IRL part XX

Is this ad relevant to you?
We would like to enhance
your ad watching ex-
perience. Yr a garbage
person if you can’t
take a good photo
is the underlying mess-
age of “gay” “culture”
in Brooklyn. I hate
having my picture taken
I say to this photo-
grapher at this party
bc every damn party
has to be photographed
otherwise it doesn’t happen
and bc the parties
are so boring if ppl
weren’t posing
there would b nothing
to do but drink. I’m an old
man yelling at a cloud It’s
too loud for convos
n they don’t let you dance
in the city. He says oh
come on I say calmly
No. n he asks (bc I
know him from around
after living in this fault
line 10 yrs) is this
an Indian thing? Like do u
think it steals yr soul
or something?
I want to crumple
him up in the palm
of my hand But I
guess it is a NDN
thing in the sense that
I’m NDN n doing
this thing. It’s like
not being able to stare
into the sun for too
long but kind of the
opposite—swarthy black lens
crystallizes the uncertainty
within.
Is this good, or bad
is a sentence in a fight
n I hate confrontation.
Why do I have to take
sides? Switzerland has
the strictest privacy laws
on the planet, and I
have the flyest tank
tops in America. Some-
how I feel good about
my shapely legs.
In Kumeyaay
there’s a concept for in-
between. Not knowing
how to smile, how you look
bent over a book, waking
up on either coast
feels the exact same some-
times you wake up
not knowing how old
you are n if Johnny
is down the hall in
a robe makin eggs. Future
leaders were wooshed away
from the tribe in a sort of
boreal way to feel
the greater world, stone
hills etc this was back
in the day.
This concept of in-between
is like gangbusters
for Muse. It’s like cat-
nip to Muse it’s throb
of light in-between
the 2 of us Just the 2 
of us, you n I. I rub Muse
my neck I’m clenching
my jaw for like 20 mins
waiting for this damn
photog to take damn
pic This concept in between
Kumeyaay and Brooklyn—
that it has a word
even if the word is lost
even if it doesn’t exist
even if I’m lyin to you
is breath tethering, opens throb
of light inside me. I
don’t have to worry
about keeping my God
alive by keeping her name
secret bc the name for her
is gone, and with
it, my God I never got to
know her, but strangely
sometimes when I’m cry
laughing at that scene
in Steel Magnolias or
I can’t sing the part in
the Beyonce song @
karaoke where the music
gets all soft and I try
to sing baby, kiss me
but Maud has to take
over bc the feeling stroboscope
blooms bigger than my voice n
I think I see my God
‘s shadow walking down a hall-
way but like I said I lost
my voice n don’t know
her name maybe it’s
Wa’ashi or Pemu
this clairaudient says
to me apropos of nothing
but I’ll never know 4
sure so I can’t call out keep
chasing swirling smoke rounding
in a glass jar
n then I’m like, crying
at a Beyonce song
r u kidding me Teebs get
it together bitch James
is finally following me
back on Insta so I take a
somewhat risque
selfie send it private
message n right after
say OOOPS! omg I
meant to send that
to someone else gosh
so embarrassed oops!
and he responds w/
a pic of his computer
screen his phone #
typed on it so we
text n he’s like
come over n I’m like
do u have A/C he says
Yes n I just straight up
drop the mic n leave.

from red doc> by Anne Carson

"HE WAS FOURTEEN
it was years ago and Sad’s
name wasn’t Sad yet. First
comet. G had just
stumbled off a bus they
looked at one another and
that lasted until G was
almost twenty but he.
Well. Being a loyal soul
himself. Sad’s need to
make friends everywhere.
Sex friends club friends
gym friends dope friends
shopping friends
breakdown friends a
common enough problem. 
Sad didn’t see a problem.
One day he looked around
and G was gone. The
farewell erased and
rewritten so many times it
tore through the paper.”

Tomorrow night at Le Petit Versailles, a community garden on the border of the East Village and the Lower East Side, I’ll be reading alongside Wo Chan, Ariana Reines, and Pamela Sneed for Stephen Boyer’s “Summer Nights on Jupiter” reading series.

I’m really excited to hear Wo’s stuff—plus they’ll be a Lambda Lit fellow in Poetry this summer, which was my summer gig last year. Lambda Family! Or heh, Lambily, if you will. Mariah didn’t tm that shit, did she?

Also Ariana and Pamela have had arguably the biggest impact on my writing process, the way I read and experience poetry/art, and perform my work/inhabit my voice. At discreet periods in my writing life, they gave me guidance, permission, and encouragement. I would not be on the path I am now without them, so being on the same bill is quite literally a dream come true.

I’ll be reading from the first 10 or so minutes of my long poem summer project, IRL—a poem about crushing vs. loving, online vs. IRL, rez life vs. city life, New York vs. California, thought vs. language, privacy vs. secrecy, “fantasy” vs. “reality,” and what happens when the language you love & wrap yourself in feels like an impostor? When yr indigenous language has been stolen, and your religion along with it, how do you experience god/goddess? How do you reclaim faith? Can art be a satisfying surrogate?    

Piqued? Come see! Tomorrow night, 7pm—Le Petit Versailles—346 E. Houston st. @ Ave C—BE ABOUT IT

Tommy Pico's Tattoos: A Tour - [PANK]

A few weeks back I was interviewed by the lovely Julie Hart for [PANK] Magazine, about writing and my poetry app and tattoos and stuff. It went up today—check it out!

I’m so freaking excited to announce that two of my poems, “Extra Skin” and “We Constantly Avoid Saying What We Mean” (plus mp3s of my readings) are in the summer edition of Codex Journal! Codex is an admirably innovative space for writing—the first original smart phone poetry journal on the planet—and as someone with a poetry app and general interest in poetry & new media, the implications of this format get yr boi buzzin. Check it out online, or you can scan the QR barcode to get it directly on yr smart phone (download a QR reader app then take a pic of the code). I knooooooooooooow, right?!?!

Poetry Mixtape #5

More monday more poems, right? Here is the Poetry Mixtape #5, n above collage by the real chanteuse, Jess Paps 

1. I Don’t Even by Alexander Chee alexanderchee

  • "what would it take for you to really give up on someone?/I wrote this in my journal about 7 years ago/I give up on the journal more than I give up on other people"

2. I May After Leaving You Walk Quickly or Even Run by Matthea Harvey

  • "when I said did you want me/I meant me in the general sense"

3. “Any fool can get into an ocean…" by Jack Spicer

  • "but it takes a Goddess/to get out of one"

4. Time Expanding the Air Forcibly by Sam Ross samcharlesross

  • "I held the cold aperture-ring with my fingers/and pressed the shutter gently enough,/trusting to the chemicals on cold film/and the tenets of sympathetic magic."

5. G-9 by Tim Dlugos

  • "When I pass,/who’ll remember, who will care/about these joys and wonders?"

6. Vulnerability Study by Solmaz Sharif 

  • "a wall cleared of nails/for the ghosts to walk through"

7. Green Hills by Kay Ryan

  • "the languor of their/rolling over"

8. THINGS PEOPLE SAID ABOUT ME & MY WORK ON THE INTERNET THIS WEEK by Lara Weibgen 

  • "go to hell" "shrew" "do I have to rape someone?"

9. Kristen Wiig reads from Touch Me, poems by Suzanne Somers

  • "if anyone has any extra love, even a heartbeat or a touch or two—I wish they wouldn’t waste it on dogs"

10. The Blue Dress in Mother’s Closet by Saeed Jones theferocity

  • "my mother is a moon out to sea"
stephenboyer:

Join us on July 18th for Summer Nights on Jupiter curated by Stephen Boyer and hosted by Le Petite Versailles. This July will feature readings and performances by Wo Chan, Tommy Pico, Ariana Reines and Pamela Sneed. Rain or shine we’ll be amongst the flowers. About us: Stephen Boyer is a novelist, poet, performer but would rather be on Jupiter, obviously. ** Wo Chan is a queer Chinese immigrant devoted to poetry and drag. He recently received a BA from the University of Virginia where he learned how to write poems and wear lipstick. Wo pays his bills as a makeup artist by day, and at night, performs as Pearl Harbor with the Brooklyn drag collective Switch n’ Play. Wo holds poetry fellowships with Poets House, Kundiman, and Lambda Literary, and as a drag queen has performed at Brooklyn Pride, Princeton Aeneas Ivy-Q conferences, and the Architectural Digest Expo. On his days off, Wo likes to eat bahn mi sandwiches and windowshop. ** Tommy “Teebs” Pico is a writer and editor. He’s the author of absentMINDR (VERBALVISUAL, 2014)—the first chapbook APP published for iOS mobile/tablet devices—was a Queer/Art/Mentors inaugural fellow, 2013 Lambda Literary fellow in poetry, and has been published in BOMB, Guernica, and the Best American Poetry blog. Originally from the Viejas Indian reservation of the Kumeyaay nation, he now lives in Brooklyn. ** Based in New York, Ariana Reines is the author of The Cow Alberta Prize, 2006, Coeur de Lion 2007, Mercury 2011, all from FenceBooks, and Thursday, 2012, from Spork, and the Obie-winning play TELEPHONE 2009, commissioned & produced by The Foundry Theatre. She is the translator of The Little Black Book of Grislidis Real: Days and Nights of an Anarchist Whore by Jean-Luc Hennig 2009 and Preliminary Materials for a Theory of the Young-Girl by TIQQUN 2011, from Semiotexte, and of My Heart Laid Bare by Charles Baudelaire, 2009 from Mal-O-Mar. Performances and theatrical works include THE ORIGIN OF THE WORLD at Stuart Shave Modern Art 2013, LORNA, with Jim Fletcher, at the Martin E. Segal Theatre 2013, MISS ST’S HIEROGLYPHIC SUFFERING at the Solomon R. Guggenheim Museum 2009, and SWISSNESS at The Swiss Institute 2012. Most recently she published The Origin of the World, a book for Semiotexte’s contribution to the 2014 Whitney Biennial. This summer she will present MORTAL KOMBAT, a new performance work with Jim Fletcher, at Le Mouvement Biel/Bienne in Switzerland. ** Pamela Sneed is a New York based poet, writer and actress, featured in The New York Times Magazine, The New Yorker, Time Out, Bomb, VIBE, and on the cover of New York Magazine. She is author of Imagine Being More Afraid of Freedom Than Slavery, published by Henry Holt in April 1998 and KONG and other works published by Vintage Entity Press 2009. She has performed original works for sold out houses at Lincoln Center, P.S. 122, Ex-Teresa in Mexico City, The ICA London, The CCA in Glasgow Scotland, The Green Room in Manchester England, and BAM cafe. She has headlined the New Work Now festival at Joe’s Pub/Public Theater. In 2013, she performed at Central Park Summer Stage, The Whitney Museum of Art, Columbia University’s, “Geographies of Mass Incarceration.” In 2011, she performed in South Africa, in collaboration with the women’s organization FEW. She teaches at Sarah Lawrence Writing for Solo Performance and Solo Performance in Production. In 2014 She appeared at Housing Works Bookstore Cafe, and Long Island University. Her work is included in The 100 Best African American Poems edited by Nikki Giovanni. Her recent publications include work in Best Monologues from Best American Short Plays, Future Perfect, and LIU Teaching Narratives with upcoming work in Ping Pong Magazine and Cutbank Magazine. ** Le Petite Versailles is a community garden in the East Village that presents art exhibitions, music, film/video, performance, theater, workshops and community projects.

stephenboyer:

Join us on July 18th for Summer Nights on Jupiter curated by Stephen Boyer and hosted by Le Petite Versailles. This July will feature readings and performances by Wo Chan, Tommy Pico, Ariana Reines and Pamela Sneed. Rain or shine we’ll be amongst the flowers.

About us:

Stephen Boyer is a novelist, poet, performer but would rather be on Jupiter, obviously.

**

Wo Chan is a queer Chinese immigrant devoted to poetry and drag. He recently received a BA from the University of Virginia where he learned how to write poems and wear lipstick. Wo pays his bills as a makeup artist by day, and at night, performs as Pearl Harbor with the Brooklyn drag collective Switch n’ Play. Wo holds poetry fellowships with Poets House, Kundiman, and Lambda Literary, and as a drag queen has performed at Brooklyn Pride, Princeton Aeneas Ivy-Q conferences, and the Architectural Digest Expo. On his days off, Wo likes to eat bahn mi sandwiches and windowshop.

**

Tommy “Teebs” Pico is a writer and editor. He’s the author of absentMINDR (VERBALVISUAL, 2014)—the first chapbook APP published for iOS mobile/tablet devices—was a Queer/Art/Mentors inaugural fellow, 2013 Lambda Literary fellow in poetry, and has been published in BOMB, Guernica, and the Best American Poetry blog. Originally from the Viejas Indian reservation of the Kumeyaay nation, he now lives in Brooklyn.

**

Based in New York, Ariana Reines is the author of The Cow Alberta Prize, 2006, Coeur de Lion 2007, Mercury 2011, all from FenceBooks, and Thursday, 2012, from Spork, and the Obie-winning play TELEPHONE 2009, commissioned & produced by The Foundry Theatre. She is the translator of The Little Black Book of Grislidis Real: Days and Nights of an Anarchist Whore by Jean-Luc Hennig 2009 and Preliminary Materials for a Theory of the Young-Girl by TIQQUN 2011, from Semiotexte, and of My Heart Laid Bare by Charles Baudelaire, 2009 from Mal-O-Mar. Performances and theatrical works include THE ORIGIN OF THE WORLD at Stuart Shave Modern Art 2013, LORNA, with Jim Fletcher, at the Martin E. Segal Theatre 2013, MISS ST’S HIEROGLYPHIC SUFFERING at the Solomon R. Guggenheim Museum 2009, and SWISSNESS at The Swiss Institute 2012. Most recently she published The Origin of the World, a book for Semiotexte’s contribution to the 2014 Whitney Biennial. This summer she will present MORTAL KOMBAT, a new performance work with Jim Fletcher, at Le Mouvement Biel/Bienne in Switzerland.

**

Pamela Sneed is a New York based poet, writer and actress, featured in The New York Times Magazine, The New Yorker, Time Out, Bomb, VIBE, and on the cover of New York Magazine. She is author of Imagine Being More Afraid of Freedom Than Slavery, published by Henry Holt in April 1998 and KONG and other works published by Vintage Entity Press 2009. She has performed original works for sold out houses at Lincoln Center, P.S. 122, Ex-Teresa in Mexico City, The ICA London, The CCA in Glasgow Scotland, The Green Room in Manchester England, and BAM cafe. She has headlined the New Work Now festival at Joe’s Pub/Public Theater. In 2013, she performed at Central Park Summer Stage, The Whitney Museum of Art, Columbia University’s, “Geographies of Mass Incarceration.” In 2011, she performed in South Africa, in collaboration with the women’s organization FEW. She teaches at Sarah Lawrence Writing for Solo Performance and Solo Performance in Production. In
2014 She appeared at Housing Works Bookstore Cafe, and Long Island University. Her work is included in The 100 Best African American Poems edited by Nikki Giovanni. Her recent publications include work in Best Monologues from Best American Short Plays, Future Perfect, and LIU Teaching Narratives with upcoming work in Ping Pong Magazine and Cutbank Magazine.

**

Le Petite Versailles is a community garden in the East Village that presents art exhibitions, music, film/video, performance, theater, workshops and community projects.

IRL (part 4)

Sweat sticks to our body
like fly paper like tight
sweater—will not
evaporate. Somehow
this makes us less
shy. Knowing
we’re both disgusting,
equalizer, like drunk.
I finally say the c-
word and you say the c-
word. A shared crush
doesn’t mean pro-
spect, but it does mean
a kind of privacy,
in the sense that it,
the expanse of it,
occurs only
to the self. Crushing
on Muse is compatible
with the Internet
in the sense that
Internet is comprised
of possibility. Like. Book.
Muse the prospect does
not computer, I mean
compute, like commuting
on a unicycle,
in the sense
that it’s chosen a direction
from which branches =
reflex of the imagination,
reverie, a series of
possibilities. The allure
of Muse, is shirk.
Like adderall—
a prayer that something
easy
will come replace the work
required to make love,
or art or peace
or thin or smart
or trill or public
health interventions on NDN
reservations. Muse banks
on fantasy, the thrill
of making every moment
new, like stride through
Neukölln, graffiti parks
of Prenzlaur Berg, huff
the steps of Sacré-Cœur
past the gate chain, the cops
to the jut
the bald part of the park
for the fireworks
for the 1664
for we see them miles off
in all directions,
speeding through Cartagena
rainstorm, V of brown
water like wings, water
slooshing inside when car
door opens, ron medellin,
we clay caked mud volcano
halfway to Barranquilla,
poutine-dizzy stumblr
back to the Mile End flat
on Blvd Saint Joseph O
with the foam bed
we sink into,
cheek print on the glass
walking head-first
like babies carry me—
We only ever have 1st
conversations. Shoot
the shit. When I say Muse
tell me about yr
family—I’m rocking
alone again. Stay insane
sunset on the Seine past
10pm, at the table with
the bottles
in the loud bar
on the Lower East Side.
It doesn’t matter
what we say as long as
we laughing, so all
our teeth
earn their keep.
Anytime heavy,
rum rum along—
thus the point of rum
rumming to the city.