The Boy Wonder

No reward without effort - palma non sine pulvere

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All the poets that you love listening to
love lying to you.
I’m not that egocentric to make you believe that I’m not one of them.
I lie all the time,
mostly up here.

See, I’ve been doing this for a little while
and I’m starting to understand things:
poetry is not about telling you the truth.
It’s about telling you the version of a story
that gets the most reaction,
the one that flows the best on the mic,
the one that has all the lines
that the audience is going to like.

See, maybe the truth
isn’t supposed to rhyme so well.
Maybe it doesn’t have to rise to a crescendo.
The truth
never sounded like sound bites
and name dropping.

I promised myself I wouldn’t write poems about poetry,
but I woke up at 3 AM the other morning
and started spitting out all these lies that I couldn’t roll off my tongue
and thought that maybe at this hour
I could write a poem about honesty
without having to choreograph the hook at the end.

I woke up at 3 AM
and I’m having trouble remembering how to spell the word “wouldn’t”.

Four years ago, I featured at a youth slam in Jersey City,
and tried to show some children how poetry is supposed to sound cool.

Jessica sat in the front row
thinking I could teach her about spoken word.
I lied to her, in metaphor, for a half hour
only to hear the silence of a fifth grade explosion;
Jessica explained it to her thirteen year old peers
how rough her father’s beard stubble felt when her was drinking
and how a foster family is just a fresh coat of paint over stucco
when you’ve been running against the wall.

She didn’t actually say all this.
Not like I can.
But I could hear the inhalation of truth
in between breaths of her poetry.
Her name is not really Jessica.
I don’t remember what it is.
But for a moment, I can make you care about her,
even if she’s not real.

Don’t ask me.
You wouldn’t know the difference anyway.

I don’t write poems about honesty.
I’ve written three poems this year to make me sound cute to girls,
but not one about the medication that I’m taking
because there are some things
that I don’t fucking talk about.
Why am I 33 years old and still trying to sound cute to girls?

A couple weeks ago,
two friends asked me how my roommate is doing.

I use the word “roommate”
instead of referring to her as the girl I’m afraid of falling in love with
because she is the most beautiful overturned school bus that I have ever seen
and I slow down sometimes to watch the trauma.

And because she knows me.
Like how she knows that I look in the mirror too much,
and I always eat the last peanut butter cup,
and I fuck girls with my poems,
and use the word “roommate” too loosely.

And the poet in me
should’ve told them she’s doing just fine,
but I hadn’t memorized all the lines yet.
My best friend is not doing fine,
and I can’t fix it.

The students in my class
like me because I say the word “bullshit” during my lectures
and let them out early.

They don’t see that fear has me losing focus on the bullet points
when I’m thinking about how many slit wrists I’ll return home to tonight.
My roommate’s not suicidal
But it sounds sexier than saying
that she closes her eyes sometimes
when she’s changing lanes.

I lie.
Because it keeps me driving to work
instead of holding her all night and crying.

I need somebody to talk to
but poetry helps you meet people who want to fuck poets.
Who do you talk to when your best friend is biting off her cuticles,
while other girls are sharpening their nails?

I need to go to bed now.
I’m sorry I lied.
I’ll write the rest of this poem tomorrow,
when I can differentiate what’s none of your fucking business
and write poems with hooks that rhyme.
It doesn’t matter what you believe.
I’m tired of being the strong one all the time.

Chad Anderson, “Liars, All of Us” (via pigmenting)

(via eweaps)

1,640 notes

andrewgibby:

she said

you will never be let down 

by anyone

more than you will be let down

by the one

you love most in the world

it’s how gravity works

it’s why they call it “falling”

it’s why the truth

is harder to tell

every year

you have more

to lose

but you can choose

to bury your past

in the garden

beside the tulips

water it

until it’s so alive

it lets go

and you belong to yourself

again

you belong to yourself 

again

(via sunnysuraj)

6 notes

sunnysuraj:

11:27 PM; 5/7/13
I want to fall for a writer.I’ll tell my friends“she’s just as confusedas I amand I thinkI want usto be confused together.”
and our argumentswill be nuclear warfarecomplete with Mutually Assured Destruction;we’ll send bombs and rocketstrying to annihilate each otherbecause we’re both so afraidof love.those fights will leave us both battereduntil one of us decideswe need a Strategic Arms Limitations Talk.
the sex will be worse —she’ll write about it laterbut focus on all the wrong thingslike the rhythm of our hipsand the soft touch of my hands,how they feel like hurricanescontained in fleshwhen really
they’re thunderstormsand they’re coming out of her mouthevery time she sighs or whispers,and it’s her grip,the scent she wore,the way her heart beatand the tender waywe held each other after it all.
we’d be bomb shelters,armed with guns.and it’d be a destructive, angry, fighting, mad love.it’d be a hard love.one you’d have to try your bestto keep from falling apart.
but that’s the only kind that matters,anyways.

sunnysuraj:

11:27 PM; 5/7/13

I want to fall for a writer.
I’ll tell my friends
“she’s just as confused
as I am
and I think
I want us
to be confused together.”

and our arguments
will be nuclear warfare
complete with Mutually Assured Destruction;
we’ll send bombs and rockets
trying to annihilate each other
because we’re both so afraid
of love.
those fights will leave us both battered
until one of us decides
we need a Strategic Arms Limitations Talk.

the sex will be worse —
she’ll write about it later
but focus on all the wrong things
like the rhythm of our hips
and the soft touch of my hands,
how they feel like hurricanes
contained in flesh
when really

they’re thunderstorms
and they’re coming out of her mouth
every time she sighs or whispers,
and it’s her grip,
the scent she wore,
the way her heart beat
and the tender way
we held each other after it all.

we’d be bomb shelters,
armed with guns.
and it’d be a destructive, 
angry, fighting, mad love.
it’d be a hard love.
one you’d have to try your best
to keep from falling apart.

but that’s the only kind that matters,
anyways.

1 note

Part 2 

Fallen glass that cannot be whole again
Makes a fool of a frame. Like open arms
with nothing to carry or hold onto. Empty,

Like the cup of a new born child.
Innocence of wretched souls trapped in a
Book to burn. Never to see the light of

Day, for the author stays home.
And an author who’s pen drops, wilts the
Flower and breaks the glass within the frame
And all is empty, truly empty.

0 notes

Part 1

Shards of broken women and
Men filling wilting notebooks,
The dedicated poets never notice.

Lost in their dust-ridden pages
Those prisons of Anguish and Grief,
They shut themselves from the world outside.

The keepers of fragmented time,
The alchemists of emotion,
They wield ink as weapons against the pain.

Exile the Sanguine and conform to the cynicist movement.
Quick!-Hide behind your oh so jaded walls,
The dedicated poets never notice.