Building on Sand 1-3/9

“Though lovers be lost, love shall not;
and Death shall have no Dominion.”
Dylan Thomas

Building on Sand
1-3/9

1

Everywhere the afternoon|
gropes steadily to night.

Some people have lit fires;
others read by candlelight.

 Geese litter the river bank,
drifts of snow their whiteness,
stained with freshet mud;
or is it the black
of midnight’s swift advance?

They walk on thin ice
at civilization’s edge.

Around them,
the universe’s clock
ticks slowly down.

2

 Who forced that scream
through the needle’s eye?

 Gathering night,
the moon on the sea bed
magnified by water.

 Inverted,
the big dipper,
hanging its question
from the sky’s dark eye lid.

 Ghosts of departed
constellations
walk the night

Pale stars scythed
by moonlight
bob phosphorescent,
flowering on the flood.

3

 The flesh that bonds;
the bones that walk;
the shoulders and waist
on which I hang
my clothes.

Now they stand alone
beneath the moon
and listen at the water’s edge
to the whispering trees.

 They have caught the words
of snowflakes
strung at midnight
between the stars.

 Moonlight is a liquor
running raw within them.

 

 

Old Man Flash Fiction

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Old Man
Bistro

Old Man

I’m an old man now, discontent with the rumbles of incontinence that surge like an express train through my guts. They told me the after effects would last a year to eighteen months after the cancer treatment, and it’s nearly a year, and it should be over, but it isn’t, so I sit here, in my car, outside the washroom in the local park, waiting for that urgent call that will send me limping to my destiny and soon now, I know it will be soon now, as the cold shiver grips me, and then I start to sweat, great pearls of salt water, trickling down forehead to nose, and I open the car window, and there she is again, in a green and yellow string bikini, the twelve year old who has haunted me for the last ten minutes, ghosting round, staring at me, looking at the car, and behind her, her parents, her grand-parents, her family, muttering in some strange and ancient tongue, about this old man sitting in his car by the public washroom, being stared at by the girls, the boys, the young people as they enter and leave, bees around the honey-pot, and they gather by my car, and mutter and grumble, raising their voices and pointing their fingers at me, at the car, and always that surging wave of grumbled accusations, rising like this tide, this hot, red tide that now rushes through my guts and rumbles me towards my destiny, a plastic seat in a tin shack at the edge of the woods in a public place, this park, where I have every right to be, and the girl’s long blonde hair whisks again and again past my window, and she points and the old ones mutter, and there’s the boy again, squeezing himself, and looking cute, and I can guess what they’re thinking and saying, even though I don’t understand a word of their language, yet their grumbles are loud and their fingers are sharp and pointed in my direction, and I can see a cell phone, now, with a man taking pictures of me and the car and the number plate, and someone else is dialing, I can see their fingers punching the keys and I know they would rather be punching me, my face, anything they can get their fists into and why not, because it’s a free world and if I am what they seem to think I am, a predator after their children, not an old man, incontinent, in urgent need of the washroom yet afraid to brave the crowd and leave the safety of his car, then they would indeed have every right to be pointing at me in this way …. but hey, everybody is innocent until they are found guilty by twelve honest men, and twelve of them now gather out there pointing at me as I sit, glassy-eyed, sweating, afraid to move in case I make it worse, just hoping that they and this terrible pain will go away, this pain, this train, this express train, rumbling through my guts to its inevitable conclusion … and too late, I’ve left it too late, dammit … and so, rooted to the earth and this spot, I soil myself again.

 

Dalí’s Clock 5, 6, & 7/7

“Though lovers be lost, love shall not;
and Death shall have no Dominion.”
Dylan Thomas

Dalí’s Clock 5, 6 , & 7 / 7

5

In a distant ward,

an alarm bell rings.

White rabbit

with a syringe;

dark tunnel

down which

I must plunge;

bitter draught

I must drain

to change

my life

forever.

I wait for Dalí’s giraffe

to burst into flame

and call me

with its voice

of fire.

6

I grasp

with fingers of gorse

at moon and stars.

Everything I touch

turns into gold.

Sleek

aureate plumage,

bright tiger’s eye

of this yellowhammer

chipping at

his block of song.

7

When I lose it, whatever it is,

my fingers pick at seams,

tissues, skirts, shirts, jeans,

or strip a label from a bottle;

or they break bread, or

there are so many things I can do,

personal things.

On the table,

a vacant cereal bowl,

a silver teaspoon in a saucer,

an empty teacup

returning my round moon stare.

My hands terminate

in pointless needles.

They unpick stitches;

then try to knit them

back together again.

Dalí’s Clock 3 & 4 /7

“Though lovers be lost, love shall not;
and Death shall have no Dominion.”

Dylan Thomas

Dalí’s Clock
3 & 4 / 7

3

When I look at my watch:

time flies off my wrist

and flaps its hands

helplessly.

I taste the bitterness of bile,

squeezing each moment,

between finger and thumb,

rolling it about

like a breadcrumb

or a shred of label

stripped from an empty

bottle.

4

How long can I sit here,

staring her down

as she flourishes

then fades,

her eyelids closing

at day’s end,

like flowers?

Daffodils gild

garden and hedgerow,

their yellow mouths

devouring April.

Sunshine so loud,

the hills and valleys

set ablaze.

Golden voices

raised in a floral

requiem.

Quack: Fast Fiction

 

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Quack
Bistro 18

Previously published on CommuterLit.com

            I tug my grandfather’s sleeve and we leave the bowling and walk along the sands towards the swing boats and the merry‑go‑rounds. He stops, holds me with one hand, and points with the other to a space beside the sea‑wall.
“That’s where the quacks used to put up their stands when they came to town.
“What’s a quack, grandpa?”
“Well, a quack’s a salesman who sells patent medicine. Watch now,” my grandfather stands in front of me. “I’m a miner, see, and I can hardly talk,” his voice changes as he speaks and the words limp out all hoarse and scratchy.
“Now I’m the quack,” he takes three steps to one side and his words emerge strong and healthy. “Good sir, I see you are in need of my aid,” my grandfather draws an imaginary bottle from his coat and holds it high for all to see. “Pretend you’re the crowd,” he whispers to me, “you have to hiss and boo.”
“Hiss and boo. Boo.”
“That’s right,” my grandfather smiles, then he speaks again. “Now, sir: just take a sip of this patent medicine and your voice will be restored,” he hands the bottle into space, strides across the gap, and the miner holds out a weak and palsied hand to receive the offering.
“Thank you,” the miner croaks, “will this help?”
“One sip, good sir, and all will be well.”
“Hiss,” I shout, “Boo.”
The miner puts the bottle to his lips, closes his eyes, drinks, and his glorious voice pounds out a hymn: “Changed from glory into glory / till in heaven we take our place.”
“Hiss,” I go and “boo.”
“No, no,” says my grandfather, “this is where you cheer.”
“Hooray.”
My grandfather becomes the quack again: “This marvelous potion is yours for a silver three penny piece.” He bows, nods to the crowd, hands over imaginary bottles, and places coins in his invisible pocket while I clap and cheer.
“This performance,” my grandfather tells me, “never failed to sell a great number of bottles.”

Dalí’s Clock

“Though lovers be lost, love shall not;
and Death shall have no Dominion.”
Dylan Thomas

Dalí’s Clock 1 & 2 / 7

 

 Dalí’s Clock

 1

I have folded Dalí’s clock,

draping time’s dressing gown

over the foot of her bed.

An elephant with a crane-fly’s

spindly legs

stands on the bedside cabinet.

Is the human body

a chest of drawers

to be opened and closed

at will

and things removed?

On the operating table,

a sewing machine

and a bread knife

wait inside

a black umbrella

for their next

victim.

 2

A hedgehog caught in the glare

of onrushing lights,

she has curled herself into a ball.

My words are wasted

movements:

lips, tongue, bared teeth.

Limp kites

with nothing to fill their paper sails,

they hang like abandoned bodies

on the old barbed wire

stretched between us.

A metallic sun

gashes harsh light.

The needles in her arm

throw an ever-plunging

sea of shadows:

bruised sunsets

on a purple horizon.

Though Lovers Be Lost …

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“Though lovers be lost, love shall not;
and Death shall have no Dominion.”
Dylan Thomas

Dalí’s Clock

1

I have folded Dalí’s clock,
draping time’s dressing gown
over the foot of her bed.
An elephant with a crane-fly’s
spindly legs
stands on the bedside cabinet.

Is the human body
a chest of drawers
to be opened and closed
at will
and things removed?

On the operating table,
a sewing machine
and a bread knife
wait inside
a black umbrella
for their next
victim.

 

Obsidian’s Edge 29

 

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El sueño de la razón produce monstruos.
When reason sleeps, monsters are born.

Francisco de Goya.

5:00 AM

… bright flowers of penance purchased for a pittance finger knitted spider webs of silence spun into wrinkles between stars and evensong while an old film shadow boxes black and white photographs and a rowing boat lurches over the waves as if a soggy brown cardboard box had dropped down on a moonbeam to pluck the mote from a one-eyed jack-in-the-truck who surveyed his road map for the dead days lying in ambush next to the sudden bonfire that flared on Guy Fawkes night and ignited the world like a Jacky-jumper vaulting a Roman Candle as Catherine spun on her wheel and a sky full of stars wheeled round the North Pole and slid down the Big Dipper’s handle to launch a long white scar of lightning that scared night’s velvet mask and plucked a diamond feather from the peacock’s tail as it strutted through the garden of bifurcating paths where Borges left his summer footprints at low tide in the sandy grief of the autumn leaf that the red fox dripped and dropped as he fled in vain like blood sizzles drizzling from an open vein and observe I say the play of light as it glistens on the voices of young children reaching to pluck the church bells as if they were ripe fruit dangling before us in our dreams and the world is a handkerchief so small it is and now not so clean and so we dream these dreams and pluck this unripe apple from the eternal branch where it lay hidden kicking and struggling up like the float that bobbled then sank through deep water and memory bent itself into two like that fragile reed dead in the water lying as straight as a bowing string at a crazy angle   at the pillows edge where mouths flap open as shadows walk and talk and we slide back into sleep’s dark waters where there are no dreams and nothing from those dark depths is ever recalled …

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6:00 AM

a clicking of claws
needles knitting outwards
towards dawn’s guillotine

the alarm clock shuffles
its pack of sleeping hours

the church bell
lurches into action

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We have come full circle and the sequence of rewrites that I have dedicated to At the Edge of Obsidian / Obsidian’s Edge ends here, with the start of a new day in Oaxaca that will be very similar to the old day that has just passed us by. For those of you who wish to read the full sequence, in its correct order, it will appear (some time soon) under Obsidian’s Edge at the top of this page.

I would like to thank all those readers who have accompanied me on this journey. In addition, I would like to thank all of you who lent your voices to this sequence either below the line with your comments or, and I refer specifically to those who are close enough to know me in the flesh and blood of real life, with your verbal comments and telephone conversations.

I hope this will be the first of many journeys that we make together. My best wishes go out to you. I trust you will consider joining me in my next verbal adventure on this blog.

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Obsidian’s Edge 27

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El sueño de la razón produce monstruos.
When reason sleeps, monsters are born.
Francisco de Goya.

3:00 AM

… often the imprisoned heart pinned like a butterfly and chloroformed into silence like a resurgent Guy Fawkes sitting on his bonfire and waiting for the universe to roll its coloured dice a captive and that heart singing as the dark rum of freedom bites into its jackdaw dreams of bright silver rings married to a bird’s leg and the round open eye of a cat staring at a Queen of Hearts as champagne bubbles burst in the mouth and dash on the tongue as they wash against the tooth’s white rock as it waltzes with the white caps that crest into broken ghosts who shuffle in and out like a pack of cards filled with knaves and the joker is belled with a red fool’s cap and a bladder on a stick as a tom cat’s tom fool grin melts in the mirror when the moon’s face skids and bounces off a snow bank where tranquil midnight mysteries trap trembling worlds in hand-blown glass bubble dreams that distort all distances clasped beneath clutching fingers while the crystal raindrops serve as an eye to behold the crimson glory of the hibiscus with its blood red stains where the baby fell from the rocking horse and confessed to a crime it never committed though speckled like a fresh trout it was drawn from deep water and blamed for the rainbow fire that flickered flames to the harsh crisp sound of the candle licking at its waxen jail where flower faces float framed against the white-washed wall as the wide-open staring eyes of the snowy owl speckle a yellow madness and its feathers are nails to be fired into  a pottery tree in this harsh somniferous light that breathes fear and fire into shavings of dry bark and a beaver gnaws at the roots of the world as an accusatory beak points at the funneling snow and puffed up feathers plump out a body so thin it is unfit to fight these flames of ice or withstand these snow stones cast by blameless flint-eyed innocents who have never themselves done anything wrong though they spark at the trough with one eye clouded by a spider web of hate and the other a sharp sun peering through clouds condemned like a donkey to walk round and round crushing the heart out of the maguey in an interior world of  dust and stone where the mote in another person’s eye is larger than the beam in one’s own and slant-eyed dogs eat dust and shadows of dust as they prowl through the courtyard and bark at the full moon blazing above this world that is sacrificed to a madwoman’s madness and an ancient flesh-devouring god who lives in a nearby volcano and is stoned all day on tequila and mescal

 

Obsidian’s Edge 26

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El sueño de la razón produce monstruos.
When reason sleeps, monsters are born.
Francisco de Goya.

2:00 AM

… waves of people wandering the streets a hammer blow falling on an echoing anvil and the cracked church bell lurching into its hourly cry of grief dogs barking at the fleshy red crest some playful deity has placed on the heads of domestic fowls and other gallinaceous birds beaks digging for the dawn in parched earth with thin cracks spanning out from its egg shell crazy paving the yellow yolk of sunshine creeping out from cobbles and the Russian egg cup doll after doll unfolding as the hammer’s silver spoon descends on egg shells as thin as a shattered dream of moonlight raked from a pond with its life blood filling a crystalline goblet with a thick rich callous liquid as fierce and sweet as sunshine sacrificed on a branch as rain from the clouds speckles the tree with radiance an arco iris with its semi-circular scarf this deer head mocking pulling back velvet lips white teeth grinning through the wind screen’s shattered glass and man a string quartet of flesh and bone created from a ball of dough and baked in the oven in an earthenware dish with currants for eyes a raisin for a belly button lemon rind for a mouth orange peel for hair while white storks with swaddled babies are scared away by thrown stones and the man in the mirror his hand held up to trap the wind as a falling leaf settles in the secret web between index and thumb puzzles bind like a bird bound in a metal cage the sparrow’s mighty choir chirping at the roof of the circus tent and animals running wild all gone and the smooth grass brown with its withered distorting mirrors of stark staring eyes driving through black paintings of Satanic witches spooning soup between wrinkled lips dark open holes mouths and eyes gouged in slatted wooden faces and Anonymous Bosch’s bourgeois hell of furnaces and factories swarming with sparks of black imps falling from the heavenly meadow and the devil impaired on his black wooden horse …