The bridge rumbles as I drive across,
trestles shake.
Below me is yesterday's town:
abandoned mills,
brick crumbling, machinery rusting,
the industrial revolution's terminal ward
by the slow brown river.
It's the barren heart of winter
so there's no pretense in the bare trees,
the icy sills of the boarded up union office,
the snow dusted vacant lots.
the silent white-capped scrap metal yards.
At least the hospital has a new wing
and so, it seems, does the cemetery.
The ones who used to hold down jobs
are aging.
The peeling paint of
the house I grew up in
is a different color of course.
And there's a mere trace of a garden.
Or a fence.
To be honest, memory has a hard time
with what I see before me.
I spy a woman's face in an upper window.
She is as strange to me as anything else
in this town.
But I am where the strangeness ends for her.
John Grey is an Australian poet, US resident. Recently published in Schuylkill Valley Journal, Stillwater Review and Big Muddy Review with work upcoming in Louisiana Review, Columbia Review and Spoon River Poetry Review.
He made it possible. He was formerly a fabulist.
He was faceless, but he was ugly, graceless
and he made everything disappear.
aligning
as fingers
deftly dance
on checkered
smooth plastic
disco stage
Adam’s countenance: beer cask-heavy
his eyes: glazed shallots
his smile: a split itself
Now take away the need
for moisture and the deteriorating
qualities of autumn. The veins
and stems will release as well.
Take away the release. Take
away the seasons.
When Taylor Swift was at the gym in Japan
she watched the muscled back of a man
moving up and down a heavy machine
made by other heavy machines for men.
of spontaneous human combustion,
of pictures with the Cherry Hill Mall Santa,
of a stapler after getting my wrist stuck to my teacher’s green bulletin board,
and on the tv
a drag queen
sharing her recipe
for sun tea
asks us if we want to
watch her take a break
and we take a break
Honeywell closed their Minnesota plant quietly
and the addition of warning stickers on album covers
would save the children along with D.A.R.E., Nancy
and Tipper directing the conversation, for some reason.
I read, I traveled, I, Lina, thief’s daughter, a discarded toy by the campfire
at night, my planets – burned by sparks,
burned by coincidences, in my eyelashes – stalagmites of ashes.
Because Phil Collins is for fools and old ladies.
Because the ocean’s too wide a body of water
for a commando to cross alone. Because gentlemen
never kiss and tell, and soldiers never share
their kill count. Because you teach the meaning
of words like ‘amorous’ and ‘varnish’ and ‘leave.’