Over the jersey coast, seen through the veils of rain, the old Maxwell House coffee cup, a five-story neon cup of white, tipped over on its magical side with two red neon drops falling from its rim and disappearing into the darkness of the brush-covered cliffs. The tattooed man came up suddenly and sat down beside me in the rain like a ceramic figurine glazed with water running down the smooth colors of his shirtless chest. Huge fish fins were riding his shoulders and tattooed scales of komodo dragons, returned from the wilds of jungular africa, twisting outlines and colors of clawed feet and tails smoothing over his aged biceps and the cool white of his head, shaved to permit tattoos of mythological beasts to lift around his neck like frescoes of faded photographs of samurai warriors: a sudden flash of Mishima’s private army standing still as pillars along the sides of the river.
He had a tough face. It was square-jawed and barely shaven. Close-cropped hair wiry and black, handsome like some face in old boxer photographs, a cross between an aging boxer and Mayakovsky. He had a nose that might have once been broken in some dark avenue barroom in a distant city invented by some horny young kid. There was a wealth of images in that jawline, slight tension to it and curving down toward a hungry-looking mouth.
Sitting in a parked car by the river’s edge, he leaned over and placed the palm of his hand along the curve of my neck and I was surprised how perfectly it fit, stroking me slowly, his arms brown as the skin of his face, like a slight tan quietly receding into a blush. He seemed shy for a moment, maybe because of what he saw in my eyes, but the heat was pumping inside the car and the waves, turned over and over by the coasting winds, barreled across the surface of the river beneath darkening clouds. Some transvestites circled down from the highway, going from car to car, leaning in the driver’s windows checking for business.
He eases his hands down toward my legs and slides it back up beneath my shirt, saying, “Take it off.” I reached down and lifted the sweater and the t-shirt up together and pull them over my head, dropping them to the floor where my pants are straddling my ankles. He pulls off his green naval sweater revealing a t-shirt the color of ice blue, reaches down and peels that off too. We are looking at each other from opposite sides of the car. He’s got a gleaming torso, thick chest with a smooth downy covering of black hair, brick-red nipples buried inside the down. He leans and bends before me licking my body softly down my sides, one hand massaging slowly between my legs, his other hand wetted briefly against his mouth and working his cock up until it is dark and red and hard.
When he lifted away from my chest I saw his eyes, the irises the color of dark chips of stone, something like the sky at dusk after a clear hot summer day, when the ships are folding down into the distance and jet exhaust trails are uttered from the lips of strangers. The transvestites were back and leaning in the window refusing to go away. We pulled our clothes back on and closed up the car, heading toward one of the abandoned structures.
Inside one of the back ground-floor rooms there are a couple of small offices built into the garagelike space. Paper from old shipping lines scattered all around like bomb blasts among wrecked pieces of furniture; three-legged desks, a naugahyde couch of mint-green turned upside down, and small rectangles of light and wind and river over on the far wall.
I lean toward him, pushing him against the wall, lifting my pale hands up beneath his sweater, finding the edge of his tight t-shirt and peeling it upward. I placed my palms against the hard curve of his abdomen, his chest rolling slightly in pleasure. Moving back and forth within the tin-covered office cubicle, old soggy couch useless on the side, the carpet beneath our shifting feet reveals our steps with slight pools of water. We’re moving around, changing positions that allow us to bend and sway and lean forward into each other’s arms so that our tongues can meet with nothing more than a shy hesitation. He is sucking and chewing on my neck, pulling my body into his, and over the curve of his shoulder, sunlight is burning through a window emptied of glass. The frame still contains a rusted screen that reduces shapes and colors into tiny dots like a film directed by Seurat. Pushing and smoothing against the tides, this great dark ship with hundreds of portholes entered the film. His head was below my waist, opening his mouth and showing brilliant white teeth; he’s unhooking the button at the top of my trousers. I lean down and find the neckline of his sweater and draw it back and away from the nape of his neck which I gently probe with my tongue. In loving him, I saw a cigarette between the fingers of a hand, smoke blowing backwards into the room, and sputtering planes diving low through the clouds. In loving him, I saw men encouraging each other to lay down their arms. In loving him, I saw small-town laborers creating excavations that other men spend their lives trying to fill. In loving him, I saw moving films of stone buildings; I saw a hand in prison dragging snow in from the sill. In loving him, I saw great houses being erected that would soon slide into the waiting and stirring seas. I saw him freeing me from the silences of the interior life.
Stopped in the Silver Dollar just as dusk was rolling in, paid for some takeout coffee, there’s a group of ten drag queens standing outside leaning on shining car fenders, applying lipstick and powders out of tiny mirrored compacts. One young man in a tight white t-shirt, hard white arms, no more dreams, heavy beer belly, had fallen on his face moments before. A couple of his teeth having popped out, there were two vermillion streaks running down the sides of his mouth and some cops were standing over him as he lay on his back, his cheekbones glistening and arms flailing like in some stream, backstroking his way out of this world, out of this life, away from this sea of blue uniforms and white boneless faces, away from this sea of city heat and faraway motion of his eyes fluttering behind dark sunglasses. Walked onto the pier and stood with my back to the river and way over the movements of the city was what looked like a falling star, a photographic negative of one in the night: a jet streak short and vertical falling from the sky, like a falling jet with a single illuminated flame tracing the domed curve of the heavens, a scratch in the sky, a blinding light caught in the scratch from the unseen sun, and slowly changing direction and connecting the rooftops of the buildings one after the other.
In the warehouse just before dark, passed along the hallways and photographed the various graffiti on the walls, some of hermaphrodites and others of sharp-faced thugs smoking cigarettes; in passing through a series of rooms, saw this short fat man with a seedy mustache standing in a broken closet filled with old wet newspapers and excrement and piss, standing with his hands locked behind his head and with a hard-on poking out through his trousers from beneath a grimy heavy overcoat: he was doing this strange dance, undulating his hips, sweat rolling down the sides of his face, beneath dark glasses, grimacing and stabbing the air with his cock and saying in a loud whisper: “… come in here … I’ll make ya feel so goood … so good …”
Later, about 3:00 a.m., a terrific storm swept down on the city, the waves rolling like humpbacked whales just beneath the water’s surface: whole schools of them riding first toward and then away from the piers. With another coffee I stepped along the walls of the warehouse and ducked beneath the low doorway to get out of the rain. Somewhere in the darkness men stood around. I thought I could hear the shuffle of their feet, the sense of their hearts palpitating in the coolness. Dark cars outside the windows slowly covered in rain, headlights clicking on suddenly, waves slashing at the pier and huge pieces of unhooked tin, torn down by the wind, clanging and crashing against the upper walls. I thought I saw a person in a white jacket disappearing as I reached the upper hallways. Walked around sloshing hot coffee over the rim of the open cup with every few steps. Looked out the side windows into the squall, tiny motions of the wet city. Inside, for as far as the eye could see, there was darkness and waving walls of iron, rusting sounds painful and rampant, crashing sounds of glass from remaining windows, and no sign of people: I realized I was completely alone. The sense of it slightly unnerving in the cavernous space. Street lamps from the westside highway burn in
the windows, throwing shadows behind staircases and burying doors and halls. Walked out on the catwalk and watched the terrific gale and tossing waves of the river from one of the side doors. Huge panoramas of factories and water tanks were silhouetted by green roof lights and cars moving down the highway seen only by the red wink of their taillights.
Walking back into the main section of the warehouse I stopped in one of the rooms facing the elevated highway. The rain had slowed down and the streets were burning with a brassai light and texture. I suddenly felt a hand on my crotch in the darkness and turned toward the dark void where the face should be, stepping back as I did so. The hand belonged to a small, dwarfish man, someone out of an old Todd Browning image. I put my hand to his shoulder and said, “Sorry … just walking around.…” And as I passed through a series of rooms, he followed from a distance, sliding along the walls and appearing unexpectedly in the doorways ahead of me, the rise and fall of his cigarette describing a clear arc, like a meteorite, then disappearing into the shadows of his face. As I left by the back stairs, he drifted out of a room over to the top of the staircase and stood silently watching me descend from view.
Standing in a waterfront bar, having stopped in for a beer in mid-afternoon: smoky sunlight riding in through the large plate-glass windows and a thumping roll of music beating invisibly in the air. Over by one window and side wall, a group of guys are hanging out playing pool—one of them is this chicano boy, muscular and smooth with a thin cotton shirt of olive green, black cowboy hat pushed down over his head, strong collarbones pressing out, a graceful curve of muscles in his back and a solid chest, his stomach pressed like a slightly curved washboard against the front of his shirt, muscles in the arms rising and falling effortlessly as he gesticulates with one hand, talking with some guy who’s leaning into the sunlight of the window; in his other hand the poolstick is balanced against his palm, a cigarette between his fingers. He leans back and takes a drag and blows lazy smoke rings one after the other that pierce the rafts of light and dissolve within the shadows. The guy that he was talking to looked like some faraway character straight from the fields of old skittering wheat and someone I once traveled with by pickup truck with beer cans in the dusty backseat and buzz in the head from summer: dark eyes and a rosy complexion, roughly formed face made of sharp lines and his hair cut short around the sides and back of his neck. Standing there sipping from a green bottle, I could see myself taking the nape of his neck in my teeth as he turned and stared out the window at the rolling lines of traffic for a moment. Light curved around his face and the back of his head, the shaved hair produced sensations that I could feel across the palm of my hand, my sweating hand, all the way from where I stood on the other side of the room. He looked around after turning away from the windows and set his eyes on me for a moment, studying me for indiscernible reasons, and I felt myself blush: felt the movement of the bass tapping against some chord where the emotions or passions lie, tilted my head back and took another swig from the beer, a humming gathering from my stomach and rising up past my ears.
He turns away and the chicano guy leans over the pool table for a shot, his back curved and taut like a bow, arm drawing back to softly clack the balls on the table: a couple dropping into the side pocket, and for a moment the two of them were lost in the drift of men entering the bar. I move over a few feet to bring them back into view and some sort of joke developed between them. The country boy reaches into the bottom slot of the table and withdraws a shiny black eight-ball and advances toward the chicano, who drew back until his buttocks hit the low sill of the window. He giggles and leans his head back at an angle and lets a hardness come from his eyes. The country boy’s face turned a slight shade of red in the light and he reached out with his hands: one hand pulling the top of the chicano’s shirt out and the other deftly dropping the eight-ball into the neckline. The ball rolled down and lodged near his belly and the two of them laughed as he reached in, hand sliding down the chest and stomach retrieving the ball. I took a last swig from my beer, overcome with the sensations of touch, of my fingers and palms smoothing along some untouched body in some imagined and silent sun-filled room, overcome with the heat that had been gathering in my belly and now threatened to overpower me with a sense of dizziness. I barely managed to place the bottle upright on the nearby cigarette machine and push open the doors, into the warm avenue winds, push open the doors and release myself from the embrace of the room and the silent pockets of darkness and the illuminating lines of light thinking it was Jacques Prevert who said “why work when you have a pack of cigarettes and sunlight to play with?,” and listened to the horns of ships along the river, far behind the fields of buildings and traffic, turned a corner and headed across town.
Passing down a long hallway there were glimpses of frescoes, vagrant frescoes painted with rough hands on the peeling walls, huge murals of nude men painted with beige and brown colors coupling several feet above the floorboards. Some of them with half-animal bodies leaning into the room’s darkness with large outlined erections poised for penetration. Other walls contain crayoned buddhas and shining gems floating above their heads in green wax. One wall where a series of black wire-strewn holes pull apart the surface, where crowbars and hammers searched out copper pipes and wires, but still filled with floating faces almost japanese with pink high-boned cheeks and multicolored eyelids, a stream of hair touched by loving or by winds, small crudely drawn lanterns serving no discernible purpose but to genie these faces from the vague surface of the plaster.
Passing doorways in slow motion, passing through shadowed walls and along hallways, seeing briefly framed in the recesses of a room a series of men in various stages of leaning. Seeing the pale flesh of the frescoes come to life: the smooth turn of hands over bodies, the taut lines of limbs and mouths, the intensity of the energy bringing others down the halls where guided by little or no sounds they pass silently over the charred floors. They appear out of nowhere and line the walls like figurines before firing squads or figures in a breadline in old times pressed into history. Stopping for a moment, I thought of the eternal sleep of statues, of marble eyes and lips and the stone wind-blown hair of the rider’s horse, of illuminated arms corded with soft unbreathing veins, of the wounding curve of ancient backs stooped for frozen battles, of the ocean and the eyes in fading light, of the white stone warthog in the forest of crowfoot trees, and of the face beneath the sands of the desert still breathing.
IN THE SHADOW OF THE AMERICAN DREAM
Soon All This Will Be Picturesque Ruins
I had almost become completely abstracted. At some point I think I woke up; I think it was minutes ago or maybe hours ago in this motel room. I never felt a sensation like this before but the heavy plasticized curtains covering the three windows of my room created what I imagined a flotation tank might feel like, or a dry rug-covered terrarium with the glass painted black and fitted with an airtight lid. When my eyes first opened it took some measure of time to realize I’d stepped away from myself among the veils of sleep and with that motion my eyes had disconnected from the nerves of the brain: that area where sight flows uninterrupted. The only vision from back there was a sub-vision: the magnified abstraction of a shiny black abdomen like a motorcycle gas tank or a mirrored black globe. Straining against the contours of the room and its furniture to reach back into that area and retrieve more of its form from the shadows, I could see or feel it for moments; the soundless click of its eight legs tapping the surfaces of the walls and ceiling of my sleep.
Later, drinking watery coffee in the motel restaurant, the hot sun of the day slanted across the highway illuminating truckers climbing into their rigs. In the watery circling of shapes and textures, I saw pieces of anatomy surfacing from my sleep: the lips or cheekbones or the fingers of some man or woman speaking and there was no sound but I recalled some story about a man lying in a prison cell with no sense of time forward or past, floating in either his or someone else’s interior abstractions for maybe da
ys or years or centuries. A small window high up on the wall across from his bed allowed him on tiptoe a view of a tiny piece of landscape, the tip of a rock or the shallow hip of hillside. In this landscape he could never receive evidence of the seasons and the temperature always remained constant. One day he discovered that he could measure the distances of the landscape by lying on his back in the center of the floor and placing the soles of his bare feet against the shafts of sunlight extending diagonally through the bars. With a series of small walking motions he could trace something calendar- and distance-oriented from the lengths of light. It might have been something algebraic but I never had enough of an education to question this and that was the only way it made sense.
Driving a machine through the days and nights of the empty and pressured landscape eroticizes the whole world flitting in through the twin apertures of the eyes. Images in the distance that could fit in the centimeter of space between the upheld thumb and forefinger of my hand carry the compacted energy of the same image close up. Possibly more. Turning the bend in the highway suddenly reveals, a quarter mile away, a highway crew standing in a jumble of broken earth and enormous machines. In that instance I see the browned flesh of a shirtless man in shorts; I see the bare arms and ribs of a man buried in the shadows of a tractor’s cab; I see the bent-over back of a man swinging a pickax with all his might; I see the pale white underarm with the accompanying dark spot of wet hair belonging to a guy up in a cherry picker among the telephone wires and I feel the fist of tension rising through my solar plexus beneath my t-shirt and the sensation grows upward, spreading like some strange fever in my chest, catching only at the throat where small pockets of sound are contained. In a moment the vehicle I’m steering passes by the scene and I’m left populating the dry plains, the buttes and the cloudless sky with the touch and taste of flesh. I fill the gullies with small but heated fictions.
Close to the Knives Page 2
