Retard

You abuse the word.
You have never measured its weight.

You say it with a lightness
that ignores my
twenty-nine year old sister
playing with Barbie dolls
and unable to run her own bathwater
for fear she might scald the skin
off her thighs.

You say it with a lightness
that ignores my family’s celebration
when years and years of work
finally paid off and my sister learned to read
the year her brother, four years younger,
started high school.

You say it with a lightness
that ignores the woman who
would not let her daughter
be near my sister because
she thought my sister’s brain
might be contagious
and you say it with a lightness
that ignores my sister’s furrowed
brow when she overhears the word
you think she does not understand.

You say it with a lightness
that ignores every stare
my fearless sister walks under.

You say it with a lightness
that ignores the boy in my sister’s class
who bruises his temples with his fists
because he is frustrated hunting words
his tongue doesn’t understand how to form:
words like “toothpaste” and “basketball” and
“I don’t know how to tell you my body hurts.”

You say it with a lightness
that ignores the boy in my sister’s class
who dies at twenty-two because his body
was born stamped with an expiration date
sooner than yours and
you say it with a lightness
that ignores my exhausted mother
trying to tell my sister what death is.

You say it with a lightness
that ignores everything else my sister is:
her love of rocking chairs and dancing,
fleece sweaters and Mexican food;
her fear of thunderstorms
and the sound of people fighting.

You abuse the word.

You do not know better
than to disrespect its weight,
but I hope,
after years and years of work,
you too will learn.

This poem was originally published under the pen name Gabriel Gadfly.

The Bones of Neruda and a Red Pomegranate

I read on the news
that they are pulling up Pablo.
His bones, at least, and the coffin dust
and whatever else is in
the bottom of that Chilean box.

You have put on your apron
and are peeling the jewels
out of the last red pomegranate
of the season. The sun sneaks
through the window
to play gold in your hair.
You do not care about dead poets,

only the ones whose hearts
still thump beneath their ribcages,
but I tell you about Neruda’s bones
anyway. His driver says he was poisoned
and they are pulling him up to see
if you can poison the poetry
out of the marrow of a man
swallowed up by it.

I tell you this, but you are not listening,
and you pop a tiny blood aril
into your mouth, a tart-sweet gem
the taste of which you pass in a kiss.

With juice and you on my tongue,
I give up on telling you about Neruda.
You already know what poetry tastes like.

This poem was originally published under the pen name Gabriel Gadfly.

They Almost

touched. Like magnets
on a table, edged closer
and closer, but never enough
for their fields to intersect and for
their arms to seek the other’s flesh.

Almost.

Like live wires,
unclothed, held near enough
to know the existence of the other,
but too far apart for the spark
to arc from lip to lip.

Like the moment has everything
it needs: right person, right place,
but —

This poem was originally published under the pen name Gabriel Gadfly.

Plague Doctor

London, September 1665

The term “doctor” is
subject to interpretation.

Scythe-beaked, stinking crow,
black wax angel in the doorway,

doused with rose and bergamot,
you wouldn’t know a pustule

from the shiny fever coins
clinking in your pockets.

London’s contract says you’ll
cull the afflicted from the pure,

but everyone looks infected
through blood-tinted lenses,

and no one wants to peer too close
at the conductor shaking his cane

before the keening choir.
Seven thousand a week, coins or corpses,

make your money while you can:
a thick coat and a beak full of incense

won’t save you from this city’s rot.

This poem was originally published under the pen name Gabriel Gadfly.

Dust Variations

I.
I would like to be the dust,
stowing away on your fingertips,
when you pull a slender volume
of seldom-read poetry off
the oak shelves of a nearly-
vacant library.

II.
The library doesn’t need to be
nearly-vacant: it could be full
of school children, of politicians,
of artists, and I would still like
to be the dust your fingertips
glean from poetry books no
one has read, but you, since
I last read them.

III.
I would like to be the dust
on your fingertips, and your
fingertips, gliding along each
rhyming line, and each line
the poet never rhymed with
anything. I would like to be
your fingertips, touching
poetry, and the dust on your
fingertips, touching poetry.

IV.
I would like to be the dust
of poetry you are touching.

V.
I would like to be the dust of a
nearly-vacant library, rhymed
on your fingertips with every
word you read.

VI.
The dust does not have to be
that of a nearly-vacant library:
it could be the dust of school
children, of artists, of politicians,
and I would still like to be dust
rhyming with you.

VII.
I would like to be the dust
of poetry you have touched.

This poem was originally published under the pen name Gabriel Gadfly.

All You Need Is Love

I woke up this morning
in a tar pit.

Bedsheets thick sticky
with black worry, pillow
sweat yellow to my skull
with nightmare
and night sweats.

I am thinking of mammoths
in La Brea, how I too
will be fossilized in this mire
if I can’t wash myself off
and stand up.

There’s an ache in my chest,
muscle and bone mimicking
the muck fist that clutches
my spirit. It is anchored
to the bedsprings, to the frame,
and I’m afraid if I lift myself up,
it will tear the heart out of me.
I exhaust myself with heaving
thrashes, and only bury deeper.

But,
I am also thinking of a Beatles song,
a small weak voice crooning from
somewhere beyond the tar,
a gentle reminder in the shape of a melody
that no one I want to save
can’t be saved,
even myself
and I want to go in search of it,
but how?

Tiny gestures.
Swallow pill,
brush teeth,
bathe body,
drink sunlight,
and feel the bog ease off,
even if it rages.
I will love myself in tiny spasms
and dig myself out

at least for today.

— Adam Kamerer


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This poem was originally published under the pen name Gabriel Gadfly.

Shelter

The sand rabbit tells the desert cow:
I want to lie beside your open bones.
The rigid spurs of your joints
pressed against my fur.

Shelter for your sacrifice.

I’ll hide in the hollow
where your mind once dwelt
and sleep until the sun
quells his angry shine.

This poem was originally published under the pen name Gabriel Gadfly.

Sevenling (What I Found In The Earth)

What I found in the earth at Brierfield:
shards of white china, a deer bone knife,
a slave mother’s beads carved by hand,

and what I found in the earth at Tannehill:
two thousand iron nails, door hinges,
hearth stones still scented with rain and earth.

In the clay, I even excavated myself.

This poem was originally published under the pen name Gabriel Gadfly.

Good Morning

Even when the mornings are cold,
I enjoy watching you wake: I enjoy
your spine, its stretch and curve,
your arms reaching out so far
you might be trying to grasp the air
and pull it on for a shawl to clothe
your bare and goosebumped shoulders.

Your round mouth greets the world.

I enjoy your naked legs, heels to hips,
slinking out from tangled sheets,
across me, smooth and straddling
and then I enjoy watching you walk,
every morning, as if your small toes
are excited to touch the ground again
because they have been too long from it.

This poem was originally published under the pen name Gabriel Gadfly.