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fleshes his dirty rotten hunka tin I am right strapped into head electrodes he sticks a gun in teen age drug Harry S Truman decided to drop first I am right sequence repeat dim jerky far away smoke cop rat bares his yellow teet kicks in the door I am right survivors burned time and place he throws atom bomb knocks man to floor you are wrong you are wrong he was looking for are wrong Breaks through door I’m poli outside bar Hiroshima has strayed into Dillinger’s right is making a difficult decision right survivors burned mixed you child I am he kicks him into 1914 movie if you are gay I am right wrong executioner officer I am cop right enough you are I am right right wrong Pentagon dim jerky far away smoke.
I cut up his cut-ups, allegory of an allegory of an allegory of an allegory of a waterfall of mental curlicues whose new meaning is no meaning in extremity. Is a Burroughs to eat? I am timid, abstract, complete, light fever, timid. Barefoot, yells Hey Pop, got any more Dick Tracys? Burroughs am paying one wrecked penny for the pleasure he’s wreaking on some “boy”; shooting quarts of toxins, skin a welcome mat, body heroically disjunct Picasso (two profiles, left front high…). The stapled urge for self-protection that…Danger is a refuge from more danger. Don’t even know what a Burroughs is.
Manhattan Project, first atom bomb test, New Mexico 1945: Oppenheimer and his boys think the planet could go critical. Oppenheimer refigures, the probability remains, “What the hell.” So-and-so many blasts: radioactive sex causes untold genetic mutations. A carnival of giants, vile luminosity sheeting off their scales and exoskeletons, march out of that desert looking for something to eat. I don’t want to die but witness APPETITE and MURDER tread the vile luminous sand: ant spider Gila monster rattler wasp rat locust lizard grasshopper rabbit praying mantis crow ant spider wasp…The entire town of Soda Bluff stampedes down narrow canyons scattering funeral lights beneath their trembling feet. The destruction of today. Last men, mercenaries on the last patrol, eat rations with dog mouths, then fool around in caustic green dusk; they wear Mylar capes and copper-studded jockstraps. Bud’s withheld a basket musta weigh two pounds of fresh peaches. Bud squirms down with a deep sigh, odor of penetration, he says, “I want to be so embraced.” The last ant cold mandibles his thigh, a howl and spasms from Bud’s lifted body mean death. I send my own spear into the enormous insect eye shattering a thousand selves —point touched pinpoint brain, blue sparks, burning isolation, burning rubber, ant collapses, cold heap of old parts. The reason Bud dies, so that his orgasm stays beyond. I don’t wonder who I am, I wonder where I am—still, nothing to do now but kick back and wait for orders.
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Born in Cleveland, poet, fiction writer, editor, and New Narrative theorist Robert Glück grew up there and in Los Angeles. He was educated at the University of California, Los Angeles, the University of Edinburgh, the College of Art in Edinburgh, and the University of California, Berkeley, where he earned a BA. He also studied writing in New York City workshops with poet Ted Berrigan and earned an MA at San Francisco State University.
With Bruce Boone and other writers, Glück co-founded the New Narrative movement in San Francisco in the early 1980s. Glück’s experimental work—typically prose—infuses L=A=N=G=U=A=G=E theory with queer, feminist, and class-based discourse while exploring issues of autobiography and self. In his essay “Long Note on New Narrative,” which appeared in Biting the Error: Writers Explore Narrative (2004), Glück stated, “We were thinking about autobiography; by autobiography we meant daydreams, nightdreams, the act of writing, the relationship to...
Poems By Robert Glück
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