, , , , , ,

Money, cum bunny, is what we don’t have,
but I’ll show you just what two fingers worth

of your drizzle buys. KY jelly salve;
redolence mixed with that delish wet earth

skunk funk as my cock moves from the inside
of your gaped asshole to your step son’s mouth

and back again. Hogtied but not denied.
The rump’s phat pump. Tura Satana’s South

Side Ass Wreckers, her Anal Delinquents.
Who needs trash cash for that? Give me an itch

sweet like jam – violet with jelly. We awe
ancestors … raze progeny. Our fragrance

is thick with booty, not boodle; not rich
snitchs playing at being dope outlaw.



, , , , , ,

Miss Thing, you never told me where you’re from
or why the living, each night, barred their doors

against you. They called you: Cthulhu’s Mum …
and She Who Rasped and Gasped. Back on all fours,

your six breasts pressed to my chest, your two tongues
circled my skull … back when your mammalian

parts bloomed slush and sucked the air from my lungs
… you were my titular titillation;

the tar dope tang of the ball-gag; funky
razzle-dazzle of blackholes. Not all mums

get to fondle me like you do with such
clapperclaws. Whatever you are show me

more, Miss Thing. I know that odd wisdom comes
from odd places … so does your heinous touch.



, , , , , ,

Virus comes in ire, in mayhem green
voluptuousness. “Enfermedad verde;”

the squirm worm of our blood, sputum and spleen
turns from cyst’s mauve mist to muck’s facetiae

sheen. All winter long we were surrounded
by others and their intellects — vast, cool

and unsympathetic — until their blood
turned deep stank, septic. Irony is cruel

that way, like Ruth’s “where you go, I will go;”
except it’s viral chaos that dogs you.

Enfermedad verde. — Fatigue and dry
coughs don’t inspire bliss; focus is, I know,

hard with fevers. But bliss will see us through.
Bliss keeps urging: “Don’t die — try, lover, try.”

In the film, Fried Green Tomatoes (1991), Idgie declares her love for Ruth by reciting the passage from the Book of Ruth: “Whither thou goest, I will go. Where thou lodgest, I will lodge. Thy people shall be my people.” Facetiae is an old Victorian term meaning pornography. La enfermedad verde translates (I’m told) as the Green disease.

posh ‘n becks


, , , , , , , ,

“Bad lad,” your father calls me: “Hooligan.”
Each time you come home smelling of skunk weed

and gin he sighs. Each time you nurse your son
and he spies all the hickeys that my greed

left you get Da’s foul scowl. I’m, “off my tits,”
I guess, putting the “cock” back in Cockney;

the cor in your blimey. Thrupenny bits.
“Bum and brat mum,” he calls us. Yet Baby

Danzig doesn’t howl like a haunt when I
bend you over his crib, sopping up two

fingers worth of your drizzle from inside
your drenched frillies; just when Da floats by,

sad old ghast. He hates our, “posh ‘n becks;” you
being my hard shag, I’m your roughest ride.



, , , ,

Your dead breath on the neck as my hair stands
erect. “Why be ashamed of being dead?”

I asked. “I can’t hold you with wispy hands.
My lips are so cold when we kiss.”
You said

you dread going down; all those small complex
movements that oral sex requires. “I know,

I know, death robbed me of my gag-reflex.”
To spit or swallow turned pure fiasco;

my cum flew through your face. Was that what lured
you in, though? Hope for one last kiss — the snips

and snails of my breath? What’s a, “little death,”
to the dead? The air tasted of frost poured

on grave dirt. You couldn’t baptized my lips,
so you stared, enthralled by my fleshy breath.



, , , , , ,

There is monotonous darkness and heat
under your bed. What adults fear they shun.

They took me away. Now nightmares will eat
you — not like how I ate you, that was fun.

Just why Trots and Cap’n Bill’s adventures
were,“Grand,” but ours were,“Smutty and Unchaste,”

I still don’t know. Was it the sex? Sex blurs
the line, they claim. So I know what you taste

like. Is that a crime outside of Utah?
As if. “Lèche-la,” you sang. What am I but

fable? Lèche-la: now they police even
your make-believe friends. What will you let gnaw

on you? Them or lust? There’s no shame in smut
or lust or hungering to be eaten —

Trots and Cap’n Bill were characters created by L. Frank Baum for his Wizard of Oz series. Lèche-la is French for, “lick it,” as in, “lèche-la chatte.”



, , , , , ,

Virus and the silence of night. Wham, bam:
the song went — but from your open window

there are no voices. Kink from Amsterdam —
Bunny Boiz who beg for the peg; Bravo

Gals who throw their weight; all those beta brawls.
All that gone. Plague-time and the Freaks suffer.

No, not especially, just each one who mauls
you with a brutal hand. Call me, Father

Confessor; I heard you. I heard slapping.
Swaffelen, I thought. I heard your baby

talk peeps. Now nothing comes from the dungeon
of your bedroom. Silence is threatening

when you can’t sleep; when you’re one more Daddy
who just up and died and went to heaven.

Swaffelen is a Dutch term meaning to cock-slap one’s penis against an object or person. It was named as the Word Of The Year in the Netherlands and Belgium in 2008.

amor oscuro


, , , , ,

[for Hart Crane]

I’ve had more than just ink in my mouth. Grail
tasting like brine when you let go — you freed

your hand then leaped over the tramp ship’s rail
to drown. You could’ve called me rent boy, greed,

nephew, hint of hope. I’d have given you
my youth and made a life out of rapture

and bare-backing. You didn’t want rescue,
though. You didn’t want to wait. I’ve never

loved the despair of urban sprawl enough
to call it epic — but you did, I’m told.

You saw, “amor oscuro,” as dead weight,
a curse. The void called. No amount of rough

sex would hold you back. I tried to hold
you — but no, you let go, you wouldn’t wait.


Hart Crane (1899-1932) was a Modernist poet who wrote an epic-length ode to America called, The Bridge. He was also a chronic alcoholic, filled with homophobic self-hatred. While returning from Mexico, on the steamship Orizaba, he committed suicide by leaping off the deck. Dark love, or amor oscuro, is the term that the Spanish poet, Federico Garcia Lorca (1898–1936), called his homoerotic desires.



, , , , , , , ,

We’re no burgundy brew crew; derisive
of how slow liquor takes to reach your clit.

We’ve clinched quicker means. Your conservative
spouse and his church clan claim, “effeminate

brats,” like me go straight to hell, boy. The glee
and joy we got each time we rolled your old

cuckold, sloppy drunk sick upstairs, while we
capered (plunged and hit deep, frothed your fivefold

lips, reared back to plunge again) like the brat
cats that we are: witch’s brats. Fuck buddies

with the Black Arts. Lovers of corpulent
terrors. Your husband can’t even, “begat.”

We’re progenitors of beguiling sleaze,
eldritch sex acts, love both odd and ancient.


NOTE: Contrary to popular belief, a “witch’s brat,” is simply a male, of any age, who studies the dark arts under the tutelage of a licensed necromancer. Niccolo Paganini, the 17th century violin genius, was called, “The Devil’s Stepson,” and the “Witch’s Brat,” for his demonic and amazing musical virtuosity.



, , , , , , , ,

That queer scratchy noise; dead nails on floorboards
while my cat snarled, hissed, and backed away —

For a week we didn’t notice. The wards
were up. We were back; fucking like doomsday

was still nigh (please), grinning as I’d ravish
your mouth; feeling you gag on the chaos

of my flesh while begging me to finish
(please) on your face, rubbing my cock across

your outstretched tongue. Of course something crept in
during our shagged-out acts (please); something drawn

by me licking your bones clean. My cat’s wail.
The thing on the floor. For a week our twin

pleasures burned us clean, until doomsday, spawn
of our pride, what the kids called: “epic fail.”