In despair
I would eat the earth
Tomorrow
The big black dog
Darkens the lamp
Gone is the dark violet with flattened cheekbones
Gone is the idle star of the plains bloated with rain
The bee looks for the needle in the depths of my gaze
Noon
The pupil of my eye bursts on the riverbank
The rainbow of orgasm is reflected on the ceiling
Under your tucked knees my eye
Ossifies
In your oblique sleep
A tin greenery
Catches fire
And it's the entire orbit
That empties in my hand
Why would I not take a comma for a heart
The street is nothing more than the masturbation
Of women


La Piste Du Brouillard

De désespoir
Je mangerai la terre
Demain
Le grand chien noir
Obscurcit la lampe
Partie la violette sombre aux pommettes spatulées
Partie l'étoile oisive des plaines gonflées de mon regard
L'abeille cherche l'épingle au tréfonds de mon regard
Midi
Ma pupille éclate sur la berge
L'arc-en-ciel de l'orgasme se reflète au plafond
Sous tes genoux serrés mon oeil
S'ossifie
Dans ton sommeil oblique
Une végétation d'étain
Prend feu
Et puis c'est toute l'orbite
Qui se vide dans ma main
Pourquoi ne prendrais-je pas une virgule pour un coeur
La rue n'est que masturbation
De femme
from the book EMERALD WOUNDS / City Lights Books
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Photo of William Blake’s Laocoön
"William Blake’s Laocoön: Why the Poet's Engraving Reads Like a Protest Poster"

"A decade after etching his image of the sculpture by hand, Blake returned to the plate to add the writing that now surrounds it: dozens of phrases articulating his radical philosophy of free love, economic equality, religious syncretism, and the necessity of placing art at the service of political revolution."

via THE YALE REVIEW
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Cover of Bat City Review
What Sparks Poetry:
Nica Giromini on Language as Form

"What drew me to terza rima in particular is the tension, or rather disagreement, manufactured by its braided structure of rhymes. Because each stanza is interconnected with both the following and the former, the borders of the unit of the stanza start to fray. And a productive tension—one parallel to that of the competing units of sense of the line and the sentence—emerges between the units of sense of the stanza and of the poem (across stanzas)."
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