some things are better left unexplained.

Thursday, November 27, 2014

Poetry and Football

I will throw you a hail Mary of a sonnet,
forward lateral a double entendre
and tackle you with dissonant consonant overconfidence.
You will cry, "facemask!"
as the look of surprise is torn from your cheeks,
as though there are rules
for poetry.


This is a pick-up game we play
no boundary lines chalked in
no referees but ourselves.
This is two hand touch.
We count Mississippis before we blitz,
and our touchdown lines
are the stick and the big rock.


This is a bar game
where we pride ourselves on the boundaries we tread,
the ones we made up ourselves
and still can’t agree on.
Poetry slam.
If we told people on the street
we were olympic curlers instead,
more people would understand
what we were saying that we do.


We can delude ourselves
all we like
about our plans to make the pros
one day
let some scout in the bleachers
discover us on some open mic
bump us up to the college circuit
the big show
just to run the same two poems
over and over every night for a year
while all of our friends
shake their heads
at how we've compromised our art
for the sake of being recognized
for being good at it.


We misconstrue applause as fame,
find celebrity in insecurity
and point fingers as though
the results were everything.


We insist we are justified
each time we cripple and blame
those who insist they were justified
for crippling and blaming.
And maybe we are.
How do you score that?
Is that all the fans came to see?


Let's play for a score,
put on a show
while not forgetting the love of the game.
Let's put the third stringers out there
alongside the poetry legends
and let them teach each other something
about craftsmanship and style.
This is our old stomping ground
that we need to treat like it was shiny and new.


Fresh blood keeps us young,
and we never know.
One of these fresh-faced kids
might take the field
with a shaky voice and a steady hand.
Watch this kid throw a rocket.
Ask them if they suited up today
mostly for the gossip and the drama;
whether they stepped up to the mic
for that first time
ever planning to make use
of the padding
and the helmet.


Let us sit the bench for a day,
watch poetry as spectators,
mostly for the commercials and the awkward banter.
Let us write to change the world again
like we used to

before we ever wanted to be famous.

Wednesday, May 22, 2013

Homeless Man to Mckendy

*note: this is a prompt to write a poem from the perspective of a villain character in a way that makes the reader sympathetic to them when they wouldn't have been otherwise.  I chose to write from the perspective of the racist homeless man in Mckendy's poem.  (If you've heard it, you'll know that this starts out with a bit of parody.)

To the young black man with nice shoes 
who would not give me his cell phone 
even before I called him the N word:

Sorry...

Now can I have the phone? 

I don't want the night. 
It grays my eyes and burbles black from my throat 
imbuing the same a harsh accent it did 
when it sputtered, dark and viscous, from my father's
and his fathers'.
It is the closest thing I have to a home,
bitter and deceptive.
You assume leaving it would be easy.

Did you think you were the first to lie to me? 
I have long since forgotten the language of subtle politics.
Look at me.  
Do you think I have grown accustomed
to being addressed with nuance and tact?
Was that your first instinct?
On a good day, I hear nothing but blunt truth and deceit.
Is there any doubt such things 
would roll just as freely off my poisoned tongue?

You think I don't know you?
Let me call you the thing you hate
and see how closely it aligns our vision.
Do you dare to do the same?
Look me in the eye and call me "homeless."
Call me "bum."  Call me "vagrant."  Call me "vagabond."
Tell me how your spare change will just be poured down my throat.
Give me those nice shoes and let me ruin them.
Give me that phone and let me crush it under heel.
There are things more hideous than toenails
that can become infected and ingrown.

Do not lecture me about progress
when it is I who am asking you for the handout.
Would you tell a planted seed
it had picked the wrong soil?
We grow where we are made to.
There is a reason my roots are bitter,
why untruth comes so quickly to your tongue.
You think these shoes were always in tatters?
We are not so different.

I am you without the lying.
Neither of us could stand to be invisible.
I am you without a voice that will be heard.
Without the finger pointing and the lectures.
Without a phone glowing in my pocket.
I see how you cradle it like a baby,
like the girl on your arm.
Of course it's the one thing I ask for, 
knowing it is the last thing you would ever give.
But, I got your attention.
Made you look toward me and notice me,
recognize that I exist.
Pay attention.  I can spit blood on a whim.

You remember me most for calling you
a name.
Come closer.  I've got a thousand more.
I will use them all 
if you will only look at me again.
Retaliate and affirm that what I say matters.
Let me hurt you. 
Leave a piece of me lodged in your throat, 
let my words ring in your ear.
Remember this story.
Tell it over and over to your friends
at your parties
until I am familiar,
until I am one of them,
like my story belongs there.
Until I have a name, like "remember that time?"
Until I am the star of somebody's poem.
Until I have someone 
to call on your phone
who would ever be glad to hear from me.

Monday, April 01, 2013

Hacer Punto, Conjugation of the Verb "to knit"



She turns to me, beside her on the couch.
“Sixteen times three plus… two.
Hold up your fist, – two fists.”
She wraps a strand of yarn around them.
How big is a baby’s head?”

She is knitting a gift
Always one of a kind.
Always for someone
because she will not knit for herself.
She used to make her father
thick wool socks.
He wore them threadbare
til the wool was all felted.
Nights on the couch she looped yarn over needle
muttering

Slip two, knit one
Knit two, purl one.

Like a third generation immigrant,
I know these words uttered often in my home
but I will never speak the language
of "casting-on" and "binding off"

After the funeral,
she gave me a pair
of her father's socks.
My feet were the same size,
but it is strange to wear a sonnet
penned for someone else.
There is more than yarn
in the patterns of block and cable.
Each loop and stitch bind tight
a sliver of endearment,
a shared memory,
the heartfelt gift of time.

She has made me two sweaters,
size: big.
Each took her an eternity.
I watched love grow from a little thing to a cardigan,
from skeins she made me stretch from hand to hand
so she could pull the string and ball them tight.

She knits and purls a warm embrace into every garment
the gentle sound of kisses,
slip two
the smell of grilled cheese,
knit one
the warmth of chocolate chip cookies
sliding fresh off the spatula.
knit two, purl two.
It is remarkable how a fabric so porous
Can be so warm.

the hats they always outgrew before spring,
the socks she slipped quietly into my Christmas stocking,
the ones she'd knitted in secret all December
on poetry nights and in spare moments at work.

What I will remember most
are the mistakes,
the moments when she knew
she had dropped stitches too quickly,
that the hat would not fit.
They use the term "unraveling"
to describe the slow descent in to madness.
I watched her work for hours
slip and knit,
knit and purl
only to shake her head,
pluck the needles from their berths
and pull the lead, calm and content to start over.
Stitches dissolving in front of her by the dozen,
whole rows in seconds
order to disorder.
Then cast on again.
Each twist and loop embodying the affection,
perseverance and compassion
the knowing how much I am loved
that will leech into the skin
as many times as I wear these socks.

She does not tell me how many time she started over,
that she tried a new way to turn the heel
that didn't work like she wanted,
that she dropped an extra stitch on the left one
as though I would have even noticed.
She hopes I like them

I do not appreciate her in the way that I should.
I knit her the occasional stanza,
purl lines about our children
that nudge tears across cheekbones
but these are not epic, and too often
I read them to strangers before
sharing them quietly with her in the living room.
They will never come out the way I imagine.
I am forever dropping stitches
and can never find the right way
to turn the heel.
My stitches always bear the squeak of old doors
and smell like the basement and unfolded laundry
I don't know how she does it.
She tells me she doesn't mind the imperfections.
Later, she will politely correct me on the details.
Apparently the phrase is "purl two together"
and it can be done through front loop or back loop.
I should really have specified.
I can stare at the things she knits for hours
and never see the flaws.
To me, they all just feel like the softness of her hands.
The patterns make sense,
like there was no other way it could have been done.
In lonely moments when I am not with her,
I hold them to my face, breathe in the soft sigh of familiar.
Hot chocolate and baby powder,
Snowball fights and sunny days.
I hear her smiling in the rustle of soft yarn.
I am always home.

Sunday, March 31, 2013

Audi Commercial, Superbowl XLVII (short version)



 They say everyone in your dreams
 is actually you.
TV Commercials are meant to be every bit like dreams:
brief distortions of reality that in the moment seem so plausible.
 This year, my little girl and I watched the Superbowl for the dreams.

Did you catch this one?
 The slouching teenage boy
 in the tuxedo is you.
 Mom, who is also you,
 reassures you that lots of kids
 go the prom without a girlfriend.
 Your kid sister
"No, they dont..."
And Dad,
 "have fun tonight."
are also you,
You  toss you the keys to an Audi
 An suddenly you are cruising the streets
 parking in the principal's private spot
 which says everything it needs to
 about the change that has come over you
Because of a car.
 Here you go,
 strutting confidently down the school corridors,
 pushing boldly through the crowd,
 eyes fixed on the object of your desire,
the girl in the tiara.
 Her back is turned.
 You grab her, spin her around
 like you have always wanted to,
 ignore the look of surprise on her face
  pull her toward you
 kiss her fast and hold it.
The entire prom watches this happen and says, “Ooh”
 Her prom king boyfriend turns
 in time to see you kiss his girl
 and gives chase.

 Cut to you,
rocketing off in your Audi, alone
 with  a fresh shiner darkening your eye socket
Grinning.
Howling a predator's victory
 as you drive off into the tag line:
 "Bravery.  It's what defines us."

 Dear Audi,
 Sexual contact
 that involves force
 without consent:
How much closer
 to a definition
 does it have to be?

This is your commercial,
targeted to the awkward teens and their fathers
who watch the superbowl.
To the bystanders in Steubenville
Who looked on and only said, “Ooh!”
You have given them this dream.

Or have you forgotten…

 You are also the girl in the tiara,
 Prom queen,  
 Smiling and happier than you have ever been.
Til you are grabbed, spun, kissed, shamed in front of every friend you have on what should have been the best night of your life.

 Bravery is not
 taking what is not yours
 because you think it should be.

 Bravery starts with getting your own prom date.
 Your car will not do this for you.
 Talk to a girl, awkward boy.
 Ask her if she wants to dance
 or get a coffee,
 or kiss you on the mouth in the middle of the prom
 but when she says no,
and she will,
bravery is the willingness to be rejected,
 to take no for an answer,
 and to be ok with that.

 You are both of them.
 in love with the idea of yourself
 stealing your own dignity
 and thinking you got away with something.
 This will not be the dream
 you will give to my children.
 I will teach my daughter to be brave,
 that she is not just a pretty thing in a tiara
 to be coveted by cretins,
 that there is no love to be found in an ambush
 and that she doesn’t need a prom king
 to throw her punches for her.
 As your eye swells closed
 in its socket,
 perhaps you will remember.
 She is the prom king.

 Bravery.  It's what defines us.

Wednesday, February 20, 2013

Springfield


I know what you're thinking.
Springfield has a slam team?
Don't worry.  No one else knows this either.
It's hard to form a slam team
when you only hold a couple of slams a year.
But this has not stopped them.
No qualifiers or semifinals.
Just a few flyers and a post online.
"Come to the Martin Luther King Community Center
to win a spot on the Springfield Slam team! 5 pm"
One would expect that a place called the MLK Community Center
might be in a predominantly black community,
and it was.
I was not expecting it to be Mayberry RFD,
and appropriately enough, it wasn't.

One might also imagine such a community center to be open 
to the community
prior to the published start time of the poetry slam, 
rather than surrounded by 8-foot chain link fences
with the gate to the parking lot padlocked shut.
Fortunately, there was a cheap empanada place across the street
and by the time I'd grabbed a bite at quarter past five
the gate was open.
A volunteer from the MLK Community Center
greeted me skeptically
and checked to see that I was in the right place
twice.
She assured me the poetry slam was still happening
and that I was waiting for someone named Maurice.

Thirty minutes later, I was jotting the last lines of a new poem
in an empty community center lobby.
A man in a tattered army jacket
who could not stop shaking
entered and sat beside me.
He asked questions about the poetry slam
as though I looked like I knew.
When I told him I had no idea
he kept asking.
He showed me his book of poetry,
a sheaf of hole-punched printer paper
with a paper fastener binding.
He asked if I'd ever done this poetry slam thing before.
I told him, "Yeah. A couple times."
He said he was going to give it a try.
He said he was nervous.
He said it again several times.

One might expect the poets competing for a spot on a slam team
to have done this before.
One might also expect the host to be impartial, or skilled
or, at least, to be present at the start time.
One might not expect the first place prize in a poetry slam
to be a spot on a slam team and also a gift basket of scented oils and bath salts.
But as it soon became clear, 
this was not going to be the most predictable of nights.

Maurice arrived a full forty-five minutes after the posted start time for the event.  
He was the third person there.
I helped him pull folding chairs out of conference rooms
and set them up in the lobby.
He assured me the slam would be happening
that people would arrive
and eventually a third poet came,
an urban pretty boy with shaved, frosted hair
puffy white vest, and huge rhinestone sunglasses.
He looked like a store mannequin
dressed like a Korean B-Boy,
and his every motion seemed posed,
as though he expected the paparazzi
to be sneaking photos from the parking lot.
One would not have thought it possible
for anyone to look more out of place in this location
that the fat white guy from New Hampshire.
In fact, it was.

One might not expect the judges of a poetry slam
to be the same people who gave the third poet,
the eventual winner,
a ride to the event in their car.
The fact that they and the volunteer from the community center
were the only others in attendance had everything to do with it.
They insisted they could be unbiased,
and I am sure they were
trying.
Maurice made this much easier for them by mentioning at least three times publicly
that I was the only white person in the building.
He then told a story 
about another white guy who had also been to one of his events.
He said that guy had pulled Maurice aside before the slam
and asked if he would be required to "rap on the mic."
I did not, at the time, believe the story to be true.
Maurice assured me I would not have to rap.
Given that I was attending a poetry slam, 
I had already assumed this to be the case.
I am pretty sure he was inventing the story
possibly for my benefit,
to make me feel comfortable
possibly because he wanted it to be true about me
so that he could have a story to tell.
His story was not all that beneficial.
I had not been at all uncomfortable, 
until he tried to make me comfortable.
I was still the one to leave that evening
with the best story.

There were nine people in the lobby of the MLK community center
including three competing poets
an hour and forty-five minutes after the event was to have started.
I did not have the heart to leave.
While we waited for the promised masses to arrive for the event, 
Maurice explained to me that this slam would choose
the fourth and final member of the poetry slam team.
It did not matter that they had no regular venue,
no plans to actually compete anywhere,
and that Maurice did not exactly remember
the rules for a poetry slam.
He thought he did, 
but he was a member of the Hartford, CT slam team
years before.

And I know what you're thinking.
Hartford has a slam team?
They did. In the '90s.

The slam began, but suddenly
Maurice was not the host.
It looked like Maurice.
It sounded like Maurice.
but now he wore a shimmering gray suit jacket
and had a black hair pick stuck in his fro
with a handle molded into the shape of a clenched fist.
It stood straight up, tall and proud
as if to say, "Fight the power"
or whatever it is that raised fists tend to say,
and he was no longer Maurice.
He introduced himself 
as MC Soulfighter!

And here he was, 
standing behind two turntables,
booming into a PA system,
and "mixing",
calling out to all eight of us
to raise our hands in the air
and wave them like...

I'm sorry, but I am not doing that!
This is not a dance party.
We are seated in folding chairs 
in the lobby of a community center, 
and there are only nine of us here.
We don't need two turn tables
or the microphone, or for that matter
instructions for how to dance
at a poetry slam.

But I did not say this out loud.
Instead, I swayed a little bit
while the two ladies to my right
started moving and grooving
in ways that my body just does not move.

MC Soulfire began to explain how a poetry slam works.
He had to stop several times to check
with one of the competing poets
(that would be me)
to make sure he had it right.
How he had managed to conduct other slams in the past
was beyond me.
In addition to a spot on the slam team
and the tiny shrink-wrapped basket of bath salts and oils
MC Soulfire tantalized the not-at-all-enthralled smattering of audience
with the promise that the winner would also receive free entry
to something called "Artie Robb's Silly Saturdays"
which was to be held at some chicken restaurant in Springfield,
provided the person was able to show up early.
One of the completely unbiased judges,
a middle-aged woman in a leopard print outfit
chimed in, "Yeah, they best show up early,
so you can sneak 'em in!"
The others in the room laughed nervously
MC Soulfire did not deny this to be the reason.
He also did not draw randomly for poet order.
He just made up the order as he went along.
I did not question this decision.
I did, however, remind him
as he was calling up the man in the army jacket
to do his first poem
that there is typically a sacrificial poet.
He thanked me
then rummaged through pockets
for a rumpled paper.

He read his own poem
as though he had never seen it before in his life
and as though English may or may not have been his first language.
The judges gave him what would prove to be the highest score of the night.

My internal dialogue
at this point in the evening
went something like this:
Why am I here?
I don't know
Why don't I leave?
It would be rude.
I should leave.
No, I should stay.
This is a great opportunity to practice
in front of strangers.
Maybe I will win.
Maybe some of the poetry will be good.
Is Maurice really a poet?
Does Maurice realize how ridiculous this situation is?
No.  Or maybe yes.
He doesn't look much like an MC,
of the Soulfighter variety or any other.
Either he suffers from delusions of grandeur
on a scale I have never seen
or he is determined to turn this halfhearted
cluster of attendees into a successful
and well-attended community event
simply by willing it to be so.
I wish I had that kind of nerve.
I am so glad I had that kind of nerve.
Will I win this?
How could I not win?
Are these people even poets?
What if they're better than me?
What if they aren't, and I still lose to them?
Will I be insulted?
Should I be?
Why would I?
How can I not take that personally?
What would I even do with a gift basket of
massage oils and bath salts?
I don't know if I want to win.
Would my wife even like that stuff? Massage oils...?
If I gave them to her she'd want to use them.
Great - just what I need is to have my house smell like lilac massage oils.
What am I going to tell my friends about this?
I have been here for two hours now.
At least, with three poets,
it should all be over soon.

It was not over soon.
It was neither as quick or painless
as I might have hoped.
Following MC Soulfighter's reading
and subsequent less than skillful attempt to
scratch and mix a James Brown record over Chaka Khan
(I would have thought he'd try it the other way around,
but what do I know about such thing?)
the first poet was again called forward.
The nervous man spent the first two minutes of his allotted three minutes
explaining that he was nervous
that he had never done this before
and that he had assumed there would be a podium
on which to put his large book of poetry,
but there was no podium here
just a mic stand
and where was he going to put his poetry book
he had just had it printed at Kinkos
he supposed he would just have to hold it
but it was hard to hold still because his hands were shaking.
He said again that he was nervous,
buried his face behind his book,
and began to read.
His poem
rhymed.
It lamented about his hard life
in ways that were vague, yet repetitive.
It could have been more terrible, somehow.
It went on for at least four more minutes,
but either the stopwatch held deftly by MC Soulfighter
was just for show.
or I was in caught in some anomaly of space-time
that made everything seem to drag on
much much longer than it actually should
in this, the near-eternal poetry slam  that wasn't.
In either case,
No time penalty was assessed.

The pretty boy followed him,
reading off his iPhone.
He read impassioned lines
smoothly but without feeling
and was done in under two minutes.
His fan club scored his poem well.

I led off with a crowd pleaser
sure to demonstrate my skill as a poet
and a performer.
It is always in that moment of over-confidence
when the next line escapes recollection.
I had thought memorization
might prove to be an asset
but then I had to go and drop a line,
one I knew well
and in that moment that follows a blank stare
I allowed myself to apologize
and say, "I know this."
before picking up where I'd left off
and rallying through the last lines.
Except for those few seconds,
I thought I had done well.
Just after I finished,
a 15-year old judge
held up the lowest score of the night
while simultaneously giving the best unsolicited advice
I should never have needed:

"You know, you shouldn't apologize.
It make you look like you don't know what you doin'.
Just skip it and say what you remember.
Nobody know the difference."

Round two began after a musical interlude.
Our MC scratched lines from the Fresh Prince
over a Neville Brothers song,
inviting us again to get up and dance with him.
This time, not even the middle-aged judge
in the leopard print dress
bothered to oblige.

On the whim of the MC,
I went first in the second round.
Determined to redeem myself,
I picked a sentimental poem about my children
and performed the heck out of it.
They gave me about the same score
as when I'd dropped the line.

The guy in the army jacket followed me,
this time without the lengthy kvetching.
He finished his poem about racial inequality
in the allotted time.
The words were nice enough
and drew a few knowing responses of  "Mm- Hmm!"
from the judges despite the sound of his laborious reading.
In the docudrama I will one day make of my life,
this scene will be played by Tracy Morgan,
who will be attempting to read from a book
by Cornell West.
He will mispronounce a word on every other line
and remain on the mic after the conclusion of his oem
to apologize for this.
He will blame it on the shaking of his hands.

The B-boy in the big shades stood holding the microphone in one hand
while waving his iPhone in the other.
He delivered the first few lines of his poem,
then stopped.
Then waved his phone around some more.
The next thing he said was,
"I can't get a signal."
and then he walked, straight out the door
and into the parking lot.
Technically, his time was running.
He had clearly begun his poem,
but after two minutes in the parking lot
he strolled back up to the mic
and I heard the beep
of our fair and balanced host
re-starting the stopwatch.
His poem was about a girl
and contained as many cliche ways to say
"baby, I love you"
as there were painful seconds to be endured
before he finished.
He got a higher score than I did.

Third round, almost done.
OH, no.
There is an extended dance party now.
Scratching Bobby Brown over Run DMC
Michael Jackson and Tina Turner,
then (surprise!)
it's an unannounced spotlight feature
by the judge in the leopard print
who was actually not so bad
and then a second spotlight by our dashing MC
who I believe was either trying to trying to save face
by doing a poem from memory
or just making up a poem on the fly
and pretending it had been written and rehearsed.
He was terrible at both.

Round three began
with as much pomp and scratching as MC Soulfire could muster.
I expected the B-boy to be up first
since he had yet to go first in any round,
but our sage host had other plans,
calling up the guy in the army coat first, again.
I was so lost in bemused silent screaming
that I didn't really listen to his poem.
When he sat down again
I told him it was his best one of the night.
He said he thought so too.
I went second with a funny poem
which two of the judges later told me was their favorite poem of the night.
While this may have been true,
their scores said otherwise.
Mr. Mannequin did some form of
misogynistic hip-hop inspired
"girl I'm gonna git wit you" poem
and scored slightly lower,
still high enough for him
to be crowned champion.

MC Soulfighter tallied the scores.
All nine of them.
It took and entire Cypress Hill song
and a little Chubby Checker til he was sure he had the math right.
With grandiose gestures
Soulfighter announced that the winner
was the well-groomed man, who was
still wearing his oversized sunglasses indoors
at 8:30 in the evening.
I came in "a close third."
He repeated that the prizes
were a free admission to Silly Silly Saturdays,
the final spot on the Springfield poetry slam team
and
a lovely basket of scented oils
valued at nearly $80
which had been generously donated by a woman
who supported "what we were doing here."
I wondered if the woman really knew
what we were doing here.
I still didn't, exactly,
and I was there longer than anyone.
He checked to make sure the mannequin-looking guy
would use the oils and bath salts.
He said the lady was a single mom on welfare
and that selling these baskets was her home business.
If the guy didn't want it,
Soulfighter was going to give it back to her
so she could sell it and make some money.
He said he would keep the basket,
said he was going to try out the scented oils.

I was really glad I didn't win.

I stayed to help Maurice stack the chairs
and move the furniture back the way it had been.
He told me he liked my poetry,
that maybe he could get me a feature some time
one Silly Silly Saturday.
I told him, "Sure. Let me know."

The lights went out at the empanada place across the street
just as I stepped into the parking lot.
Of all the disappointments of the evening,
this was the greatest.
Those empanadas were so cheap
and so good.













  • One might expect the homeless man who spent a full two minutes nervously shaking, or maybe just shaking, to have a better excuse than that he assumed there would be a table or stand for his 8.5 by 11 manuscript.
  • One might expect him to receive a time penalty.
  • One might expect the pretty boy with the fashion sunglasses to know his poem
  • One might expect him to know how to read off his phone.
  • One might expect him not to walk out the front door to get a signal after he beaks into the mic.

  • One might not care about getting free entry into Silly Saturdays, providing you show up early
  • One would not expect an awkward dance party between rounds.

Friday, February 08, 2013

Audi Commercial, Superbowl XLVII


They say everyone in your dreams
is actually you.
The commercials are made to be
every bit like dreams:
brief, intense, surreal
and yet entirely relatable.
They are your dreams
planned for you
by people who think they know you
better than you know yourself.
This year,
we watched the Superbowl
for the dreams.

The awkward teenage boy
in the tuxedo is you.
Mom, who is also you,
pins a white rose on the lapel,
reassures you that lots of kids
go the prom without a girlfriend.
Your kid sister
doing homework in the next room
"No, they dont..."
is also you, arguing with you.

You mutter and slouch away
until Dad stops you,
tosses you the keys to his Audi
and tells you to "have fun tonight."
But since Dad is also you,
that means...
You just gave yourself an audi!
A real Dad might have told you to be safe
or be home by a certain hour
or don't drink out of the spiked punch bowl
before you try to drive home in his Audi
but not you.
You are a complete hedonist,
and common sense is not on the agenda.

Now look at you
cruising the streets in your Audi
so smooth
pulling up alongside that stretch limo
so a girl  in a prom dress
can pop her head out the window
and shout to the world, "PROM!"
As if that's a thing people shout out the window,
ever.
As if it wasn't obvious to you,
the kid in the tuxedo driving an Audi
on prom night
where she might be going
or why she might be dressed up in a limo.
But the girl is also you,
and you are the loser with no date to the prom
so why would we expect you to know that?

You park your Audi
in the principal's private parking spot
which says everything it needs to
about the change that has come over you
in the short drive across town
since you, you mother,
told you, awkward  boy with no prom date
how dashing you thought you looked.
And now you are being dashing.
Look at you,
strutting confidently down the school corridors,
pushing boldly through the crowd,
eyes fixed on the girl in the tiara.
Her back is turned.
She has no idea you are there.
You grab her
like you have always wanted to,
ignoring the look of surprise on her face
you pull her toward you
kiss her fast and hold it.
Her prom king boyfriend turns
in time to see you kissing his girl
and gives chase.

Cut to you,
speeding off in your Audi
with a satisfied grin from ear to ear,
a fresh shiner darkening your eye socket.
You rocket around a corner
and howl proudly at the top of your lungs,
proclaiming a predator's victory
as you drive off into the tag line:
"Bravery.  It's what defines us."

Dear Audi,
This is your commercial,
targeted to the awkward teens and heir fathers
who watch the superbowl.
To the prom kings and moms
the kid sisters and girls in limousine windows.
You are giving them this dream.
Everyone in it is also them.
Or have you forgotten.

You are also the girl in the tiara,
At the prom with the boy you love
Voted prom queen,
and he is king
and you are
Smiling and happier than you have ever been.
The commercial should end there for you.
but,
You are grabbed by the arm,
spun forcefully around by a boy you hardly know
who does not speak a word
or offer you a moment to figure out what is going on
before he pulls you in to a kiss
to which you did not give consent.

Sexual contact
that involves force
without consent.

How much closer
to a definition
does it have to be?


You are the prom king.
You may have never hurt a living soul
but you are too noble to look on
while your girlfriend's creepy stalker
sexually assaults her on the best night of her life
shaming her in front of every friend she has.
You hear the dance floor Ooh in response.
You know how sensitive she can be.
When the creep has fled,
you will be there to help her salvage the evening,
to talk through it afterward,
to keep that kid away from her
in the hallways on Monday.

Bravery is not your car
or your parking spot
or your reckless behavior.
Bravery is not avoiding conversation,
fulfilling your cravings,
or taking what is not yours
just because you think it should be.

Bravery starts
with getting your own prom date.
Your car will not do this for you.
Talk to a girl, awkward boy.
Ask her if she wants to dance
or get a coffee,
or kiss you on the mouth in the middle of the prom
while her prom date looks on,
but when she says no,
(and you know she will
because she is the prom queen
and if she wanted you for a prom date
you know she would have asked you)
when you are rejected,
bravery is the willingness to be rejected,
to take no for an answer,
and to be ok with that.

You are both of them.
You are in love with the idea of yourself
stealing your own dignity
and thinking you got away with something.
This will not be the dream
you put in the subconscious of my children.
I will teach my girls to be brave,
that they are not just pretty things in tiaras
to be coveted by cretins,
that there is no love to be found in an ambush
and that they don't need a prom king
to throw their punches for them.
As your eye swells closed
in a blackened socket,
perhaps you will remember.
She is the prom king.

Bravery.  It's what defines us.

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