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MARIE CARTIER
Me and the Big Dic Trip
My brain is LAX rush hour flight control un-patterned. Thoughts landing: separate runways. The last sip of coffee, heat of hidden bathroom cigarette, Stewardess crisp, "Fasten your seat belt." Landing finally - rough as silk. I focus on one thought: Muriel Rukeyser's poem, "White Space White Space Poem," I first read at a diner off the freeway in Indiana, my favorite line, "something like light stands up and is alive." I knew I wanted her then, that white space so open, to taste the landing sweet as sandpaper salty as Friday's working class paycheck. I wanted Poetry - all of her virgin whore - whose legs I would spread so wide pussy willow that bent me sweet to submit to the rhyme inside the big dic I caressed plunged my hands). deep into her tight edge "A" though "Z." "Lets fuck, you sexy motherfucker," crackled through the section headers, the slippery syllables shook free from "S." The big dic packed with no pretense - she would fuck me every night. I am Lover, midnight licks my finger to touch low at the back forcing her pages slow. This could go on hard. Blow. Kisses. Lover may be in danger of falling so deep in the dominant "T's" she will wake up somewhere in "V," well known as little known - a dangerous 'hood. Lover can only whisper now, mute language outside of dic, "Voulez-vous couchez avec moi c'est soire?" "V" winks a heavily lashed and lined eye. Deep in the dic the silence between words can be seductive as a shooting star: Look at me. Make a wish. Lover falls through into "W," 4 a.m., 5 a.m., until in "Y" she finally can trace a kite of light just bright enough against the night I slipped through "Z." Back in flight control. Fastened my bra and adjusted my skirt. Announced: Runway clear. Next thought: Landing


With thanks to Jim Simmerman's, "Twenty Little Poetry Projects" -MARIE CARTIER
Copyright 2006, all rights revert to the poet.
  



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TERRY WOLVERTON
Emergency Poncho
My neighbor leaves her TV on all night. Jingles and laugh track, murmured dialogue seep through my open window as I lie sleepless at three a.m., mingle with songs of night birds, low hum of nearby freeway, long strip of whispered sound. I am naked on green sheets. My neighbor Gloria is eighty-four this year; she too lives alone. Still-brown hair piles in a loose chignon. Each afternoon she backs her Bonneville down the drive, aims perilously at the street, steers ten blocks to the Tam O'Shanter, where she drinks Manhattans until evening, then returns. Sometimes I find her car door slung wide, forgotten, tolling its tiny chime, headlights beaming at the blank-faced garage. In winter she brings me lemons from her tree. But it's July now, a strange July bringing rain that floods deserts, hailstorms in hundred degree heat. The 'Emergency Poncho' you bought me stays folded in neat ziploc case, no bigger than my palm. Clear plastic tent, hooded but revealing, no real insurance against sudden deluge. Part of your care package for my trip to Italy, along with disposable toothbrush, bristles already minty with paste; a can of chipotle; a sheer lace camisole the color of bruised cherries. You laughed hardest about the poncho. 'In case it rains,' you grinned, then kissed me breathless. The sun was glorious in Italy. I ran up a five hundred dollar phone bill to bring you the taste of cherries in Rome, papery skin of red poppies, warmth of the Mediterranean, rich scent of flower petals strewn on medieval streets. I calculated time zones, set my alarm to call before you slept, always wore that lace camisole to talk to you. Had someone asked then, I'd have sworn you were shelter; because of you I'd stopped sleeping with a knife under my pillow, blade honed to ward off dreams. But that was another season. Now July steals my breath. Now the theme from 'Mayberry RFD' invades my night, wraps its arms around me like a plastic shroud. Scent of rain lingers in air.

Copyright 2006, all rights reserved by the TERRY WOLVERTON

  ABOUT 'The Neighborhood'
Its strenght comes from the use of one poetic device to express multiple layers of meaning. 'LIKE an old slut' is a simile that is extended thru-out the poem. As an extended metaphor, a simile can be a comparsion for a whole stanxa. When the comparision is drawn through the entire poem, we call it a CONCEIT. It is the poet's 'conceit' that A is like B though we certainly know that B is not A, and it cannot be.

TERRY WOLVERTON

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