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The Mailer Review/Volume 13, 2019/Remember the Alamo: Difference between revisions
The Mailer Review/Volume 13, 2019/Remember the Alamo (view source)
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{{center|—— for David Koresh }} | {{center|—— for David Koresh }} | ||
{ | {{center|Sal Centrano}} | ||
Sal | |||
<poem> | |||
The man who sells the centrifugal lettuce crisper, the woman | The man who sells the centrifugal lettuce crisper, the woman | ||
with combination mood ring and pregnancy test kit, | with combination mood ring and pregnancy test kit, | ||
the man who seeks damages for his cataloged sufferings, | the man who seeks damages for his cataloged sufferings, | ||
the woman who warns of morning breath, | the woman who warns of morning breath, | ||
</poem> | |||
<poem> | |||
the man whose burning compulsion is to wear a dress, | the man whose burning compulsion is to wear a dress, | ||
the woman who gleefully sells him her old ones, | the woman who gleefully sells him her old ones, | ||
the 90’s girl with self-help tape, who masturbates | the 90’s girl with self-help tape, who masturbates | ||
before triptych mirrors and gives birth to the sunrise— | before triptych mirrors and gives birth to the sunrise— | ||
</poem> | |||
<poem> | |||
and scores of others—are trampling my fescue, | and scores of others—are trampling my fescue, | ||
correct mob demanding to be let in: famished Jacquerie | correct mob demanding to be let in: famished Jacquerie | ||
antsy to hand out all my cake, but I have no cake. | antsy to hand out all my cake, but I have no cake. | ||
I crawl naked to the doors and set the latches. | I crawl naked to the doors and set the latches. | ||
</poem> | |||
<poem> | |||
“''Let us in!''” they chant. “''We know you’re in there!''” | “''Let us in!''” they chant. “''We know you’re in there!''” | ||
“''Who are you people?!''” I ask. “''What do you want?''” | “''Who are you people?!''” I ask. “''What do you want?''” | ||
“''None of your business!''” they yell. “''Just let us in.'' | “''None of your business!''” they yell. “''Just let us in.'' | ||
''Sooner or later, everybody lets us in. You’ll see!''” | ''Sooner or later, everybody lets us in. You’ll see!''” | ||
</poem> | |||
<poem> | |||
The walls begin to sag. Screams and gunfire mingle. | The walls begin to sag. Screams and gunfire mingle. | ||
The armoire buttressing the bedroom door trembles. | The armoire buttressing the bedroom door trembles. | ||
I prop my back against the wall. A window shatters. | I prop my back against the wall. A window shatters. | ||
I hone my Bowie on the skull of an Amway salesman. | I hone my Bowie on the skull of an Amway salesman. | ||
</poem> | |||
<poem> | |||
Then comes my Mexican sweetheart, incongruously | Then comes my Mexican sweetheart, incongruously | ||
both blond and Jewish for purpose of this reverie, | both blond and Jewish for purpose of this reverie, | ||
ample bosom laden with pistols. “''The cities'' | ample bosom laden with pistols. “''The cities'' | ||
''have fallen'',” she cries. “''They want the mission now.''” | ''have fallen'',” she cries. “''They want the mission now.''” | ||
</ | </poem> | ||
{{Review}} | {{Review}} | ||
{{DEFAULTSORT:Remember the Alamo}} | {{DEFAULTSORT:Remember the Alamo}} | ||
[[Category:Poetry (MR)]] | [[Category:Poetry (MR)]] | ||