“He was a scrawny white kid with junkie eyes and no place for his hands, but he had the look.”
— “Night Ride,” by Charles Beaumont, Playboy Magazine, March 1957.
My buddy Pete Harrison just sent me the above. When I asked him if the quote was a reference to me, he stayed assiduously quiet. Another commenter opined, “At least you’ve got the look. That’s something.”
“Roses Are Red” is my fourth entry for the 5-Day Poetry Challenge:
“Roses Are Red,” by Eric Robert Nolan
Roses are red,
Violets are blue.
This poem doesn’t rhyme,
Motherfucker.
(c) Eric Robert Nolan 2015
Photo credit: “Rosa Damascena Rozino Village” by Plamen Agov • studiolemontree.com. Licensed under CC BY-SA 3.0 via Wikimedia Commons.
You guys worked incredibly hard for marriage equality, and you deserve your landmark victory!
Now go get HITCHED, ya crazy kids!! I expect a wedding invitation, and I expect to be introduced to various sisters and bridesmaids at the reception. I also expect that a poem written on a napkin will be a graciously accepted wedding present.
Photo credit: “Supreme Court Front Dusk” by Noclip at en.wikipedia – Transferred from en.wikipedia. Licensed under Public Domain via Wikimedia Commons.
Unless I “just DO IT!!!”
I don’t know what “IT” is, exactly, but I believe that I CAN do it. Because “NOTHING IS IMPOSSIBLE.”
I actually like LaBeouf in certain roles. Since when did he get all Anakin Skywalker on all of us? I have noticed for the first time tonight that his surname is almost an anagram for “Beowulf.”
What was his name in the fourth “Indiana Jones” film again? “Buff?” “Pug?” “Buck??” I can’t remember.
After a shaky Season 1, the second season of “The X Files” showed it coming into its own and becoming the classic sci-fi horror show that I remember. I’d give it a 9 out of 10.
The program got scarier, tighter, and better directed. David Duchovny and Gillian Anderson settled into their roles, and became the unique characters fan loved, and their trademark dry banter and sexual tension finally appeared. The overarching plotlines and themes also more or less really made their first appearance in Season 2. The conspiracy and “The Project” finally take shape, with characters like Alex Krycek, The Well Manicured Man and Bill Mulder becoming part of the story, and the sadness and sense of tragedy that pervaded the series became a part of most of the show’s episodes – even the standalone monster-of-the-week episodes.
There were really only four misfires — “Little Green Men,” “3,” “Firewalker” and “Fearful Symmetry” were weak. The rest of the season was quite good.
Some of the eps, like “F. Emasculata,” “Aubrey,” “Irresistible,” and “Our Town” were genuinely scary. Just about any fan of the show will name the hilarious “Humbug” as a classic. And the mythology episodes, while not always frightening, were at least great sci-fi thrillers – especially the fantastic and perfect classic eps, “Colony” and “Endgame.”
Great stuff.
Dennis Villelmi published an outstanding piece last night for his own third entry into the 5-Day Poetry Challenge.
You can find it over at his blog, “a death’s head in green light,” right here:
I wrote this a few months back; today it is my third entry for the 5-Day Poetry Challenge. [EDIT: the formatting is fixed!!]
“hens staring upward,” by Eric Robert Nolan
Please
stop
fleeing me so frequently at Atlantic City.
It happens every night now.
I
look
over at the slot machine you occupied and only see
some strange man, finer than I am, and industrious.
All the ringing bells announce
his inauguration.
All the flashing lights
strobe his sharper features.
It makes me wake and makes me
artlessly craft a
hard discordant poetry.
Remember Atlantic City?
We took a flight despite its easy drive.
It’s a funny word, “flight.”
It can mean
to seize the sky as the cardinal might
and the hen cannot –
the conquest, the flashing red ascent to sky and space.
Or it can mean departure,
as one escapes from another.
Just
about
three times a week
I am at that strange and nameless airport in my sleep
where the planes will not take flight.
High white walls vault up.
The hangars all are locked and vacant.
Clocks speed backward.
Incoherent porters
clutch and curse at suitcases.
The bathrooms smell like beer.
Other would-be passengers
harbor nascent aneuryisms.
Children chatter like hectic apes.
Their fathers all are drunk, their mothers
suffer black and scandalous sudden miracles in the airport lounge,
each reaching orgasm
at the taste of stale sandwiches.
Convulsing, their eyes roll back
Their slow moans hasten into screams,
Their slim arms raised, but
Indolent husbands with rictus grins
will only clutch at their jackets,
at hidden iron flasks.
All the long lines lead
only to exits.
All the flight announcements
are harshly lit in dead and inscrutable languages:
strange Aramaic,
or Latin’s various precursors:
embittered early Germanic and
jumbled Etruscan.
Only two words are clear:
“DEPARTURES HERE.”
I need to fly to you.
I need to see you in person but
the attendants in my nightmare all
are comatose at the counters.
Sleeping pilots sag in chairs.
In an airport bar,
the dead slouch over snifters.
A bartender is bones.
Down a white corridor
A stewardess in sing-song voice
will wrongly remember a verse and reduce
Dante to gibberish.
Shakespeare is made as profane
as a syphilitic kiss.
On her lips, Eliot
becomes a barking dog.
My ticket is illegible –
its scrawled words
read like the bray of an ass,
or my own words.
You left me once.
Now stay
in the various safe and certain places free of sadness found
in the attention of better men.
Please, Audrey.
Please.
It was human for you to leave me once
But cruel for you to do so
over and over and over in my dreams.
Upon waking I can only console
myself with stilted meter
and the misspelled names of cities.
I
am
unsaved by my similes,
mere alliteration and unmeasured verse in an amateur’s awkward
clutch of unkempt metaphors,
the thinly veiled and even conscious
failed emulation of Auden,
the maudlin, the guttural hen
aspiring to such song as only the cardinal is capable.
Your
last
words to me are now familiar nocturnes.
Stars will nightly light your verbs.
Every waning moon will arc
over your exact nouns and careful platitudes,
Your eloquence in leaving me,
The precision in “goodbye.”
The flashing rebuke in the narrowing blue
of your eyes is concise.
The blue-black and deepening, freezing dark violet
of heaven will always observe your departure,
your ordered logic.
Its witness is the vacuum.
Its witness is the endless expanse of space.
I
write
but my words
are only hens with dull black eyes –
hens staring upward –
beholding the sky and its occasional
darting scarlet of cardinals in flight.
I
love
but my words
are only untidy, unmannered motifs –
as devoid of hope or order as
feral children in the snow, starving in a March forest.
(c) Eric Robert Nolan 2015
Photo credit: “Helsinki-Vantaa Airport departure hall 2, international terminal,” self-published work by Antti Havukainen, via Wikimedia Commons
**********
It looks as though this third season … MIGHT be its last. There seems to be a lot of speculation out there about whether a fourth season may be possible via streaming services like Netflix or Amazon Prime. I myself can’t tell if I should be optimistic … apparently if NBC cancelled the show early this season, the producers “have time” to shop for another carrier?
They say that the show has a fervent cult following, but no wide audience. I’m forced to admit that this makes sense to me — the program’s gore probably turned off some viewers; its unexpectedly slow pacing (which allowed for a cerebral script) probably lost even more.
http://www.nydailynews.com/entertainment/tv/hannibal-canceled-nbc-seasons-article-1.2267674
I am cheating
on the 5-Day Poetry Challenge
merely by adding
line breaks to a sentence.
(c) Eric Robert Nolan 2015
*****
(I suggest that this piece works on a number of levels, most notably the levels of “suck” and “I am really busy today.”)
Let’s try this again … after wrestling with formatting issues, I have somewhat better presented my first entry into the 5-Day Poetry Challenge:
“You’re a Broken Phonograph,” by Eric Robert Nolan
You’re baggage.
You’re a scratched penny on a gravel street.
Your memory is a cheap souvenir from an ill-advised journey that is wished forgotten. You were purchased drunk on a mercilessly hot noon at a roadside stand. The vendor resembled Browning’s “hoary cripple” — all eager eyes and veiled laughter. His smile is frequented by gold teeth — intermittent shining sentries on a rampart grin. His front pockets are stuffed with bills, like twin plump denim ticks; their fangs are dollars’ corners. Your overpriced bauble shines at midday, but every additional dusk renders it lower into dulling shades of deep sepia. The paint flakes off — it falls to the windowsill now like the dead wings of moths. The wise advise its removal; the paint is toxic.
Your image is the aged face of a staid statesman on a stamp, an unremembered lawmaker.
You’re a broken phonograph.
You’re a photo of a burned out building.
Your presence is a preening blackbird at the lawn.
You’re quick to open your legs, but slow to close your mouth.
You’re easy sex, but difficult company.
You’re a cheap date, but a costly acquaintance.
No matter where and when another man will lie beside you, you’re alone.
Your future is all awkward mornings, sunsets that are calls to arms, disenchanted midnights, men misunderstood,
“friends of friends,” “friends” instead of lovers, men recommended, men paid for,
their loins emptied first, their hearts emptied after, both by your mouth,
men slipping out, at sunrise, stealthily before you wake, like cats smelling better breakfast elsewhere.
(c) Eric Robert Nolan 2015
Photo credit: “Musee Baud,” 2015, by Rama, via Wikimedia Commons
Eric Robert Nolan, Author 