by Michael Miller
In a city awake on tea and subtitles,
the freshman boys fight off sleep
to hear a bluesman sing at the corner club,
his foot tapping and hoarse voice wailing
about fleeing the river hounds; and all the faces
look warm and dry here, the Lost Boys of Sudan
sheltered behind glass and glowing
on the art-house cinema, the neon sign
of the conquistador blinking over the nightclub
with his rifle drawn (the children of the Aztecs
on the sidewalk below seeking wristbands cool
in their pressed silk collars) — here the bus shakes
to a stop every hour, the doors snapping open
and the couples pass (consummated)
through ocean breeze and the crash of the fountain
in search of a drink — the girls in mascara
who glint like fireflies in the yellow lamps,
the one who breaks from the line at the tavern
and ducks into the gallery, past
the corner magician and the swirling eyes
of new babies, stands wet by the glare
of the bootleggers brutal and handsome under
their shaded brims in a portrait
in the hall, the newspapers cheering New Deal
and the trays of Cabernet in back (a finger
polished red half sober texting
about free food, gallery show, what time
do u get off wk) — the kisses stolen
over floodlights and the donation box
overflowing by ten, the eyes of migrants
that lust from photographs, the cards telling stories
of when this town was dust, when everyone was hungry.
Last updated March 20, 2023