Khmer Rouge

May 24, 2025 | Poetry

To open this issue is to give way
yield to the gush of blood and time
pushing me, without a mind to know why, back
into a glowing Gold Rush Bodie or
pre-war Saigon with its smells of
soup and charcoal braziers and livestock
dirty bare feet marking time with purpose
over a thin veneer of French harlot.
The century-old Chinaman is turned discreetly
away while he prepares you for me.
I wait because the waiting is good.
The waiting lets me believe I still have a choice.
He finally lifts the memory to my mouth.
There is reverence; a dedication to craft
in his hands as I breathe you back into me
I’m ushered through that strange quality of
light in waking up from an afternoon sex nap
waking to a cool sheet and slightly damp hair
and that steep, steep western light raking
our terrain.
Guiding me this way
to the unspoken knowledge
that
we will make love again soon
then over here to knowing
that I have never been so thoroughly known
and just there is the mango and cream incident.
I hope he remembers to leave certain doors
closed. The Abandoned.  The Lie.
The realization that we can’t live
in the French harlot
veneer; that it breaks and
we become the
inevitable, the ordinary.
Leave those shut and bring me another afternoon.
Let the tiger run loose in my blood.

postscript

I know nothing about drugs. I love the movie Tombstone. Non sequitir, right? Curly Bill Brosius gets entirely loaded on opium. It’s a pivotal scene in the movie because it convinces Virgil and Morgan Earp to get back into the Marshall* business. But the thing that always fascinated me was the odd ritual of opium use. It’s treated like a religious rite, where the preparer become a spiritual guide through this thick indulgence. Wandering through dangerous memories is another kind of indulgence. It would be nice to have a benevolent guide to steer me off the shoals.

*why is it marshall and non martial? inquiring minds want to know.

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