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Watches myself from that dislocated place above and behind my own shoulder, mirrors everywhere so there is never a doubt whose ass it is that's been placed out on the firing line. Go-to-Girl steps in, cleans the mess, picks up the clothes, sweeps and gets a repair kit to "fix it all up". The one below from where I fly lifts her shoulders and sighs. This film is on a loop which never melts; never that clattering catch of sprockets, never orange and black smoking bubbles. She stoops and lifts and rescues yet another tear-filled victim, pulls them up, hugs and kisses. "I know"s "Yes it does"s and "It never gets better but it will be forgotten with luck" echo and dance in refrains. That pretty thing below has done this all before.
The list of sufferers, those who lack some object of necessity hinted at, pouted over; the list is a rival to Saint Peter's but not to Satan's. There is some aspect of being the short tough one, the defender, the one who argues the most ardently but never leads. In the mirrors I check her face, I scrutinize her breast; is there some other letter than 'A' that signifies what she does? Perhaps because of my involvement it's invisible, perhaps from here above, it remains unseen.
She's the one that the boys used to go to, when that desired date wasn't available; the one that would let them fondle without objection. She's the one that so much later, became the punch line, the punch bag, the punchy one when just a little drunk. She's the one the girls would whisper about, avoid in public and then spread for in dark party corners with her gloss left on parts so tender.
What of me? I never fled, I never shouted guilt and anger while in dissociated flight above and behind her. That's not me, I'll drop in later when some other role takes need; when pleasing yields to pressure and she takes a breather. I'll put the dust bin out beside the curb, with the body parts carefully concealed. I'm the one with the well-oiled wood chipper. I'm the one who feeds.
© Amanda 2012
9.23.2012
Narrowed in fogged rainy concentration, grey glows in hunger
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The list of sufferers, those who lack some object of necessity hinted at, pouted over; the list is a rival to Saint Peter's but not to Satan's. There is some aspect of being the short tough one, the defender, the one who argues the most ardently but never leads. In the mirrors I check her face, I scrutinize her breast; is there some other letter than 'A' that signifies what she does? Perhaps because of my involvement it's invisible, perhaps from here above, it remains unseen.
She's the one that the boys used to go to, when that desired date wasn't available; the one that would let them fondle without objection. She's the one that so much later, became the punch line, the punch bag, the punchy one when just a little drunk. She's the one the girls would whisper about, avoid in public and then spread for in dark party corners with her gloss left on parts so tender.
What of me? I never fled, I never shouted guilt and anger while in dissociated flight above and behind her. That's not me, I'll drop in later when some other role takes need; when pleasing yields to pressure and she takes a breather. I'll put the dust bin out beside the curb, with the body parts carefully concealed. I'm the one with the well-oiled wood chipper. I'm the one who feeds.
© Amanda 2012
9.23.2012
Narrowed in fogged rainy concentration, grey glows in hunger
:thumb328378623: :thumb328067598:
:thumb328445200:
Mature Content
.April ending.
.April ending.
Twitter™ is also like this, her search through detritus layers of life; linear in procedure. Time as lines, the TL: a wanted sequence for us to cling to even knowing the quantum cosmology of particle and wave mechanics. Twitter does not randomly present us. Neglecting even the theme sequence groupings which is a more likely portrayal of our natures.
It is left to us to paint our own contrails.
Across her words lay themes, not necessarily unique or original, but hers. An underlying hum of message machinery, not to be heard but sensed, felt.
The longing for the extraneous 'power' to which we cling, adhere, our desire fo
. backgrounds .
. backgrounds .
eat me play me
.
"And it feels as though God has abandoned you … in a stark place."
-A. Christie-
.
.
An arrangement of pieces, choreography of accidental encounters each of which denied them a presence or indicated any possible progress.
.
I do not command, I obtain.
.
She'd belittled the Plath of me, that small measure which i yet adored; that then, became a tipping point in our conjectured inevitability.
.
in crush
you lick
the soil soul of
my backgrounds
.
I'll make you quiet.
.
slicing through the young
smiling
alcohol ghost
.
I'll make you run.
.
driv
.upon surrender.
.upon surrender.
.
... only she knows ...
.
The art of losing isn’t hard to master;
so many things seem filled with the intent
to be lost that their loss is no disaster.
E.Bishop
.
i sang
.
touch stones without remark tumbled
one after another
pathway footsteps
unnoted
one
after
another
no clack of disapprovals shed
one after another
creek bed’s
surrender
ocean’s
slickened
staid
.
as though i were an insult though they never spat me out
as though i were a crime they'd committed in dead of night
as though i were several different outfits now out
.last love.
.last love.
.
Why?
because i want to see beautiful things
think beautiful things
dream beautiful things
.
.
Oh they're running t'old steam engine tour train through t'valley today. God i wish i was having coal smoke and burning cinders blowin in my face. *picturing the screaming flaming tourists beating each other*
Fuck me with a jackhammer humans ARE the funniest damn creatures. Mom to six year old child "Hurry honey get that pretty summer frock on, we've got to catch the open air tour train!" Two hours later the scorched-hair tour family clambers offa the Old Timey tour train ... "Now wasn't THAT fun!"
And you know what REALLY ma
© 2012 - 2024 Amanda-Graham
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Thank you kindly.