David Jones – 2 spoken word pieces

David Jones as remedy.

David Jones

Some male voices participate in my immediate environment. There’s the neighbour who once more is yelling at his kids for whatever reason. He’s got a voice that needs no mic, and manages to infiltrate my space.

There’s the google OS guru who speaks of the new operating system that i might try

There’s the doctor who speaks of female genitalia as if they were hamburgers.

Remedy!

David Jones.

Here are two links: Why I don’t write

and

I’m a man

listen! Be cured! Now!

 

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Mark Kuhar Speaks Out!

Markk Kuhar: Interview and Sampling of Poetry – Part 1


markk is a spoken word poet whose energy comes across the printed page with the enthusiasm of a zen beginner’s mind.

I first came across his work at Litkicks.com back in 2001, when his postcards from America and American koan series as well as his generous welcoming response to new poets set him apart as a mentor as well as an extremely talented artist.

He’s been widely published on the net, in print, in anthologies such as “An Eye for an Eye Makes the Whole World Blind: Poets on 9/11” (Regent Press); America Zen (Bottom Dog Press); “Action Poetry” (a LitKicks publication); “Cleveland in Prose & Poetry,” (League Press); “Infinite Tide (Studio Eight Books). He has published three chapbooks: “acrobats in catapult twist” (2003); “laughing in the ruins of chippewa lake park” (2004) and “e40th & pain: poems from deep cleveland” (2006).

He was a featured poet in the book Cleveland Poetry Scenes. He has read his work on WCPN, National Public Radio’s Cleveland affiliate, and he is the founder of the deep cleveland poetry hour, a live monthly spoken-word event. (For a fuller list of his doings and deeds click here.)

He’s published other poets, (how honoured I was to be published by deep Cleveland junkmail oracle) and has built up a network of literary projects some of which can be found on his site Deep Cleveland Junkmail Oracle (deepcleveland.com). Perhaps most visible is his tireless investment of energy to immortalize Cleveland poet D.A. Levy through the the d.a. levy center for progressive poetics & the art of the spoken word .

Since meeting markk and even teaching his work to high school students of mine, I’ve wanted to know more about him as an artist and an energetic force in the poetic world.

Let’s begin.

Full Name: Mark Steven Kuhar

Birthplace: Cleveland, Ohio, USA

Present Location: Medina, Ohio, USA

Favourite childhood memory: The night before Christmas . . .

Questions:

Judih:  How would you describe yourself as a poet?

I consider myself a garage rock poet, a street poet, a subterranean poet, a junkyard poet. I’m not much on spitshine and polish. I love the spontaneous flow of words.

J: Do you have a favorite spot for writing?

I can write anywhere, but I do best underground. Basements, tunnels, etc.

J: Do you prefer to write longhand or by computer?

I would rather work longhand, but then I never transcribe them, so I just work on the computer mostly. It’s easier to tweak and submit that way.

J: How did you get started?

I began writing poems in second grade. My first one, which I still have, is about Springtime. It just sort of happened, like waking up one day and realizing that you like broccoli or something.

J: Have you ever been involved in writing workshops? Either as a participant or as a teacher? Can you say a few words…

I despise workshops. I just can’t get past the idea that other people are contributing to my poem. It’s not my poem if it didn’t come from me. I know these are helpful for some people, and I believe in the value of group energy, but just not with my poems.

J: Who has inspired you over the years?

Life in motion. d.a. levy, the Beat Poets, Turn-of-The-20th-Century Russian experimentalists. Universal energy.

J: Do you have a favorite piece that you’ve done?

I kind of like “dreamfever cleveland.”

J: Can you offer it here?

It’s long. I can send it separately.(ed.note: magnificent poem available here)

J: Do you find it easy to sit down and concentrate?

Yes, when the music starts, I can write down the notes.

J: Do you have a method to your writing that you could share?

I believe in stream of consciousness, just tapping into the words that are flowing in response to thoughts, feelings, experiences, visions, sights, people, etc. Then after you capture the verbiage, you either let it stand as is (primitive word energy) or you can revise as you see fit.

J: Do you listen to music while you work? If so, who or what kind?

Not usually, but if I do, it’s Dylan or The Dead,

J: These days, are you connected to other poets?

Only by the internet. I have been in self-imposed exile for a few years. I need to get out of the cage more in the coming year. I did contribute to the 150-hour live poetry reading recently held in Elyria, Ohio at Jim’s Coffee House. I read for an hour.

J: Do you collaborate with any other poets or artists?

I have before, but not recently. It’s always a fun exercise when you know going in it’s a team effort. My favorite was “symphonie des phantasmagories,” which I wrote with Wisconsin (now New York) poet Andrew Lundwall.

J: You’ve done so many projects over the years. Could you mention a few- perhaps an unbelievably interesting one, a project that surprised you, an abysmal let-down,…

The first “levy lives!” event we did in 2001 was spectacular. So many of the participants have passed away, like Daniel Thompson, Jim Lowell and others, that it makes it that more special. I get disappointed regularly that more people don’t show up at the reading events around town.

About Spoken Word

J: markk, I watched you on video at The Lit in 2007. (http://video.google.com/videoplay?docid=-3367944440631888247&q=mark+kuhar&hl=en#)You look like you’ve got total control of your face, your voice – your visuals. Tell me, how long have you been doing Spoken Word?

I’m a ham. I’ve been doing spoken word for about 10 years or so. I like the live energy and the spontaneous interplay.

J: Does being filmed intrude on your space?

Not at all. I’m a bigger ham if there’s a camera around.

J: Do you enjoy being on stage? Do you have any interesting tales from your live poetry readings?

I love being on-stage. I have never had any panties thrown at me, however.

Speaking out

J: I remember back in 2003/4 in the days of the prior incarnation of Litkicks when Levi Asher was talking about compiling an Anthology (later published as Action Poetry). You stated then that you felt it was important to be political. Is that an accurate memory on my part?

(If not, please put me straight) Do you feel it important to be political in your work?

I think I said “only poets can save the world” and/or “poets are the conscience of the world” and being political is an important part of that process, which I truly believe.

J: Which subjects in your life stir you – which social issues do you feel are most urgent to deal with?

I am focused on our spiritual quest, the search for “wellbeing and somethingness” to warp Sartre a bit. I love to focus on how tiny moments are actually huge momentous moments that we typically don’t realize at the time. Then of course the struggle to connect with others, because both the connection and the dislocation each make a different kind of poetry.

J: Do you think poets have the ability to shake up people’s minds? Examples – either anecdotal or a poem that you know has shaken up an audience.

Oh, Yes. Poets are coming at it from a different place, and that scares people sometimes. When Ginsberg read “Howl” for the first time he not only shook up and audience, but also a generation. Locally, I can remember how Terry Provost’s poem “The Terrorist” blew people away in the heady days after 9/11.

J: Is poetry a tool for therapy in your own life?

Oh gawd yes, if I didn’t have poetry and artwork I would implode into a pile of meat and bones. The energy has to come out somehow. If you don’t have a volcano you get an earthquake.

J: If so, could you offer a poem that you felt helped cleanse an especially raw node within you?

I wrote a poem called “the galloping road that leads out of ohio” which is about leaving behind my entire connection to Northeast Ohio in search of something larger. I never actually left, so my good-bye note of a poem is how I live out that experience.

the galloping road that leads out of ohio

what color is the galloping road that leads out of ohio?
red, the color of screaming alarm? blue, of descending sadness?
green, the color of lush growth? brown, of fecund decay?
does the road that leads out of ohio glow orange
like the third eye of a flame, of dying autumn oaks, melting foundry metal?

ohio is not the end of the world, they say
but in winter you might see it from there if you look long & hard enough
lean over its quaking ledge, peer below, vanish southward like swarms of moths
looking for the brightest of porch lights
the porch light is on tonight & crickets click,
mosquitoes seek blood sustenance, rabbits cautiously peer, raccoons stalk slowly in shadows, up the road in plowed fields green spikes appear
under creepy moonlight, bony tree branches
kick with skeleton legs, one by one living room lights
& tv screens fade to black & by default this entire town becomes mine

ohio you have a strange cadence, the beat
of rain on truck stop trailers, the thump of friday night football marching bands
the repetitions of factory machines in labor
robust backhoe crawlers trenching under bleached heat
the stirring of massive pots in penitentiary kitchens,
one kiss follows another in the dark of purring automobiles

ohio tell me what you have to offer me
your rolling maple hills? brick public squares?
dusty hardware store smiles? lost cities? lemonade afternoons?
snaking river basins? tall silos?
a great gray blotch of lake water with gravel beaches
& sad, seasoned people? your song of hope? the blank wonder in your eyes?

ohio your geography is not enough to hold me
you move slow, in a tranquil coma
i seek big thoughts, not a small welcome
i need temptation, tangible evidence
i want to hold the heat of bronze love
feel the sting of a scorpion moment in which
i strip away part of myself to find myself
i’ll never do that in your hollow hand
& i can’t convince you at all why this is true

ohio i need bright neon day-glo rainbow colors,
not your mauve & faded blue, wheat & ivory white
one day i will glimmer, glitter like
your own personal galaxy of tears,
all for you, something i could never offer you
lost beneath your dim woolen skies

i hear the sound, markk

Before I wrap up this part of the Interview with Markk, I’d like to offer ‘Live at the Ku Tiki Room” a marvellous spoken word piece. Enjoy. And see you after the break.

Live at the Ku Tiki Room

Go to Part 2!


David L. Jones Speaks Out!

David Jones: Interview and Sampling of Poetry

 

David Jones, onstage

Judih speaks with Spoken Word performance poet, David L. Jones

David is a dynamic spoken word poet whose energy comes across the printed page in the modern-day blues of an urban survivor. I first came across his work online in 2006, at a poetry site on Tribes.net. His unique voice marked him as a unique spoken word artist.

He’s regularly performed at open mics in the U.S., performed with the Little Red Studio theater troupe in Seattle, WA, and has published works including “eros besmirched” and “Dark Storms – Race Gender and Politics“. His most current work can be found on his blog, D. Jones, poet (http://www.djonespoet.com).

Since hearing him and reading his work, I’ve wanted to know more about what inspires him. Let’s begin.

Full Name: David Lee Jones

Birthplace: Wheatcroft, Ky. Registered at Morganfield, Ky.

Auburn, Washington, USA

Favourite childhood memory: Canning food with my mother and hunting rabbits with my father.

Questions:

Judih:  Could you offer a description of yourself as a poet?

D: Well, the most apt description is in my bio, but to put it in a short form, I attempt to speak the pain of others who may not have the opportunity to speak. I try to articulate what I’m feeling as a common black man in America in these turbulent times. I tend to view my poetry as a chronicle rather than poetry per se.

J: How did you get started?

D: In high school, after the deaths of my parents, I was taken under the wings of 3 bisexual teacher’s aides who saw an opportunity to save a young black male who was not already corrupted by the system. I also had a counselor, Carolyn McCormick, who was integral to my growth as a writer. I think they saw that since I wasn’t from the urban environment, they might have a chance to help me avoid things like crime, gangs and drugs and they used my interest in poetry to do that.

J: Who has inspired you over the years?  Artists, poets, musicians, others?

D: Can’t say that I’ve read a lot of other people, but I was drawn to Malcolm X at a young age, Martin as well, but Malcolm more so, and I’m very impressed with Mumia Abu Jamal. His speeches from death row are very inspirational to me. As far as names…lol…well, Chuck D, Tupac, George Clinton, Aretha Franklin, Robert Johnson, Johnny Cash, Merle Haggard, Beethoven, Chopin, Bach, Eminem, Bob Marley, Bob Dylan, Joni Mitchell, Carly Simon, Bukka White, Cab Calloway, Duke Ellington, Metallica, the whole range of music speaks to me. I don’t listen to the music so much as I listen to what the artist is saying. Musicians are, in my opinion, poets who felt the need to augment their words…lol…I’m not so gifted to be able to play an instrument or paint so I have only my words to give. I haven’t seen a lot of art, but I am very impressed with Bosch, Goya and also Jeff Hengst, whom I worked closely with during my time at Little Red Studio. I’m not well versed in the art world but I know what I like when I see it. I do watch a lot of movies though and I guess my favorite would have to be Mandingo directed by Dino De Laurentis. Oh yeah, and Bukowski, can’t forget him.

Judih: I’d like to include one of my favourite poems of yours, “Not Until”, so before we continue, let’s listen to you (click the link below)

Not Until, David L Jones

J: Do you have a method to your writing that you could share?

D: I have a muse and djinn, they both speak to me. The muse gives me the light stuff, you know, the loving sexy erotic stuff, and the djinn gives me the darkness and articulates the pain. I write a lot at night and when I’m alone. I write when I’m drunk, depressed or horny, you know, the regular sorts of inspirations. I also write when a person’s character strikes me. I think I have a poem about you somewhere, if not, I should write one, you are worthy of poetry you know. I rarely edit because I believe that the poem writes itself, the poet simply channels it onto the page or through the microphone or whatever.

 

David, "Lullaby Moon"

 

J: Do you listen to music while you work? If so, who or what kind?

D: No, I don’t listen to music when I write; it’s distracting and makes it hard to hear the voices in my head.

J: Do you have a favorite piece that you’ve done? Can you offer it here?

D: Wow, hard question. I consider all my poems as my children and it’s hard to pick a favorite, the others will be upset…lol…, but if I had to pick one, it would be “Liberty Wears A Strap-on

Liberty Wears a Strap-On

 

Liberty wears a strap-on

and if you don’t believe,

just ask the Haitians,

Mexicans,

or even the Chinese.

 

Liberty used to be

such a nice young girl,

holding up her flaming torch

a beacon to light the world.

 

But nowadays,

it seems that light is gone,

and you can ask any Muslim:

Liberty wears a strap-on.

 

Give me your tired

huddled masses,

yearning to be free,

and I’ll fuck them all

with no Vaseline.

 

A strap-on is America’s

tool to invade.

If you don’t think so,

just ask the Guatemalans

resting in their graves.

 

Liberty wears a strap-on

it’s plain to see.

She surged in the Indians

and came all over slavery.

 

Justice is a woman

and they say she’s blind,

her friend Liberty

is trying to surge in my behind.

 

Behind closed doors

where the deals are made,

Liberty and Justice

play for pay.

 

Liberty and Justice

in the land of the brave–

sounds like a triple X

movie is being made.

 

Liberty fucks Justice.

Justice loves her too.

Liberty wears a strap-on

and she’s ready to fuck you.

.

About Spoken Word


J: When did you start performing at open mics? Can you offer any tales of amazing performances or interesting audience reactions?

D: I started performing at open mics during high school which was back in the mid 70’s, never went over well. I did a reading with a friend of mine named Jason Ammerman a long while back, well after high school, it was my first nude reading. It was Father’s day and we were reading at a speakeasy underground thing in a house in Bloomington, In. Jason is a kick ass poet and we were all about one upping each other back in those days, both being angry poets. I did a series of erotic poetry and removed a piece of clothing at the beginning of each poem, by the end I was naked and reading the last poem. It got me laid…lol…so I guess it’s good for something. There were many readings that I did at Little Red Studio with an amazing woman, Eileen Fix, that were awesome as well. She and I were instrumental in bringing poetry to the fore there. We made people very aroused with our poetic play. These days, I specialize in “pin drop” moments, you know, where the audience can’t believe that someone would say the things that I say. I like doing that.

J: I like that: “pin drop moments”. What makes a good open mic?

D: A microphone. Seriously though, audience reaction is a big factor, however I’ve read at some open mics where it was only poets reading to each other. I suspect that every performing poet has had their share of doing that. You have to just power through it. My thing is to read the poem the way it felt when it was written, regardless of who hears it. It’s always an open mic when you speak to God, and he is always a good audience.

J: David, have you been filmed during performance? If so, is it something that intrudes on your space?

D: I’ve been filmed once that I know of, it was during a sermon I wrote called “The Book of Cock”. I’ve had people take pictures, but no, it doesn’t intrude on my space at all, though people have told me that I should hold still for the camera, or that something went wrong with the shot. Blame it on my muse and djinn…lol…

Speaking out

J: Your work deals with subjects from the extremely personal to a general call-out to stand up and take notice.  How important is it to you to speak out?

D: It’s very important that poets speak out because people need to know that there are those of us whose voices may not be heard and that we have something to say which could benefit society as a whole. I try to keep a balance. “Too much light will blind you, and too much darkness will cause you to lose your way.” It’s also important that people understand that the political is also personal, that political actions have an effect on the personal level and in the society as a whole.

J: Is poetry is a tool for therapy in your own life? If so, could you offer a poem that helped cleanse an especially raw node within you?

D: Yes, poetry is my primary therapy. It’s better that I say things than do things. It gives me a chance to get stuff out and because it’s seen as art, I don’t end up in a mental ward as some raving lunatic. A poem that has helped me a lot is “Fear of a Black Planet” which helped me understand why white women were so scared of me.

Fear of a Black Planet

 

Yea, I have looked

upon thy face

with mine own eyes

observing thus

a fear by which

reason hath

fled thy being

 

Thine eyes have

witnessed askance

the black moor

and verily fear

hath caused consternation

to sit astride

thy countenance

 

Thy breast

being lily white

trembles at the thought

of Moorish hands

weighing the balance

of thy female fruits

 

For this reason

thy face turns from mine

and the dove wings

of thy hands

soil not themselves

upon the muddy terrain

of my skin

 

Ere the seed

of my niggardly loins

should chance light

upon the threshold

of thy fair temple

thou wouldst first

death

before birthing the mulatto

 

So completely

have I behold thy

fear of a black planet

me thinketh milady shuns

even the darkness of sleep

lest she linger too long

in its grasp

 

Now flee, flee

distressed damsel

beset by darkling horrors

imagined in thy

madness

Call again

the constabulary dogs

to avenge imagined slights

to thy snowy womanhood

 

Thy sanctity abraded

by my pardon

apologies for existence

upon deaf ears fall

thy eyes blue with fear

seek white knights

to mentally slay

yon black dragon

as a chariot

whisks milady away

to the safety of

snow white Elysian Fields

.

J: Which subjects in life stir you – which social issues do you feel are most urgent to deal with?

D: Right now, I’m concerned with the depressed state of the American mindset. People seem to have a vacant and distant look about them, more so than I remember at any other time in my life. Relationships between people are also a topic I frequently write about. Sex, race, gender, politics, economics, life, death, religion are all valid subjects and social issues that I write about.

J: Do you think poets have the ability to shake up people’s minds? Can you give examples – either anecdotal or a poem that you know has shaken up an audience.

D: Yes. Poets have not only the ability but a responsibility to shake people up. The first time I read the liberty poem, my friend Jeff told me not to read it again at Little Red Studio because it shook a lot of people up, this was during the first days of what I call the “muslim madness” that has swept America. As you know, some of my poetry is not very flattering to women. I’ve been told that my sentiments were not appreciated by more than one woman and several men after reading poems about gender. I wrote a poem for a guy, George Sodini, it still causes a stir when I read it. It’s called “Insanity Defense”.

Insanity Defense

 

Thirty women dead

and

fifty more wounded

he’s writing again

albeit

with a different pen

on a different pad

 

He used to

Howl

with pain and anger

He used to

plead

with tears

and hesitant touches

 

Now his touch

is not hesitant

and the screams

do not come

from his throat

nor tears

from his eyes

 

His muse

has death

in her touch

She has embraced him

in blood red wings

and kissed him

with her savage mouth

 

The color is red

Before his eyes

the audience

unmoving

He is a poet

He reloads

and writes

.

J: You’ve worked with the Little Red Studio theater troupe. How did that come about? And how has that experience affected your own performance?

D: Well, Eileen Fix was responsible for that. She and I were reading at a little place in Seattle which was hosted by Red Sky Poetry. We used to duel with our poems. At the time I was a horrid misogynist and she continually challenged me about that. One night after a poetry reading, she called me to come over to her house and she decided to “cure” me by fucking me silly…lol…, afterwards she introduced me to Jeff Hengst who was putting on this little thing called Little Red Studio. She and I had begun having a relationship and the poetry that came out of that was some fierce erotic stuff. I still dedicate poems to her when I read stuff from that era. Little Red Studio gave me an audience to explore my eroticism and sexuality which is reflected in my writings. She and it made me a much better poet.

Developing as a Poet

J: How can a poet work to become better?

D: Read your work with the same spirit you wrote it with. I’m not one for editing overly much, but sometimes it makes for a better poem, don’t be afraid to edit. Poetry is art, art either French kisses you or puts its foot in your ass, if it doesn’t do either of those things, it’s entertainment, in my opinion.

J: Do you think that writing poetry is a talent that can be learned?

D: No, but anyone can do entertainment, just look at television. Poetry is something that you feel from a very deep place. Poetry is your soul singing, you don’t learn to give it a voice, you let it sing.

J: Do you sing? Have you ever put your poetry to music?

D: I do sing privately, have never sung on the mic, and no, never thought about putting my poetry to music because I don’t play an instrument, but I have found that jazz works with it sometimes. Currently, the group I’m working with called Floating Mountain Poets (www.floatingmountainpoets.com) have been reading at a little place called the Faire Gallery. They have a house jazz band that plays behind us sometimes and that seems to work. I’m looking more into it, but for now it’s a casual acquaintance.


Poetry in Education

J: Have you worked with children or teenagers? Would you consider mentoring a young poet (encouraging, offering advice, etc)?

D: No, though I have shared the stage with my son several times. I don’t know how I could be a mentor, other than just being the poet that I am. Actually, I’d fear that I’d corrupt someone young and impressionable…lol…

J: (Since this is our first “R” rated interview, I see what you mean!) In general, are you in favor of teaching poetry in schools?  If so, are there any poets you’d personally select for young teenagers?

D: Yes, poetry should be taught in schools. It saved my life more than once. I can’t say which poets I’d select for a poetry program for a school, but I certainly wouldn’t suggest myself. I’d start them with the classics, Shakespeare, Blake, Ginsberg, Kerouac and those guys, the Beat poets, and then let them go from there.

J: Does the idea of running an open mic in schools interest you? Could you give some pros and cons?

D: I would never even think about trying to go into a school and do anything like that. My poetry is not suitable for an educational setting.

Popularity of Poetry

J: Do you think that poetry has become more popular over the years?  Do you see a difference in your audiences?

D: No. poetry is on the wane here in America. People are less literary than when I was younger. On the other hand, I was at a “Youth Speaks” poetry open mic last night that was amazing, so I suppose there is hope. My audience has pretty much been adult my whole poetic life, so no, I haven’t seen much of a change in my audience. It is my hope that the young people that I have heard will continue writing and reading and that they will evolve as poets.

J: Any final comments? Are there any questions you would have liked me to ask, or any other comments you’d like to include? Feel free to add any poems or links.

D: Not really, I think you have probed me quite in-depth. This is the first interview I’ve ever had as a poet. You asked very relevant questions and some hard ones I might add. I would have expected no less of you Judih. Thank you for taking the time to do this interview, and I’ll conclude with a couple of poems about writing, one very old and one quite new, Pretend Poet”.

Pretend Poet

 

I am what you’d call

a pretend poet–

one who writes

short missives of pain

not socially relevant

to the times and ears

of critics.

 

I am a pretend poet,

one who pours out his

heart

like dust that falls

unnoticed

to the ground.

 

I am a pretend poet,

one who sits alone

with a pen and paper,

scribbling something

stupid, selfish,

written out of fear

of himself

 

I am a pretend poet,

one who chronicles his own

self pity,

blind to

the bigger scheme of things

which revolve

like a maelstrom of possibilities

just out of reach.

 

I am not a poet.

I’m just some fool

who wanders in here

every Friday,

practicing catharsis

to keep living,

breathing,

even though the sounds

of his breath

make no sense at all.

 

I am what you’d call

a farce, a fluke.

What I write is a comedy of errors,

a sojourn in ignorance

and unworthy of your ears.

 

I may be many things,

foremost

a court jester.

but I am not a poet.

 

Portrait of David L Jones

And one very new…”Why I Don’t Write”

Why I Don’t Write

 

I don’t write

because I am tired by

too many situations

happening at the same time

like trying to watch

all the clouds

at once

 

Do the countless institutional forms

count as poetry?

the repeated reverberations

of my essential information

asked over and over

like the echo of a past

I’ve been chained to

 

Do I have to know everything?

all the time?

as if I were a living tome

of bad memories and mistakes

Can I forget how to write my name?

forget how to spell emotions

in such a way that you’d understand?

 

Do I need to write my lust

on scraps of paper

when the message

can be plainly seen on my face?

read by anyone not blinded

by art, poetry, too many books

Can I be heard outside the song?

 

Sometimes I don’t write

because I hate the pen

hate the poetry

the way ones hates

a nagging, overbearing lover

the way the whore hates the pimp

the way paper hates fire

 

I don’t want to write anymore

because it’s futile

like wishing on stars

whistling at women

and spilling your heart

to the uncaring illiterate mass

of bleating sheeple

 

I don’t want to write this

blathering excuse for a poem

this redundant exercise in futility

this misanthropic screed

oozing forth like blood

spilled on a xenophobic landscape

during a relentless war

 

I want to break all the pens

burn all the books

silence the singers

blind the artists

tear the tongues from the poets’ mouths

If you didn’t know me

when I touched you

 

you never will

.

David in performance

J: Thanks so much, David.

D: Thank you Judih, it was an honor to have you interview me.

Editor’s note: for updates on David’s appearances at Open Mics as well as his latest work, check out his blog.