—1—
the larger magical traditions
and the physical aspect of pain is defined
there were other barriers to reporting the facts
the experience expected was primarily defined in her body
she had healed, but sometimes in the room she existed
she tried to hear and walked towards the door
slightly different sizes and shapes
this resemblance will be played with
a reflexive retraction modulation
her knees buckled as the room became herself
and she couldn’t leave.
the shapes weren’t as pronounced as
the words that they became
she fondled the consonants and licked the vowels
fingers ran up and down a monster of the obscure
finally divine
—2—
her emanations occurred, beginning in certain corners,
then she met a short hallway
then she met a locked door that was covered in her skin
and her eyes blinked back at her
and the dobro slide was heard in the distance
emphasize the curves
tired of teasing her
a groan
a push
the lights came on
she thought they seemed to be weaving
actual humanity
she destroyed it for them
they were just patients experiencing pain
their faces completely blind
they stood in line
females all nodded
in the basement of discomfort
excretions of a region of light
—3—
quiet response
quiet response
she waits for me in folds of blackness
it hadn’t even started yet
pain is whatever you are experiencing
not bound
the day was variable
she didn’t care, changed the sensations
she knew that tomorrow was expected
getting it aroused for you
she needs to wake
a few days gone by
the goal of walls
so hard they ached
she would find herself on three names
the french windows
offered a view of the women in the concrete garden
throwing off their white gauze
turning towards her
to display their eyes
white-blind from
their worship of the sun
a halo of widows
Peter’s earliest recollection of the writing process is, as a 1st grader, constructing a children’s book with illustrations. The only memory he has of this project is a page that contained a crayon drawing of an airplane, caught in a storm. The caption read: “The people are on a plane. It is going to crash. They are very scared.” His parents were always disturbed by that 1st book and particularly by his love for writing.
His poems explore alienation, addiction, love, the havoc that secrets can wreak and obsessions. He has been published in many online and print publications, including Literary Orphans, Danse Macabre, Maintenant 4 & 5, Caper Literary Journal, and Why Vandalism?, as well as an interview in Yes, Poetry. A record of his published work may be found at http://www.angelferox.com. Peter’s e-chapbook, Sins of the Go-Go Girls is published by Why Vandalism? Press and is available as a free download at Why Vandalism: Sins of the Go-Go Girls (Four Scenes) by Peter Marra
–Art by Diana Cretu
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