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WILLIAM DORESKI
On Debt
So I bought you a town house, a wide-screen TV, a chrome and brass samovar. When my credit stretched to embrace the world we eloped to Iran, Tibet, and Uzbekistan, you dragging me around the curve of the planet where no one could recognize my slack and doggy expression. The debts followed, though. Envelopes rumpled hand to hand across the continents and nailed themselves to me like Luther's theses to the Wittenberg church door. Now rumpled with wear we return from our Asian honeymoon. Creased and dog-eared, the night rustles at the window as I sort the bills by due date and count my pay stubs to convince myself we've money enough to survive another week. But as I sigh and flop at the desk you brew tea so powerful my debts almost forgive me, and the starlight peeping through windows strikes sparks to dispel the gloom of your gaze.

Copyright 2006, all rights retained by the poet

           
WILLIAM DORESKI

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These poems by WILLIAM DORESKI summarize the 'East European' issue.

'On Debt' explicitly critiques. America is to be escaped; but, America lingers with the Honeymooners (an illusion to the great 'Ralph Cranston' middle class). America is also a complex of debt - for what you or I owe directly for service rendered and the debt we owe for freedom. It is a poem about abandoning America and the impossibility of abandoning. About owing and the impossibility of erasing our debt. In a sense we are real slaves to debt, not the would-be masters of Wall Street cobbled with gold.

'Photographing a Junk Auto in the Woods' is about staying in place, a more subtle critique than 'On Debt' provides.

The lens focuses on a derelict Studebaker. Only car afficianadoes and the old remember its innovative lines, close to the ground almost hugging it and the unique pie-tin hubcaps. It is a car that speaks who Americans after the Second World War thought of themselves - innovative, common 'grounded' decency, set down at our apple pie roots, and rich (the top of the line was the 'Golden Hawk'). Once made in the United States, the Studebaker company moved lock and stock to Canada. This 'finding' in the woods suggests the underground railroad into the north and Canada; and, it suggests the slow death of the individual and of the myth of American individualism. During the 1950s we witness the growth of corporate socialism, a growth from the many ways of production more and more often toward fewer choices - it is lost of the Studebaker as metaphor for now rusting factories. The young (the model in this poem) are unaware of the lives represented by such objects humanized in retrospect - yawning, exhausted and embracing. The individual as dead in nature which is all sudsing and rusting.

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WILLIAM DORESKI
Photographing a Junk Auto in the Woods			
Burned and rusted to a turn, the Studebaker has relaxed into the forest. Birch saplings thread through the punched-out windows. Wasps have woven a nest in the springs of the roasted upholstery. The bakelite steering wheel has cracked in an attractive snakeskin pattern The hood yawns with boredom. Beneath, only the engine block remains, an iron tombstone. Every part, every wire, tube, or device, carburetor, generator, vacuum, fuel, and water pumps long gone. Posing you draped on this wreck I revel in the contrast and hope my photographs expose the essence of both your wintry post-Slavic grin and the grimace of this fifty-year-old sedan. You're enjoying this notion of art as devolution— this vehicle having exhausted its utility now embracing the role of public sculpture. But you too could achieve the stasis of art, your dental work perfected, your scruff of hair tinted a lovely Halloween orange. The light whispering through leaf-fall and sudsing of the river flatter your sleek, uncompromised figure; and as you lean into the photo you eclipse the morbid old car and warp the space-time continuum, rendering the past moot and the point of light puckered in the camera inexorable as a kiss.

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ABOUT POET WILLIAM DORESKI

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