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1. |
The Sleeping Man
07:13
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Night Gown
“Ethics is metaphysically prior to ontology”—E. Levinas
The sleeping man hears two voices: one,
small and calling from a great depth.
What the sleeping man once did
to rise among the working
and thinking does him no good. Now
the voice returns,
warbling,
as under water. His rain spirit
come again,
ignorant, insistent.
Its wish—
sink down to moss. Rock.
To origins of salt. His mother
used to take him from sleep
like this. He’d cling and cling.
She pulled him through, wrenching him
out of that lovely dark deep.
The sleeping man, waking, listens
to both voices. Uneasy,
he rises in a day
filled with prickly light.
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2. |
Defacing the Page
06:51
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History
By the X-ing light
covered with rust, what’s left
of the brakeman-shack
lingers a moment,
weathered, worn down to dull
silver paper on which—lick me
or Todd + Becky Forever—children
take their turns
defacing the page, making it
more itself than ever.
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3. |
Humidity
06:18
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By Peter Ramos
Please Do Not Feed the Ghost
"Pornography"
The hornet crawls in
through the open window.
I’m always home. All day
it skitters and knocks
beneath a bright ceiling
until the fountain stops
falling or I quit
trying to word it.
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4. |
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"John Berryman in my Dreams" by Peter Ramos
Please Do Not Feed the Ghost
Blacking out in some basement café, crowded
And alone in the sad mid century, I come back & go on
Hunting powder-puff angels, the pan-caked faces
Under bangs cut straight, the puckered mouths wet
With lipstick. Then do I move through night, glass
After each empty glass—am I all right?
Sure be: Henry's famous, even hip.
The kids pick me out in the dimmest bars
Or slopping late in the Chinese joints
Of Boston, on the make. It's always time
To get stuffed. Here's the edge of awake—
Cocktails, pack of matches, somebody's face
Watery-familiar. Hi there, stranger.
Here's to being up for something beautiful,
Regrettable and sore.
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5. |
Uncle Jack- dope mix
01:57
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Polaroid
"Polaroid" by: Peter Ramos
Please Do Not Feed the Ghost
Uncle Jack—
a month before the accident, standing
in his bedroom slippers by the green carport
in late April. He’d been married a year
in which he perfected his swing,
poured himself highballs
and busted his thumb
while plumbing. So there
he’d say and says it here
with his grinning mug—just behind him
the great magnolia, his last, blooming
white as a Cadillac,
red as a Miami burn, pink
as a pin-up’s nipples.
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6. |
See if You Can Look Away
06:20
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Peter Ramos
"Into the Mystic"
Television Snow
Torn, caked and stuck together, those pictures—too loud to breathe easily around—
put a stop to us, gently pulling each one out of his childhood, as from a molting
or a glove. We stared for hours, feeling sour-bellied and dizzy, something like sadness but twisted, electric. Trees rose up and up beside us to their leafy, sunblown ceiling. Looking carefully by their gouty roots you’d have seen puffballs and earthstars or stinkhorns thrusting up from the loam. A biologist would find diatoms and water-blooms drifting over the silt. Not us. Even the birdsong and creek-murmur ceased. Shadows lengthened, the world was new. Go back there yourself: see if you can look away.
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7. |
Dust Between Us
16:23
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Me and Old Robert McGee
—for Joe Wenderoth
I am driving through town
past the redbuds, open finally
in filthy East Baltimore.
The sun, when it bothers to show up,
even late, as now, floods, doesn’t it
swaddle us each, this girlish afternoon light?
And just as from my radio Janis Joplin
screams herself hoarse about feeling good
being good enough—gooseflesh rising at the thought
of everything having to end—now
an elderly gentleman, clearly retired,
spittle stringing from his chin, gets up
from his lawn chair to give me the finger.
The green glass
dust between and all around us
is also too brilliant,
too excruciating to overlook.
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Hazukashi Studios Kyoto Kyoto, Japan
Hazukashi Studios Kyoto Japan
Loopline Records Osaka, Japan
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