The Clerk’s Tale, by Spencer Reece

I am thirty-three and working in an expensive clothier,
selling suits to men I call “Sir.”
These men are muscled, groomed and cropped—
with wives and families that grow exponentially.
Mostly I talk of rep ties and bow ties,
of full-Windsor knots and half-Windsor knots,
of tattersall, French cuff, and English spread collars,
of foulards, neats, and internationals,
of pincord, houndstooth, nailhead, and sharkskin.
I often wear a blue pin-striped suit.
My hair recedes and is going gray at the temples.
On my cheeks there are a few pimples.
For my terrible eyesight, horn-rimmed spectacles.
One of my fellow-workers is an old homosexual
who works hard and wears bracelets with jewels.
No one can rival his commission checks.
On his break he smokes a Benson & Hedges cigarette,
puffing expectantly as a Hollywood starlet.
He has carefully applied a layer of Clinique bronzer
to enhance the tan on his face and neck.
His hair is gone except for a few strands
which are combed across his scalp.
He examines his manicured lacquered nails.
I admire his studied attention to details:
his tie stuck to his shirt with masking tape,
his teeth capped, his breath mint in place.
The old homosexual and I laugh in the back
over a coarse joke involving an octopus.
Our banter is staccato, staged and close
like those “Spanish Dances” by Granados.
I sometimes feel we are in a musical—
gossiping backstage between our numbers.
He drags deeply on his cigarette.
Most of his life is over.
Often he refers to himself as “an old faggot.”
He does this bemusedly, yet timidly.
I know why he does this.
He does this because his acceptance is finally complete—
and complete acceptance is always
bittersweet. Our hours are long. Our backs bent.
We are more gracious than English royalty.
We dart amongst the aisles tall as hedgerows.
Watch us face into the merchandise.
How we set up and take apart mannequins
as if we were performing autopsies.
A naked body, without pretense, is of no use.
It grows late.
I hear the front metal gate close down.
We begin folding the ties correctly according to color.
The shirts—Oxfords, broadcloths, pinpoints—
must be sized, stacked, or rehashed.
The old homosexual removes his right shoe,
allowing his gigantic bunion to swell.
There is the sound of cash being counted—
coins clinking, bills swishing, numbers whispered—
One, two, three, four, five, six, seven. . .
We are changed when the transactions are done—
older, dirtier, dwarfed.
A few late customers gawk in at us.
We say nothing. Our silence will not be breached.
The lights go off, one by one—
the dressing room lights, the mirror lights.
Then it is very late. How late? Eleven?
We move to the gate. It goes up.
The gate’s grating checkers our cheeks.
This is the Mall of America.
The light is bright and artificial,
yet not dissimilar to that found in a Gothic cathedral.
You must travel down the long hallways to the exits
before you encounter natural light.
One final formality: the manager checks out bags.
The old homosexual reaches into his over-the-shoulder leather bag—
the one he bought on his European travels
with his companion of many years.
He finds a stick of lip balm and applies it to his lips
liberally, as if shellacking them.
Then he inserts one last breath mint
and offers one to me. The gesture is fraternal
and occurs between us many times.
At last, we bid each other good night.
I watch him fade into the many-tiered parking lot,
where the thousands of cars have come
and are now gone. This is how our day ends.
This is how our day always ends.
Sometimes snow falls like rice.
See us take to our dimly lit exits,
disappearing into the cities of Minneapolis and St. Paul;
Minneapolis is sleek and St. Paul,
named after the man who had to be shown,
is smaller, older, and somewhat withdrawn.
Behind us, the moon pauses over the vast egg-like dome of the mall.
See us loosening our ties among you.
We are alone.
There is no longer any need to express ourselves.

Advertisements

A Portrait of the Artist as a Freemason, by Jascha Kessler

Where the heart was, a domestic chasm, an abyss bridged by snow
As France, once great, collapsed into tourism and poetry
Behind the sublimity, obscene

Unable to command even the words useful to propose toasts
Having filled space beneath the zodiac with debris
And found the moon in its rounds merely vague

This is the town he has chosen to live out his time in:

A DELUXE BODY & FENDER SHOP
BUILDING SUPPLIES
DRUGS
FUNERAL SERVICES
FLORIST
HARDWARE
INSURANCE & REAL ESTATE
MEATS & GROCERIES in emergencies call THE OPERATOR (dial zero)

He conforms to everything
He worships pleasantly
He tinkers endlessly with mixed drinks
He reneges on the Revolution, though it tore him from his chains
He tolerates melioratives
He addresses queries to psychiatrists who answer in
newspaper columns
He deplores the inhumanity of the avant/garde
He praises fools, and suffers them gladly
He preserves himself out of perversity, and perseveres

And in secret, at odd moments, he makes metaphors of royalty
Self piteously beginning Petrarchan sonnets thus:

After the Coronation
Forthright, busy Fortinbras summoned me,
Courteous, condoled a little, and then,
Snapping for his secretary, took pen
And signed me out ofhis drumming country…

Surmising that force brings no apples from the bare branch
Like a dark prophet in a wilderness of bright people
Full of exotic necessities
Or like a rational Messiah
Sojourning with brutes, sweet boys and hairy girls,
He busies himself studying the culture of perfume advertisements

3 Men: Portraits Without the Human Figure, by Deena Linnett

Hotel-casino: lights flash, crowds tread
patterned carpets hoping for a turn
in fortune. Despite the ardent wishes
of the women you have left you are not dead.
You’re good at lively passing things
that happen here: at restaurants, in bed,
at tables tossing dice and cards. That smudge
at bottom right stands in for me, as you plunge
breathless into chance as into women, risk
like drink obliterating everything.

Studio: smells of linseed oil and turpentine. Brushes,
palette knives, mixing-sticks; bottles, jars, tubes. Paint
in daubs and gobs and smears and dots and slashes.
You left the window open and everything stained.

Greenhouse. Beneath little panes pocked
by time and dotted with mold and lichen, rot,
a riot of tropical effulgence, small framed portion
of the endlessness. Spiky plants blossom
like ideas; light glances off the glass and gleams
on the permanent hunger, steams. Everything
blooms or is green. You shrug into your coat.

Oklahoma City: The Aftermath, by Ira Sadoff

Sometimes I’m so lachrymose I forget I was there
with my darling—I call her my darling to make her
more anonymous, so she can’t take up all the space
in my brain. But please, can I continue, or must I

look away from such openness, those spools of light
bringing red and fine threads of silver to her brunette hair?
Or is she an instant, a car ride, a little post-it, last month’s
no particular town? Can we shine a little first? First

there was a dust storm that made everyone invisible,
then a thunderstorm where each drop of rain painted a ringlet
on the road like haze around the moon. I’d already
deserted what crumbled there. The mind loves blackouts

more than those dusty bins of grain at the general store,
or the little hand-shovel you’d use to fill muslin sacks
with feed for animals you’d later bring to slaughter.
Then they were cementing over the childcare center.

the shell of state offices were still standing:
buried in the rubble, well there was no rubble…
Are we all so kinetic that on the highway
we’re always communicating? We’re cacophonic,

colossally bored, it takes many simultaneous tasks
to keep our souls busy. The breeze makes the ash leaves blur,
they’re almost silver in the light, like confederate money.
Or I’m driving by the Chinese Pistache, the lacebark elm,

brushing my teeth, taking notes for a morning meeting:
is there no one here to calm me? I don’t remember
the whippoorwill, the leaf brown male, if I ever knew one.
I can’t decide how this parallels our current situation:

So I take a few minutes’ cigarette to see how this
razes all of us. Have you ever been lax, insufficient, prolix?
Weren’t you ever particularly sorry? This may be entirely
personal, but once I was driven, exemplar, sheltered

from earthly business—now I keep burying and eclipsing,
more obscuring, suppressing with murmurs what’s under duress.

Slowly in Prayer, by Matthew Lippman

To be thankful for the Starbucks lady, Lucy,
who is pissed at me for asking too many questions
about my damn phone app
is one thing.
To be thankful for my wife plastering my face to the bathroom floor
with pancake batter
for missing the bus
is another thing.
I tried to be thankful for my eyes this morning
even though one of them is filled with puss
and the other with marigold juice.
Marigold juice is the stuff that comes from the flower
when you put it between your palms and rub, slowly in prayer,
even though nothing comes out.
It’s the imagined juice of God,
the thing you can’t see when you are not being thankful.
I try to be thankful for the lack of energy that is my laziness
and my lonely best friend with no wife and children
knowing I am as lonely as he
with one wife and two daughters.
Sometimes we travel five minutes to the pier in Red Hook
and it takes hours in our loneliness to know, in our thankfulness,
that if we held hands it’d be a quiet romance for the ages.
I’ll admit, I’m thankful for Justin Timberlake
because he’s better than Beethoven
and my friend Aaron
who lived in the woods with an axe and never used it once.
I try hard to forget love,
to abandon love,
so that one day I will actually be able to love.
Until then, I am thankful that Lucy wanted to spit in my coffee,
or imagined that she did,
and thanked her profusely
for showing me which buttons to push
and how to do it, with just the right amount of pressure,
the whole tips of all my fingers dancing like stars
through the blackness
of a mocha latte, black.

Making a Meal Out of It, by Joel Lewis

Hoboken snowtime and the big slushy
mounds are the laundry of the future,
with next-door’s mortician rating
my clumsy shoveling by shouting:
“You’d never make it as a grave digger!”

Time pulse quickens with walkers
and curb lackeys merged in the quadrille
of symbiosis. In local shop windows
they sell devices capable
of reordering speech. I pass. I have
that exile’s sense of recreation
& believe rebirth is possible
from the wreck of our common misery
& that songs are clear when sung

by heroes, but not in this epoch. Niggling
winter dreams fueled by the rhythms
of the world’s desire. This is my version.
I know the dimensions. I live by a river.

5 South 43rd Street, Floor 2, by Yolanda Wisher

Sometimes we would get hungry for the neighborhood.
Walk up the sidewalk towards Chestnut Street.
Speak to the Rev holding the light-skinned baby,
ask his son to come put a new inner tube on my bike.
Cross Ludlow, past the mailbox on the corner,
Risqué Video, Dino’s Pizza, and the Emerald Laundromat.
The fruit trucks tucked into 44th Street on the left,
house eyes shut with boards, fringes of children.
Once we went into a store sunk into the street,
owned by a Cambodian woman. She sold everything,
from evening gowns to soup. Over to Walnut and 45th,
where the Muslim cat sells this chicken wrapped in pita,
draped in cucumber sauce. The pregnant woman
behind the counter writes our order out in Arabic.
We grab a juice from the freezer, some chips,
eye the bean and sweet potato pies.

Back into the hot breath of West Philly, sun is setting.
The sky is smeared squash, tangerines in a glaze.
Three girls and one boy jump doubledutch. A white man
hustles from the video store with a black plastic bag.
We look for money in the street, steal flowers
from the church lawn. The shit stain from the wino
is still on our step. Mr. Jim is washing a car for cash.
John is cleaning his rims to Buju Banton.
Noel is talking sweetly to the big blue-eyed woman.
Linda, on her way to the restaurant. The sister
in the wheelchair buzzes by with her headphones on.

One night, a man was shot and killed on this block,
right outside our thick wood door. But not today.
Today is one of those days to come home from walking
in the world, leave the windows open, start a pot of
black beans. Smoke some Alice Coltrane. Cut up
some fruit, toenails. Hold on to the moment
as if time is taking your blood pressure.