aria / him

That's why I wanted to keep the lights on. Those dark-chestnut eyes, pools of molten lava. And they scared me like lava. Once we started (excuse me, once she started), I swear the temperature in the room went up 8 degrees. When I was hitchhiking, I spotted her eyes before she pulled over.  Her stare fixed me. Magnetized me. You'd think I was a fuckn zombie. None of that mattered once I started tearing off her moth-eaten teal cashmere sweater, no bra under it (if she'd only known my momentary disappointment), and yanked at her jeans like an inexperienced sophomore. All the while kissing but it wasn't kissing, not in any vernacular I had ever learned. The sheer ecstasy of a new language, ok, a new tongue. I was reckless, unsubtle, impatient. Not like me, really. So she tortured me all the more. Which pissed me off, and drove me on. No, it wasn't sportfucking, though we could hardly call it love. My payback torture was not allowing her to take off her panties. Take that. I don't smoke, but I wanted a cigarette afterward. Hilarious. For a person who doesn't sweat that much, it was like the teenage days I caddied in August: the wide expanse of my lower back a swamp.    

aria / her

I knew he wouldn't hurt me. I can tell. But I had the knife anyway, the knife he didn't know about, and still doesn't. His hands. A piano player's, not a plumber's. The long skinny fingers, the veins spidered. His soft palms. How could such delicate masterpieces brutalize? Right. Don't go there. From the second he got in the car, I knew he'd be a sensual kisser, not so much the curvature or fleshiness, more the blend of pout and promise. To be truthful, that's the reason I stopped for him. I'm good at spotting shit like that. Good eyes, better intuition. The roughness surpised me a little, not that I minded. It didn't hurt because I was ready. And I made him wait. God, I love torturing him. I made him a beggar, a hungry vulture. A pauper and a prince on a stallion. Squeezing shut my eyes in the well-lighted room, I became a tawdry cliche in a cheap novel: scouring my memory for a forgetten vocabulary, saying fuckit: stir fry lavender musk mint saliva sweat an unnamed deodorant faintly feminine unisex deaf almost deaf for a second faint-fear full fuller deep deeper more coriander Clorox bang bang over for him but not for me, no not me. 

Still. 

But I should've paid attention to those eyes.

 

Pittsfield aria to myself on a Saturday afternoon

along North Street cascading light its vestiges fading eagle head of my cane poised against the mailbox eagle The Eagle a building posing opiod optics no one seen no one heard vacant lot the tottering totem swaying was that a needle in her hand a long train a-comin' a tall train a-goin' I went down to the station walked The Common the old high school how about that gazebo mother father child reunion flag-draped baby Lake Pond Silver streets Bank Row alley in the shadow Crawford Square the Marketplace wear your mask I'm masked and anonymous why aren't you where was Melville when he wrote Moby Dick here Lolita by the pool her back to me unknown unbeknownst to one and all hibiscus hideaway the tenement testament still standing for all to see beware of the dog private property keep out or is it keep in I can't tell anymore can you

Overwrite Overpass

haven't we been here before
before when
you know, back in December
westbound, not eastbound
we're eastbound now
now I remember
every rest stop
'I Shall Be Released'
over and over again a loop
remember when I said it's over before it began
right
that I'd never see her again
but we're on the other side now
son
brother
going the other way
coming and going
what's the going rate
going and coming
what's the difference
true, what's the diff
this is the other side
the opposite way
no direction home
none at all
my breath smoke in the night
rising halo
the ribbon of road unfurling in the dark
radio silent, CD off
I shall be released
arriving before I get there
but this is the other side
I know, you said that
if you can't erase it
at least record over it
overwrite it
play it backwards
pay it forward
in the rearview mirror
frosted in the skeleton night
still as an anvil
before it lands
I told you so
you didn't want to hear it
I brushed it off
lake-effect snow
on my hair
off your coat
the windshield
wiping the window
back and forth
forth and back
swishing for the clean slate
never slated
barely sated
singsong sing
north of Sing Sing
lunch for one
tea for two
for her and for you
the check, please
let's hit the road
wake up, a little Susie
on the road
you and me
me alone
as I always knew
always will
the ghost of a chance
lost in a dream
as it was in the beginning
is now and ever shall be
world without end
love without beginning

Bedtime Story, Act I

Can you give me a lift? I can pay you for gas.
Where to?
Over to the West Side, just over the city line.
People still hitchhike? And at your age?
You don't know my age.
Just saying. It was a Sixties and Seventies thing. But frowned upon. Because . . .
You gonna give me a ride or not?
Yeah, yeah. Calm down. Sure. How much for gas?
Ten.
Make it twelve.
Why twelve?
Cosmic.
Deal.
I need it now. Because, you know. Ya never know.
What's next, a "request" for a blowjob or get out and walk?
Too predictable.
True.
Let's dispense with the basic formalities. I'm Raoul. And you are . . .
Lefty.
Lefty? Not very feminine.
Not very feminine? Who the fuck are you to say?
No one. No one at all. "Fuck" ain't so feminine either, but I guess that depends on what you mean by "fuck" and what I mean by "feminine."
Here's twelve singles, one is a little ripped.
We're all damaged. Thank you. Appreciate it.
No prob.
What street we going to?
Hawthorne.
I prefer Emerson or Thoreau, with a dash of Melville.
Aren't you clever. 
I am that. What block?
1200 Hawthorne.
Got it. I hope this is nothing illegal.
Why do you say that, Raul?
Raoul. The French spelling.
Are you French?
I am not. Are you?
No, sir, if I may be so formal.
I like your voice. It's soothing. The voice a kid wants to hear for a bedtime story.
Do people still do that?
What? Speak with voices instead of texts?
No, tell bedtime stories.
Yes, I'm sure.
It's getting dark.
It's not dark yet but it's getting there.
Bob Dylan.
Excellent.
You're the second person in two days to talk about my voice.
Really? In a good way?
Yeah, what's your bedtime story?
What are you wearing?
What do you mean? That sounds naughty, especially for a so-called bedtime so-called story.
You know. Scent.
Chance. By Chanel.
As in, don't take chances?
The bedtime story, please.
Once upon a time...
Please.
Once upon a time an elderly man without any visible tattoos, a courtly fellow with a slight British accent, posh, wearing Tom Ford Ombre Leather, glided his 1957 Thunderbird convertible to a gentle stop on Strait Street as he saw a hitchhiker, an anomaly of the age, her thumb out, corny, as in an old movie, slightly sullen, not smiling but catching the driver's eye. The car stopped, but not the driver's mental ruminations. She was in her forties, likely, cut-off frayed blue jeans, hot August evening, Versace (maybe) shades atop her dirty blonde hair, tall, willowy, statuesque. Stately. Green eyes, but possibly blue or hazel from this distance. This spelled danger. Something out of a film noir that the film's backers chickened out on as a lousy financial risk. He rolled down the passenger-side window electronically. (The windows up on the convertible helped his hearing and didn't mess up his hair.) As he began to call out to her, he found himself yawning. She yawned.
Hey, it's right here. Stop. Here it is. 1200. Hawthorne.
I guess this is it.
I guess it is.
I guess so. 
See you.
Maybe see you again.
Thanks. Yeah. See ya.