JEN TYNES









A Big Deal Thing

 

I have touched the little Trevors

and Williamses of the map, uncrumpled

the work we did yesterday and found it

soft and incomplete. Like ball players

palm, like lovers do, scratched jewel

cases stick to their stories and bend

a dollar bill backwards. If I am too explicit

harbor me on someone else's lawn, grass

stain making a power playful. Is astronomer

weed, architectural blade, is the blue-

gray cover of physicians? If I am abetting

"knowing" looks look like fuel.

If you are ready to take

the car, you'll have to back it

out of me.

 








The Staff

 

Bark is removed from

its body which shops all

over town for shoulders

of lamb. Lights take a couple

back there. Meat is bright when

it can't cash checks fashioned

out of it, pearly burdens that

bric-a-brac but don't spoil this

for me. Rod is forever buried

to his nose in a couple of jokers,

is called a cigarillo in the lake

area, where lips are inlets. Only

company rips along its tendons

and lies down, a sloping hillside

staff accepts for exercise. Monster-

mashed in the closet together,

bodies with dogs attached to go

along with blood, lust, sticks or

carrots—comfort me when

you cannot break for lunch.


 







Grass Widow

 

Full of fiber in a Halloween field

where I stumped and harangued

it to shreds. When it is your own

hand you make a bee-line, bird-

like, into the civilized zone. Back

yard will, if you let it, fill itself

with the open mouth of you, spook

another living thing or two, preclude

ID. When I call upon the second

person in the atonal point-

of-view, you can imagine

our rooms.

 








Taking Up With You

 

A sawhorse in the dark side-

yard worries us about death

in several wooden languages.

We fall sunning and stunning into

the hallowed patches below titled

mountains. Here at sea-level, blades

whistle lamely against each

other, fire ants burn in

their own shadows. Lipstick

on the teeth makes a story

run especially long and loose-

ended, though I can't say more

specifically why. The compromise

you make for living inside of

sin sings, people chain themselves

to the rough trunk of your pledge.

 

 







Drought

 

The warp of a second wind

tells me to get in there and dig

a trench out of you; this is not wrong-

headed. Think

 

of all the prehistoric

people in their fields, judicious

and kind in the way

they choose not

 

to verbalize our shortcomings.

They have gone so many days

without even the idea

of rain, and we too

 

do not deliver.

We have the largest bodies

in this fossil bed.

If someone does not make a call

 

before they close up

shop for the night,

all will settle around a mouth

that does not cry and branches

that cannot leave--

 

in the morning they will be calling

something long and burdened

by our name.

 

 







So Much Depends

The FBI is big-hearted and blowsy in
the morning, its underwear
crying uncle from the Appalachian clothes-

line. Everything is a wire

when you are waking up,

the bosom rises artificially

and floods the archipelago or

you "levee" it in song.

Dark parameters

of the soul catch

 

your mother with a stranger, lighter

hurricane lamp.

 

Is disaster a naturalistic

mnemonic device? Even the fuzz

won't hang around after breakfast, the parking lot

 

windows fog because

this is where you live. Nobody left standing

 

this long could recall

the particulars: a heat set

upon us, a little red

chicken, the vicinity

riveting off.



 






 

 








Jen Tynes edits Horse Less Press, and her poems have recently appeared or are forthcoming in Lit, Denver Quarterly and Coconut. Her first book, The End Of Rude Handles, was published in 2006 by Red Morning Press, and she has two chapbooks forthcoming this winter from Octopus Books and Dancing Girl Press.









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