I wanted to communicate in concrete images and also create a shift in speed towards the end of the poem.
Parked at the top of the hill in a copse of square
brick houses under nightfall, we exit the car and
walk ten feet to where the hill dips low, street
sinking beneath us.
I’ve had four drinks and I’m giddy – maybe more
endorphins than ethanol. I try to keep from skipping and
losing my balance while you adjust my camera, holding your
phone with the off hand for extra light.
I’ve been looking at albums from the sixties lately – my
grandfathers with their giant photobox cameras, posing their
wives in sundresses and S-curve hair at every tourist stop
for future slideshows.
It’s not expectation, just a moment of seeing photos inside-out.
She makes awkward faces beautiful. He puts the warmth in her eyes.
Punchdrunk –– I feel like falling off the earth.
I prop one leg behind me. Face you and the camera.
Let it out. Break a smile. The world’s on fire.
City lights envelop me.
We shine brighter.
1 comment:
I love that you had some solid, real images on this. I often just default to ethereal vacuous images in my poetry. I just chalk it off to it being my style but in poetry class in college the prof always grilled me about it haha. Maybe I'll try to be less abstract some time :P Good on ya for putting work into your stuff. :)
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