The logic of a base is misnomer and defamation.
Eddy overrehearses his punk-garage band, Libido
of Eunuch’s, antipop single “Brat Crud Harbinger,”
grafted as condemned stock and mutation mass,
itching to pierce the shape-shifters on a night
of tribunals in flash drives. Sequences of toxic
side-effects coaxed from pricked licks and one
octave chants, court triumphalists to mock-up
and bulk. Eddy Daemon sashays his effete bod
against the press and the bleak community who
seek his agony as black-purple lump strangled
beside a hacked-off head. They’re spoilsports
of an ancient peoplehood. We’re the bystanders.
Eddy’s the falsely accused executioner’s heir.
Nebuchadnezzar 587
Fatigued with indolence, blunted by a clichéd
Mesmerism—haggard, stony, half-buried wreck
and autoclave of ambition, Eddy Daemon sports
a gigantic horn of spite and ushers in a minute
era of hyphenation and circumventing sleights:
nerve-gleamed, raw-seamed, witty-sullen-jowled,
ghost-crabbed, thorn-tattered, messiah-hived-sick,
god-castrated, sod-smutted, swivel-jerked and tasty
morseled feminazi as manbearpig in low mondaze.
How unjubilant and malice-yielded! Nothing stays
the course, gloss-throated and flaked in foaming
at the mouth. Cylinders and spires pass from sight.
There’s no chance to get a bearing. Even to scroll
back to Ezra’s Walt concession stigmatizes clarity.
Anthropoid 3761
It all comes down to the prophesied sedge:
achenes and solid stems, the blackthorned scag
skullcap and skinsuit of woody lobes with spikelets.
In the marsh, the worn down nub of concupiscent
curds ribs the mascary buggered one or another
as plunger-name of the raw crease. Today, Eddy’s
nosed, clutching his sachet of cosmetics in his gold
clipped komodo-dragon bag. No nostalgia. No edits.
No quiddity with its affected monism. It’s the last
season of day one. We’re on our way kthxbai! Omg
liek u wana c my fab nu jurnal? Dude, no, you make
me sick n00b. Something about searing sophistry
and prelapsarian catpiss. Incomplete, bottomline.
Eddy prostrates before the doorjamb in defeat.
Daniel Y. Harris is the author of Esophagus Writ (with Rupert M. Loydell, The Knives Forks and Spoons Press, 2014), Hyperlinks of Anxiety(Cervena Barva Press, 2013), The New Arcana (with John Amen, NYQ Books, 2012), Paul Celan and the Messiah’s Broken Levered Tongue (with Adam Shechter, Cervena Barva Press, 2010; picked by The Jewish Forward as one of the 5 most important Jewish poetry books of 2010) and Unio Mystica (Cross-Cultural Communications, 2009). Some of his poetry, experimental writing, art, and essays have been published inBlazeVOX, Denver Quarterly, European Judaism, Exquisite Corpse, The New York Quarterly, In Posse Review, The Pedestal Magazine, Poetry Magazine.com and Poetry Salzburg Review. He is the Chairman of the Board of Directors of The New York Quarterly Foundation. His website iswww.danielyharris.com.
