Nothing More, after Shakespeare, Poe, Zemsky and Andy Warhol
In most the high and palmy state of Rome,
when Eroica assembled the throng to the agora,
to the exceeding special cabinet of curiosity, in fact.
a scalloped-topped cream-colored cabinet
to ensconce her shoes of tan and taupe
and her silks and muslin—they thrilled
and sang it matched the buttressed archway to the room—
a feeling both dark-Gothic and at once clinical.
Her bedroom was useful now,
where high design met the nadir of Hellenism
and an assorted dash of Edgar Allan Poe celebrated
with her rare and radiant iPhone covered in rhinestones
that would tell the world, “nothing more”.
Very few beauties are gabby,
but for Sleeping Beauty and Maleficent—
& my phone’s been getting photos
dozens on the hour through my chamber door,
those kind of godawful drunken interruptions
make me want to grab a notebook
to set down each alarum distinctly remembered.
But I’d rather hear proclaim her crazed furniture
worship in Franco-Farsi or French, then Farsi,
no I’m not crazy about pixilated renderings.
I’m not crazy about silicon dreams cutting
my coffee streams.
Give me a woman that talks the entire
time like my lady
who clamors, apprehended
especially useful
at such given moments.
These fantasies could be problematic.
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That’s a killer title! This poem is extremely playful and the play of language within is pleasurable, challenging.