Skip to main content

Rob Plath

doomed love songs

baudelaire you died at 46
& i feel guilty b/c i’m 51 now
why should i live longer than a beautiful dark giant?
maybe living longer isn’t so great
especially if yr a failure like myself
living in a busted dungeon alone
baudelaire there are so many cigarette burns
in this carpet
like the fossils of fallen black stars
i count them over & over but still can’t sleep
the windows are falling out of their rotted sills
i stub my insomniac toes on broken tiles
in the sleepless dark
the cat is sleeping in the window tho
the moon light a ghostly second coat
every decrepit window is magic w/ her in it
baudelaire i’d give you my five years if i could
just to see another poem of yrs
you lovely green haired dandy of doom
i feel guilty for walking about on the planet
while my idols are mere dust
baudelaire i smoked outside before
while october crickets sang for love
last week i read their amorous songs attract parasitic flies tho
that lay eggs w/ in the cricket
& then worms eat the cricket from the inside out
baudelaire i think some dark thing
laid eggs in my heart too
the more lines i get down
the more i feel something tearing out
baudelaire the ceiling is dripping
in the sleepless dark i imagine it’s blood
& i am christened by trickle drops
as i stumble to the door
w/ a bloody forehead
to smoke beneath october stars
as somewhere another cricket bursts
open w/ parasitic worms
for singing too much
for wanting love too much


Rob Plath lives in New York with his cat Daisy. He does his best to stay out of trouble. He’s been publishing his work for about 28 years. See more about him at robplath.com


Comments

Popular posts from this blog

Ed Dorn's # 22 From Twenty-four Love Poems

                                               from Jacket The strengthy message here in #22 of 24 Love Songs can be summed up in two lines: ['There is/no sense to beauty. . .' and '. . .How/ the world is shit/ and I mean all of it] What I also like about this brief poem is the interplay between the title of the book and the subject of the poems (love/anti-love (which is not hate)): it's all a mass of contradictions, like love. And I have to say that the shorter poems of the Love Songs and the last book he wrote before dying (Chemo Sábe) seem to me much better and more memorable than the Slinger/Gunslinger poems. These (generally) later poems probably attempt less stylistically, but are more sure-handed, hacked from a soap bar, maybe. Easy to use, but disappear after use. In any case, Dorn is well worth the reading and re-reading, for me, though he'll never become one of my favorites. And doesn't every poet want that, dead or alive? ;-) #22 The agony

Jim Daniels

Half Days My daughter, thirteen, pale shred of herself, fought an unidentified infection in her spine as it softened her discs into disappearance. I’d unread that story if she were young and still listened to lullabies. After she got discharged, I set an alarm for two a.m. each night to shoot antibiotics into her port while she slept, her limp arm resting in my hand. Her return to school: half days—follow my dotted line smearing across months of sleepless breadcrumbs— at noon I idled high, anxious in the school driveway rattling off the latest test results in the zero gravity of fear. She startled me with the brittle thunk of the car door slam, then snapped at me for staring at her friends as they strolled across the street to the cafeteria, creeping them out, she said, embarrassed by illness like hard acne or a blooming hickey, wrong music or flakey hair, or the tacky middle-school jumper she no longer had to wear. I was there to drive her to

Paul Blackburn and Sexism

How does one respond to sexism in poets whose work seems to be filled with it, like Blackburn? The quick answer most people would give is: ignore it. Yet here I am, reading more and more, and yes, enjoying, the supposedly sexist work of Paul Blackburn and wondering why there isn't much if any criticism of his important work in the late 50s and 60s, when he served as gatekeeper and recorder of many readings which have helped establish the avant-garde presence and reading scene in New York as well as given us great historical insight into the poets associated at that time with the New York scene.  And of course I'm thinking about his poems, which kept him in the middle of things as a talent in his own right. It's not difficult, unfortunately to see why he's not read, and that makes me sad. His poetry is worth more than a few cursory footnotes to the era. I've come to the conclusion now, after dipping into the collected poems at length, but randomly, and reading fo