Tripwire

Haloing DNA
old paint drawn tight
with line like a trench
pulled through tripwire mud
staircase and banister
savoring and anesthetizing
as dimensions for mating
in cataract of warming bloom

Feint

Don the posture of the fallible lamb
wish-loving bas-relief else

To stand confirmed
as farcical daemon

Pooled into shade
prancing fulgent

To lift the skin like priory habit
in exposé feint

Diplomatic Cable

Museum cases are always
unstable at room temperature

Population tables
perform an exaggerated hygiene

Nowadays an entire province
is lodged in the awnings over a fruit stand

Buckets of produce and human velocity
sheltered in the warehouses

Someone is sending the last diplomatic cable
wood plank frottage on cheesecloth

Wrapping the rasping brick
this will be the lasting image

Despite the unworldly heat
the man is still alive

Just past city center
there are dispensaries

That serve to hyper-saturate the relief caravans
positioned at intervals along the wide avenues

Pastoral Utopias

Diorama makers craft
pastoral utopias
scenes of load bearing realism
with quarantined melodies
appended to their parts

Grins don’t mean what they used to
a baby and a stake holder
and their miniature novellas
breeding a brand-new leviathan
don’t feed themselves apart

Melodies accompany the use of
chances
in the dying art of lip-service
to use an engine oiled
with separatist
plots is to lead
just as oxygen looking for origin
becomes its own arc
pulping its flammable norms

People say that they always swelled
that they’re woven through their tissue
in circular logic
just as here it is always known
they are all poised in tottering crescendo

Speaking demands clairvoyant strength
you have to be able to call
heaven and earth
suckling twin fiefdoms
giving their caduceus-like
fraternity
a task of its own

Cerulean Pox

The circus
the market remnant
cerulean roman anthill
handing pill case
or erstwhile indenture

Between ax
and thin spate
of pox’d memory’s looking

The family of forget-me-nots
ossified there
like ash weight eyes
themselves of withered ends

Geoffrey Detrani is a visual artist and writer. His artwork is in private, public and museum collections. He is the recipient of multiple artists grants and residencies. He is a two-time recipient of the State of Connecticut Artists Fellowship award. He was the recipient of a World Views residency award with a studio on the 91st floor of the former World Trade Center south tower in New York City. His poems have appeared in Fence, Aufgabe, New Orleans Review, Black Warrior Review and Parthenon West Review among other publications.