing in the shower for over an hour, pretending
that this skin is your skin, these hands your hands,
these shins, these soapy flanks.
The musicians start the overture while I hide behind the microphone,
trying to match the dubbing
to the big lips shining down from the screen.
We’re filming the movie called Planet of Love-
there’s sex of course, and ballroom dancing,
fancy clothes and waterlilies in the pond, and half the night you’re
a dependable chap, mounting the stairs in lamplight to the bath, but then
the too white teeth all night,
all over the American sky, too much to bear, this constant fingering,
your hands a river gesture, the birds in flight, the birds still singing
outside the greasy window, in the trees.
There’s a part in the movie
where you can see right through the acting,
where you can tell that I’m about to burst into tears,
right before I burst into tears
and flee to the slimy moonlit riverbed
canopied with devastated clouds.
We’re shouting the scene where
I swallow your heart and you make me
spit it up again. I swallow your heart and it crawls
right out of my mouth.
You swallow my heart and flee, but I want it back now, baby. I want it back.
Lying on the sofa with my eyes closed, I didn’t want to see it this way,
everything eating everything in the end.
We know how the light works,
we know where the sound is coming from.
Verse. Chorus. Verse.
I’m sorry. We know how it works. The world is no longer mysterious.
by Richard Siken