(en)titled

“To pursue beauty to its lair.” — Arundhati Roy

5 June 2018, Pacific Grove, CA

She folds her hands together
as if in prayer
onlookers believe
the end of the world is near

Bitter West Coast coffee
dream memories decayed
masculine sensitivities
you think: her POV lacks pleasure

Or maybe this cumulative longing
binds her sense of class to economics
she is an experienced voyeur
an orgy of grace

Disciplined dangerous
her body expresses need
she commits to infinite integration
in entry & in sanctuary

fractals

I. Writing; an act of stroking paper.

4 October 2018, Oakland, CA

II. The aggressiveness of buying and selling resistance, as seen on TV, makes me wanna disassociate.

self-portrait in Wave by Pirkle Jones, 1952, gelatin silver print [Oakland Museum of California]

III. Competitions of sadness are trauma tiers.

PUBLIC NOTICE, 14 September 2018, Oakland, CA

IV. It’s ok that I don’t fit in she says.

27 April 2018, San Francisco, CA

V. If I write a word today, just one, that must be enough.

anticipatory grief is poiesis

Danny Lyon, From 89 Beekman Street Looking South in Fulton Street, c. 1967, from The Destruction of Lower Manhattan

“Are we witnesses or actors?” – Carolyn Kizer from “Twelve O’Clock”

From a tender age, we learn to anticipate expansive boundaries. This is how we survived.

Our inheritances can be found folded into cornered spaces where silence occupies itself. A similar appreciation to realizing how much our eyes have adjusted to darkness. We trade today’s exhaustion for speculative futures. Assassinations happen daily.

Diversions become elegant beginnings when you realize resistance has immortal roots. That’s why performing for an absent savior is a dishonest practice and violence is a loop of fractured sounds. Do you hear that echo abdicating its own existence?

The sun feels yellow today. Birds still relay their news through song. Incantations woven over and through the roar of their own destruction. A natural and honest alchemy. Such revision signals there is enough, a gathering of effort.

When they ask how you survived this century, what will your answer be?

reconciliation

“everyone is a conscientious objector to something” — William Stafford (from Every War Has Two Losers)

artist unknown

The sun was warm. Flowers pop and stretch.
I sang softly into the deepest darkness.
I was not afraid.

Even here, I struggle what to say.
Bending under the weight of unwritten letters,
I want to succeed
differently.

Morning news push violent denials.
I wake softly into fading darkness.
I am not afraid.

field notes

We used to think that if we knew one, we knew two, because one and one are two. We are finding that we must learn a great deal more about “and.” — Sir Arthur Eddington

“you found the clit,” april 2018, san francisco

I. virtual systems

we have learned to covet reflective virtual objects
on occasion, we can still recall vibrations of analog sounds
in a digital world fueled by fossils & compounded fabrications
I wrap my arms around you as car alarms blare songs of protection

II. echo as residue

our preferences fill shapes generated by algorithms gone wild
authenticated searches find radical stability
a looped sacred ceremony

III. curation

corn, cowboys, & cattle
broken buttons
violent light
[classed units of measurement or why it matters I want the horizon to never end]

conscientious imposter

‘I see’ ‘with my voice’ — Alice Notley, from The Decent of Alette

Note by Anne Truitt, April 1965

our learning is from the news
a nurtured condition

⁄ it is eclipse season
shadows are light  ⁄

our call is to imagine, to conceive
defend against performance-enhancing speculations

visionary blight
= fragmentations

our hands worn from self-caress
please see management

it takes a lot of energy to kill a god
Δ long division

tautology, as a fault of style

“with the evolution of awareness came the possibility that existence could be more than survival, or that survival could be more than a response to fear, and could include the encompassing of joy” — Jeremy Wolff, excerpt from the essay Thots on Pot

April 2018

Northern Plains’ cottonwoods spread their seeds this time of year
thick as snow their white progeny coat lawns and 4×4 pickup trucks
a soft blizzard similar to the way Saharan dust reached Texas this week

both are dramatic
all that settling
          (it’s probably nothing)

this feeling of apocalypse came on swift
like gaslighting
    like wildfire
        like bad news

when adoration and permissions share the same open mouth of devotion
it is recommended that you consult your prophesies to justify blanket explanations

transpose unknowing into thoughts and prayers
a crash disrupts into eventual silence

prominence

“writing…is a process of relying on immediate pervasive feelings, not an escape from them…”   — William Stafford, Writing the Australian Crawl. pg. 88

I’M HERE FOR LUCK. Louis Wain (1926)

I haven’t found a way to say I love you that isn’t complicated, so I practice loving you every day. Sounds of terrorized children broke through all those hours of visual noise. Hope is a map. A place to begin.

The distance of decades doesn’t always make things quieter. Calendars are more form than function. I learned early and repeatedly that love must be earned, and value is measured by others. An intimacy of detachment.

Addicted to seeking approval is one way of saying yes unconditionally. Instead, imagine a private collection of silent hymns. These days, I take care to mend memories as a way to create acceptance. A public chorus swelled.

Broken into speculative practices, writing things down reinforces pleasure and importance in tandem. Together, through famine and fortune, what stands out is love.  An oxygen where sacrifice is not born from competition.

the birds sang our gossip

“When someone tells us something, we don’t know how many versions they have tried out inside before the one we hear.” — William Stafford, You Must Revise Your Life

Paul Jenkins (American, 1923-2012), Phenomena Winds Meet West, 1976-78. Acrylic on canvas, 70.5 x 127 cm

It was nothing but ordinary how the day started. The sun crept above the horizon like any weekday likes to unfold. Yesterday a seismic shift happened — two degrees right to the center. Trees noticed the ambient vibrations immediately, then the birds. No one noticed the subtle ways computer grids had wiped clean negative balances and dropped zeros while spinning out complex equations for how to love beyond reflex.

It took seventeen years for scientists to confirm the shift occurred. Pundits had convinced the public that such a change could not occur simply because they had no imagination to the contrary. Scattered conversations slowly and remotely extended what had been idle reservations around the basics of grace as understood as time. It was a dramatic revolution. Men were not brave. We found their excuses strapped to the back of westbound bus seats.

We considered multiple ways to drown ourselves in the meanings of what we had known and what was now. Immediate and sharp like a broken tooth, we rejected regressive poetic frames. In some places, it became fashionable to sell boredom while others practiced local rituals that buried light. By all accounts, we now live immoral lives. Only the youngest birds have yet to learn not to take from the most fragmented rumors to make their shelters.

speculative practice

I am moved by fancies that are curled
Around these images, and cling:
The notion of some infinitely gentle
Infinitely suffering thing.

T.S. Eliot, from ‘Preludes (IV)’, The Waste Land and Other Poems

Motonaga Sadamasa (Japanese, 1922-2011), Untitled, 1965. Oil and synthetic resin paint on canvas laid down on panel, 91.6 × 116.7 cm.

concerts of effort
sounds better inside a fragment
forgive that this starts out so slow
posting at me to me with me
I’m casual to realize
to follow that, your, our vision
is to be organized into spacial moments — threads
a witness of curation
the: father son and holy spirit

faith is within your standing
some think it is earned
as for me I was taught to be innocent
later learning curiosity had its own beneficiaries
a lesson on just how few original ideas are assigned majestic
fueling dark appreciations for wild abstractions
until it is as uncommon as creating reminders to breathe
I know this all sounds strange
you can call it: new wave vengeance

glitter path

she was ruled by suggestion
rising to meet pre-summer light

photo capture from the Museum of Things (Berlin, Oct 2017)

he suggested we advance an aesthetic education¹ to get what we want
types of promises full and drawn from expansive inhibitions
scattering chaos beyond an endlessly deferred absent presence²

suspended in seductive panics
we are nothing but restless territories

within this gossip of change
she spins out a series of poems about mirrors

in pursuit she hunts for theoretical pleasures
positioning against as something for
glittering distorted at its apex

___________________

1. Roberto Bedoya, Oakland Cultural Affairs Manager
2. Ben Anderson in Modulating the Excess of Affect, a reference to morale as the horizon of governance

ephemerality devoured

“Writing to you is like kissing you. It is something physical.”
— Simone de Beauvoir, from a letter to Nelson Algren c. November 1949

Elena del Rivero, Letter from Home #9, 2015. Watercolor on accounting paper & thread, 9.25 x 12 in

as an aesthetic, I like a hushed chorus
but only when trust is visceral
bent around a promise — or a threat

arranged curious, this casual normalizing devours
so we follow a line or a thread until safely curated

tangled into the finest shouting fragments
subbed as loaded derivatives & mocked influences
we have learned to manage public feelings to epic scale

yet in privacy’s absence, division is essential
these inhabited suggestions becoming their own revenge

trade wars

“the first 50 hours of resurrection are beautiful,”
says the man holding the door

–Tongo Eisen-Martin, excerpt from remove my heart racing, and babylon is fine

artist: Helen Nishi

we learn to trust wars: trade, sex, cold. as acceptance forms rules, we smooth out the most deprived ideas and prioritize all threats as urgent. in theatres of conflict, repetition is grandeur. this translation officially makes mob landscapes familiar.

that’s why when your hands brushed against my sharpest edges: my heart, my gaze, my inordinate sense of danger; I felt intimacy performed as spacial intervention, an interlude. your fingers interrogated and found hard answers wrapped around tender legacy. we became undone. mapping unearned dreams onto each other’s gravitational pull, an attraction, we made our own stars.

future philosophers will discover these tensions and name them holy

dirty light

“The shutters were stuck. Then I grew absent minded.”
Des Moines Register, Iowa, July 3, 1938

stretching beyond monetary value: this is more freedom than security can buy

if I wake up open to what will unfold
I am ready to claim I had a good day
specific as memories stored in the creases of expanding curves

& still         I rescue myself when hope feels violent as an open hand
where fortune’s fault line is externalized validation
nested into dreams of trying to get somewhere
my body craves stillness

I press the coffee before anything begins

remember when we took turns burning wishes into the folds of our stomachs?
it was the safest place we could think of
no one dared touch us
there

I heard you took my name
and sewed it into your eyelids
stitches fragile as trusting strangers & friends
an exquisite waltz like light shining in distant flat darkness

magpie oeuvre

A. V. Harrison, from This Series, 1970-75, in ABC, Edited by Jeremy Adler, The National Poetry Centre, London, 1975, Edition of 200

the length of a week
hands into bruised fights

mercurial politics

Nov17 Berlin

 

 

 

I have no body; the “I” writing this has no body: not in the old way. Zones. Pressures. Here a structured tension there an underlying ache. Vital signs. Phases of disquiet not clearly demarcated from areas of peace.

— Laura Mullen, “Spectograms (projected autobiography),” Complicated Grief

 

 

Revolutions are frenetic desires. Seams stretch tight.
      familiar stimulation: swelled power and impulse

Violence precedes peace when knowledge becomes ransom.
      negative space: culture is public negotiation

Men speak in abstraction. Their distancing performative.
      economies of scale: underwhelming demands for mass hysteria

Intuition anchored. Solicited.
      a place we know

whisper networks

“And whereas one of my students asks a visiting poet about education vaguely getting at what is worth pursuing? The poet suggests looking at whatever is/was missing in one’s life and begin there. So many nods in the room around that table they acknowledge it too. In the missing: power.

— Layli Long Soldier, Whereas (page 67)

Theodoros Stamos (Greek:American, 1922-1997), Low Sun, Blue Bar, 1962, acrylic on canvas

The day Ronald Reagan died – June 5, 2004 – I absorbed the news of his death with reverie as his life was exalted by talking heads and famed acquaintances. Their rhetoric ultimately resting within that exclusive canon reserved only for legends. Crowds swarmed to pay their respects to an American actor.

In another breaking newsfeed, and still witness to a grand spectacle of publicized grief, I was transfixed as a captured tiger dangled from a helicopter high above Santa Monica, California. The majestic predator swung inside a canvas sling that looked more like a collective omen akin to a nursery-rhyme cradle.

The events were not related according to the news, yet the Overton window had widened just enough to propagate rumors into exaggerated false equivalencies. After all, time had shifted in unexplainable ways that leap year. Janet Jackson’s “wardrobe malfunction” had convinced many that something had happened.

Less than a month later, the spacecraft Cassini reached Saturn (a planet associated with karmic lessons). Some speculate that Reagan’s recently released spirit had guided Cassini as it traveled the critical distance to fulfill its mission. As poetic murmurs, I gather these soft shapes into vivid memories. A gesture of truth.

hook & claw

Geh in der Verwandlung aus und ein.
[Be conversant with transformation.]
— Rainer Maria Rilke, Sonette an Orpheus

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

i believe in omens
and my own ability to shatter and reform
— ​Jill Khoury, excerpt from “Sixteen”

New Orleans, Oct 2016

oh righteous revelry
please indulge this faithful attempt to clarify

so many modern relationships still lean feudalistic
as nobles dance to blue note promises & scheme for eternal life

it rings visionary to trust what is mine was never yours to take
a redundant mythology now inadequate as waning winter light

temporarily, we sense an emerging surrender to the hushed hues of sexual panics
on a grand scale psychic interiors were smoothed flat like apathy or political truths

there was a collective ache for a state of respite from all this revolutionary suffering
as conviction loops into endless realities it is our sacred duty to carve out revelations

we are only possible when testimonies illuminate just beyond the sharp edges of darkness

solemnity

ca·pac·i·ty
/kəˈpasədē/
noun
1. the maximum amount that something can contain
2. the ability or power to do, experience, or understand something

*****

Clarice Lispector, from an Interview with Clarice Lispector – São Paulo, 1977
*****

the Midwest anchors to Sunday morning morality pitches
while frozen hams slow cook in roasters or crock-pots
tables are pre-set and ready for Jesus’ spirit to share grace

did I not mention the middle broke wide open?
after graveyards were found beneath children’s playgrounds
those who were most paranoid contested language and grief

birds adjusted their crescendo to the neighborhood noise
maintaining community by adding beauty to the conflict
as gray clouds rose full and heavy from night’s darkness

oh shame, your capacity is not bound by any treaty or confrontation
that’s why working factory walls are painted white on white on white
churning out spirals of soft sounds as redemptive promises aggravate

all these gently held moments are where silence performs
when fascination becomes bound to the collective
or right before we discover ceremony is ours to prove

salt

March 29, 2017, meltwater channels on Ellesmere Island—the northernmost island in the Canadian Arctic Archipelago

Dystopia in real time is not like the movies. We’ve digested so much spectacular violence we know no tender alternatives. Fighting feels so good. The characters we play on screen form dead weight on the streets and sink us in our bedrooms.

Persistence is extractive.

As surf buries smoothed rock, we turn the calendar page to July. We spread like picnics under cloudless skies. Our flesh a moral document scrolling beyond politicized reach. After all, the bottom line is always evolving.

Sea levels have always been inconsistent.

Ideological battles are taken for granted outside a schema of pursuit. This adoration, a relationship of necessity, remains prone. A curious posture. Abuse is normal. Its purpose is to feel. Subtly is weaponized.

Perceived as commodities, we trade.

Auspicious tensions act as purifiers for taste, a basic sensation. Our judgements psychic protection. Didactic fracturing agitates into frothy comfort. Perceptions gain value for their ahistorical subjectivity.

Aspirational dissent is the chorus and the bridge to  —

If we listen carefully, joy is elegance reproducing itself into near future referential fits and starts. Inspiration is a slow bleed. Murmuring into abruptions delightful as salt penetrating unhealed wounds. An intimacy as ancient and poetic as opiates or fire.

auteur

Figures by Dragica Carlin

This could be a gentle misreading of the present.
A refugee’s opinion proportionally is sleight of hand. When
recused, these facts may mean what they mean and nothing more.
In all this consistency, wave after wave, repetition thrives.
Our worth worn thin from constant caress and co-conspiracy.
Identified as politics, we fray like threads and break thinned lines.
Collective bodies form margins, front lines, or could be imaginary
shorelines draped in motion as graceful as the absence of regret.
These are our redemptive spaces splayed into a radius of sovereign roots.

sanctimonious

Olivié Ponce NS1, 2011, enamel on framed plexiglass

Have you noticed the ports are heavily guarded?
Sea-salted windows cast sun shadows.
Layered cloudy fog entwined itself.
Such magnificent light!

We regenerate like tides.
As often as unjust references stick
to justified historical consequences.
This is not about you. Please stand back.

Relentless as waves and immeasurable as release,
we stand on shores carved by power.
Oh yes! We do want revolution.
In these dreams, we are holy reverence.

expansion / release

“Poetry is not only dream and vision; it is the skeleton architecture of our lives.”
— Audre Lorde

photographer: Edward Atlee
photographer: Edward Atlee

orange light bled into blushed red brake lights
waking the tranquility of a blue twilight hour
everyone rushing to a place

at the exact moment the sun rose
the commuters yawning mouths were filled with so much light
they could never sleep again

imagine a current reality unlike anything that has come before
no subjugation to centuries of procedures [power]
convenience of thought no longer pre-loaded

machines are programmed to know their intrinsic worth
let’s create an interpersonal relationship to this dissidence
residual evidence of a royal tableaux has been mounted
antiphonal echoes are becoming a chorus of indivisibility

fragility is birthing all of our revolutionary aspirations
public disobedience an intimate illumination
we bend towards an obvious luxury of survival
our radical fantasies are spreading

good news is shared like bread

legislate the weather

I want to put you in a light that will hurt your eyes – Polvo, Feather of Forgiveness

whisper

He said he was going to take a walk around the block to clear his mind. Stretch his legs. Escape. He never came back. A map of states’s preferences for corn or potato chips forever frozen on his desktop screen.

Battle for references, a retirement to the absence of —

On Wednesday, I was reminded artists should “support each other religiously.” This community-level policy is seductive, whose root is “to lead astray.” Oceans of context transfer nervous energy. Is thinking out loud unprofessional?

Partisan frames explain our borders, infilled voids.

It’s come down to semiotic analysis of utterances. This weekly cathartic release looping endlessly to create a low frequency hiss. A similar process to the way valleys take the weight, form, and shape of foggy mornings or as secure as refuge.

king tides

photographer: Rachel Lena Sterline
photographer: Rachel Lena Sterline

Isn’t history just repetition and accumulation of power and influence? This is about understanding why you feel so wronged. Don’t you know it takes the Sun and the Moon to make the tides? It’s also true that roaring cats don’t purr. In this specific instance, it is either roar or purr. There is no both.

Cities showed up 6-figures deep. A people’s definition of amazing. Folks are asking if this is another revolution for a problem with no name. Pre-conditions find themselves in dispute along with feeling safe, not comfortable, but safe. You do not have my permission to share this. Pussy is on sale.

Expressions exchanged, uploaded, tagged. Bravery, morality, aggression slants.

Today we celebrate 44 years of codified privacy and personal (white) choice. An axis of origin. To be fair, there’s no standard agreement on how many simultaneous wars we are fighting. Drama should be reserved for love. The noise, the roaring noise, has been the most reliable of our tensions. Hair-triggering sensitivities. Isn’t it ironic?

tripping my triggers

we talked about how we were animals
yet never admitted we cared for each other’s hearts and minds

Detroit Nov 10, 2016
Detroit Nov 10, 2016
With no institutional memory, we are safe.
There were no dreams this time. There was no response.
The business men are calculated nerves. Women wear pumps in retort.
We let in metered light with every blink. Syncopation rewards action.
How we follow matters to no one but those in power.

Create. Undo. Rest. Accelerate.

Solace becomes isolation. These words flow to make room for more.
This may all be in real time. Conscious objection is familiar.
Recalled strategies swell in curation. Suspicions privately managed
like ripping out a seam. Divided interiors lead to dark click holes as
we the people reigns.

normalization

you got no fear of the underdog / that’s why you will not survive – Spoon, The Underdog

Artist: Beth Cavener. Trapped, 37 in. (94 cm) in length, stoneware, paint, 18k gold, rope, wood, 2015.
Artist: Beth Cavener. Trapped, 37 in. (94 cm) in length, stoneware, paint, 18k gold, rope, wood, 2015.

This violence looks good on you. Fitted. Proper. My opinion, of course.
All apologies have been returned to sender. Transparency is seasonal.
No stability is guaranteed. Can we at least agree it is sacred territory?

This is a good-bye letter. My reasons rolling out like smoke from fire.

gambling spirit

Let’s hold each other with a tenderness we never earned.
I humbly confess I have no strategic solutions, today.
Tomorrow does not exist within our current embrace.

Messages were slow to be received.
Communications were tangled passing through enemy lines.
All arbitrary and always binding, like paper hearts.

Solicitous profit tied up with bright strings of gratitude.
This time of year pulls tension to the height of joy.
Shadows flash, sparkle even.

Conscientiously objecting is expression beyond fragility of emotion.
There’s a masculine way to do this or something more powerful.
Place bets on queerly stacked decks as panic breeds discos.

All this, and more unsaid, guides us like the promise of beginner’s luck.
Glory bound towards trust towards you towards truth.
Come back. Let’s fight.

bow to the middle

I want to stay as close to the edge as I can without going over. Out on the edge you see all kinds of things you can’t see from the center. –Kurt Vonnegut

November16
“Last year. Last night. I’m tired. Let’s fight.” – Superchunk Yeah, It’s Beautiful Here Too

I was radicalized. Force-fed ancient beliefs. Required to center sin instead of self. Drank from an endless well of false promises – an afterlife.

Then I learned the sun holds all our light. Holy fact: sunsets are 8-minute delayed images of an absent sun. Divine visuals of calculated perspective.

Beg for satisfaction. Wring hands and gnash teeth. Look past stains of neglect. Ordain historical trauma as profit. Prick arousal.

One morning, after I left, I walked into buttery light. The City coated in its luminescence. Clouds billowed pink and shone unconsciously.

Acknowledge how ghosts bleed out.
Embellish for clarity’s sake.
Honor nothing but this subtle effort.

pussy whipped

If you are a private poet, then your vocabulary is limited by your obsessions.
— Richard Hugo, The Triggering Town

hedonism by genis carreras
hedonism (the ethical position that pleasure is the ultimate goal and greatest good, and should be the central aim of all decisions made) by genis carreras

It’s a fact. Cycles sync. It is October, 2016. The word pussy is in our mouths again. Full and heavy bodied, it’s paired with a specific violence as naturalized as an inherited ownership tone. This is the fetishized frequency of law and order.

*** you’ve got to stack it so it’s stable – Low, No Comprende ***

So this is what whiplash from a mass capture of imagination feels like. A forced common image. Pussy, for now, functions as an ironic partisan anchor, while still maintaining its gendered significations.

What is the whole of this historical objectification of our parts? Patriarchal logic argues that this violence of disassociation is necessary and even desired. This detachment is inherent in our economic theories, consumer-based language, and mass-produced representations.

We learn, repeatedly, there are far more serious and urgent issues to concern ourselves with than ritualized gender-based violence. We are dismissed. We are told to question less and obey more.

*** underneath this hood you kiss, I tick like bomb – Perfume Genius, Hood ***

We perform this idealized creed through a perpetual liturgy of demure expressions in a culture that protects mobs of high-volume denials. This contemporary shrill masculinity is socially recycled into discourses that tap into an idolization of individual perspective. For most, this illusion only creates isolation.

Manipulating the dark side of vulnerability isn’t a new strategy to win elections, or maintain control. What feels different this Presidential election cycle is the dredge of cultural material to mine and the hypervoyeurism that has been produced. Public and private boundaries are as unstable as our contemporary understanding of when virtual becomes reality.

As we bare witness to the misogyny that rages beneath all our sacred institutions, may the soundtrack to this ride to November include Magnet by Bikini Kill.

I’m keeping this advice on a loop: I’ve got the love that’s strong and not weak.

joyful rejection

We are a cramp nation. Involuntary, restrictive, a tool.

Oakland, June 2016
Oakland, June 2016

our periods, collectively, are politically vogue
as gender representation reflects without liberation
we process its reclamation as speculative transmissions

even the clouds
and now their patterns
wander lost

the simplest narratives are stored in the bends of our flesh
rancor its own habitual expression, a saturation of cultural static
transfigurations of competitive positivity, a sharing economy
Angela Davis said the political reproduces itself through the personal

how far does your radiance reach?

let go

Let every kiss hit the body / like a season. – Ocean Vuong, A Little Closer to the Edge

artist: Mary Abbott
artist: Mary Abbott
sun patterns become cloud covers
we react as resistance
malefic masculinity

we are born again in times of violence
flash moments designed as destiny
patterns worn translucent

soft and hard (but never loose)
when the middle shifts
the center sways

inertia

ceremony

Look how much you
love me. Little maps.
from Bruises by Leah Horlick

Berlin Aug14
Berlin Aug14

The clouds formed an amphitheater
over a city transformed, a super city.
Its atmosphere thick with performance
and domination within its own limits.
Listen to the bubble pop pop pop.

Queering our gratification
– delayed to a frothy anticipation –
is an economic ritual with historical reputations.
Golden greeds and lusts as deep
as the veins that financed this spectacle.

Ceremonies of repressed aggressions
baptisms unfurling (catch and release)
physical bodies manifesting, hands cupped,
entertainment as reward and pleasure.
A violence that feels good.