Prescript: I've affixed the picture of Natalie Wood to this post because it's her "fine performance of Bolero" in the film Splendor in the Grass which appears in Apparition Poem 1647; a hinge to the Madame Psychosis section of Beams.
She told me I love boy/girl poems, love
scenes in them based on a deep degeneracy
inherited from too much heat around my
genitals, as manifest in tangents I could only
see if I was getting laid. She told me this as
I was getting laid in such a way that any notion
of telling was subsumed in an ass as stately as
a mansion, which I filled with the liquid
cobwebs of my imagination. There was grass
outside being smoked in a car in which another
boy/girl scenario played out in a brunette giving
a fine performance of Bolero in her movements,
and I immediately flashed back to the deep
genitals of my first girlfriend and the way she
used to implore God’s help at certain moments,
who was certainly watching this. That’s it, that’s
the whole spiel I have on boy/girl poems and
why they are hated by the dry dunces who love them.
steps up to my flat, on
which we sat, tongues
flailed like fins, on sea
of you, not me, but we
thought (or I thought)
there'd be reprieve in
between yours, for us
to combine, you were
terribly vicious, this is
our end (here, amidst
I and I), does she even
remember this, obscure
island, lost in Atlantis?
Philosophy says that poets want to lose.
What are conditions of losing: to whom?
The conditions (to whom they concern, to
unrepresented phantoms, mostly) are colors,
which, to transcribe, require a solid core of
nebulous necromancy which philosophy calls
(for its own poetic reasons) "loss." I took this
from one strictly (which necessitated looseness
towards me) for himself, took several median
blended colors and painted a razor on the roof
of a red building. Then I fell off. But I lived.