I am the stale receptor, the superfluous accumulator,
the redundant completist trapped
in his cave of musty retention,
buried under years of absorption… unaborted;
decades of consumption… consumed,
sacrificed at the altar of other people’s art,
while everything else fell apart.
Pondering, at last, all the pointless consolation;
questioning if it was really necessary
to devour entire genres until I was crapulous
from gorging myself on culture,
As if it were some kind of achievement
to accumulate all this knowledge
that will die with me.
So that on my headstone it will read:
that I read and lived a lot of fiction…
that Art ruined my Life.
AVALANCHE
LANDSCAPE WITH PEASANTS
The footsteps of bored guards echo in the empty galleries.
A homeless patron wheels a laundry cart around.
Despite free admission, the place is empty,
these are the only sounds; and it’s easy to get lost
in the bleak, rural Dutch 17th century.
Beneath a cloudy, unforgiving sky,
two figures tramp down a muddy lane
toward a house half-hidden behind gnarled trees.
Cattle graze beside a river.
Beyond torn fencing fields recede.
Gazing into these serenely battered bygone scenes,
one is reminded of real life, real weather:
that it might still be out there somewhere.
Not here, far removed from European culture,
at the very edge of the western hemisphere.
Where, on a hollow, cloudless day
the collection’s fragile incongruity is quickly wiped away
by the umpteenth oblivious jogger running by
with a head set on.
There’s nothing in the air.
The sun, subtly vampiric, barely brushes against a world
where everything and nothing is in bloom:
a seductive vacuity, of lifeless trees
and lives of ease and loud complacency,
as soothing and beautiful as a cartoon.
CXXVII (the missing Inertia)
The Kiedis Problem
A certain party was inspired to pay tribute to the great poet and paragon of male beauty, Anthony Kiedis:
As part of the Pacific Standard Time offensive, an ad campaign has been launched – to reel the kids in, presumably – in which celebrities are enlisted to endorse the work of their supposedly favorite artists. Posters around town depict a shirtless (as ever) Anthony Kiedis – yes, the semi-talented egomaniac best known for boasting about all the drugs he took 20 years ago – flaunting his impeccable pecs (and/or abs) with Ruscha Hollywood Sign-in-reverse typeface superimposed behind him. According to the press release, Kiedis “personifies the mood and attitude of Southern California… like no other artist today,” which suggests we’re in more serious trouble than we may have previously thought. We are best represented by a junkie who walks around naked with nothing but a sock over his knob. Yeah, I know, he’s moved on: I’ve seen his mature work.
So, as Kerouac suffers at the hands of Ruscha, so must Ruscha suffer the indignity of Kiedis’s seal of mediocrity. This addiction-flaunting braggart (bragging about art) is exactly the kind of ambassador the art world doesn’t need. In an accompanying three-minute video Kiedis and Ruscha drive around LA together (you get the idea), rhapsodizing about the city that has been so appreciative of their qualities. While Ruscha mumbles graciously, Kiedis, the celebrated wordsmith, discusses his special relationship with language: “I definitely relate deeply to the idea of words being art. When I see somebody else who’s got such a connection with words, I instantly feel connected to that person.” (Especially, one suspects, if that other person is famous.) It would be easy to point out the numerous solecisms contained in those two sentences, but why be petty? I have nothing against the guy, I just don’t like the look (or sound) of him. And surely by now enough people can recognize a Ruscha or a Baldessari (who receives similar treatment from the almost-as- irritating Jason Schwartzman) without the aid of some smug celebrity striking poses in front of their work, which seems to imply that LA art can’t quite make it on its own without the imprimatur of its Hollywood adjunct.
ARTISTS ONLY
Never mind that you have nothing to bring to the table.
No problem, that is no longer a requirement.
A career in the arts is no longer the province of the unlucky few
who did what they had to do. Like poker, it’s a game open
to everybody now, and the tables are crowded with players
hungry for easy money and televised prestige.
Sacrifices are demanded of those who waver, hesitation is fatal;
false modesty or self-doubt get you quickly shaken out.
But the quality of the game has become vitiated, impenetrable
to the uninitiated, and the less talent you possess,
the more brazenly it must be heralded. Lay a golden egg
where carelessness meets calculation. The artist’s touch:
It pays, these days, to advertise your desperation.
Scorched Earth Policy
Bitterness is all the rage.
Resentment burns through me,
Destroying everything in its path,
Burning up the sadness, burning up regret,
Burning up fear and desire;
Charring, gutting, exhausting me.
I can’t take the corrosive bitterness
I have forced upon myself.
I know that it’s all my own fault.
But I can’t let that stop me
From resenting other people.
SONG OF DAWN
I saw the sun rise by accident.
It was a horrible sight.
Annoyed by its splendor, I sought refuge
in a moist pillow, and lay there, alone,
at the dawn of another day,
that brought me closer to another death,
pondering the vanity of my solitude,
the vanity of procrastination,
and the tiresome inevitability of waking up
again the same person.
It might still be possible to change,
but obstinately I remain the same,
hoping that others might take solace
in my consistency.
But perhaps they take no solace in it,
perhaps they too find it tedious.






