2012/06/10

When You See This Black Car Do Not Think It Is a SYMBOL FOR SOMETHING




Read this by terminal professional liberal and hard-wired fool Garry Wills. Tell me, other than the third sentence of the first paragraph in which he is named and portrayed as heroic, whose name goes unmentioned in Wills diagnosis of the clusterfuck, Wills' naming the problem's vectors. Hint! Here's Will on the hero's party:

Democratic candidates are forced to mimic the obsessive need to raise funds, in a contest where they are heavily outgunned.

Forced! the brave but tortured lambs against their noble and natural liberal instincts towards good! The above and below videos came immediately to mind, they are Co-Theme Songs for When I C/Ped the Code for These YouTube into Fucking Blooger's (Old, Fuck the New Blogger!) Create Post Page at 20:37 EDT June 9, 2012:










HOMAGE TO SHARON STONE

Lynn Emanuel

It's early morning. This is the "before,"
the world hanging around in its wrapper,
blowzy, frumpy, doing nothing: my
neighbors, hitching themselves to the roles
of the unhappily married, trundle their three
mastiffs down the street. I am writing this
book of poems. My name is Lynn Emanuel.
I am wearing a bathrobe and curlers; from
my lips, a Marlboro drips ash on the text.
It is the third of September nineteen**.
And as I am writing this in my trifocals
and slippers, across the street, Sharon Stone,
her head swollen with curlers, her mouth
red and narrow as a dancing slipper,
is rushed into a black limo. And because
these limos snake up and down my street,
this book will be full of sleek cars nosing
through the shadowy ocean of these words.
Every morning, Sharon Stone, her head
in a helmet of hairdo, wearing a visor
of sunglasses, is engulfed by a limo
the size of a Pullman, and whole fleets
of these wind their way up and down
the street, day after day, giving to the street
(Liberty Avenue in Pittsburgh, PA)
and the book I am writing, an aspect
that is both glamorous and funereal.
My name is Lynn Emanuel, and in this
book I play the part of someone writing
a book, and I take the role seriously,
just as Sharon Stone takes seriously
the role of the diva. I watch the dark
cars disappear her and in my poem
another Pontiac erupts like a big animal
at the cool trough of a shady curb. So,
when you see this black car, do not think
it is a Symbol For Something. It is just
Sharon Stone driving past the house
of Lynn Emanuel who is, at the time,
trying to write a book of poems.

Or you could think of the black car as
Lynn Emanuel, because, really, as an author,
I have always wanted to be a car, even
though most of the time I have to be
the "I," or the woman hanging wash;
I am a woman, one minute, then I am a man,
I am a carnival of Lynn Emanuels:
Lynn in the red dress; Lynn sulking
behind the big nose of my erection;
then I am the train pulling into the station
when what I would really love to be is
Gertrude Stein spying on Sharon Stone
at six in the morning. But enough about
that, back to the interior decorating:
On the page, the town looks bald
and dim so I turn up the amps on
the radioactive glances of bad boys.
In a kitchen, I stack pans sleek with
grease, and on a counter there is a roast
beef red as a face in a tantrum. Amid all
this bland strangeness is Sharon Stone,
who, like an engraved invitation, is asking
me, Won't you, too, play a role? I do not
choose the black limo rolling down the street
with the golden stare of my limo headlights
bringing with me the sun, the moon, and
Sharon Stone. It is nearly dawn; the sun
is a fox chewing her foot from the trap;
every bite is a wound and every wound
is a red window, a red door, a red road.
My name is Lynn Emanuel. I am the writer
trying to unwrite the world that is all around her.


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