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from Medical School Skeleton with Domino's Pizza Man

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MEDICAL SCHOOL SKELETON
WITH DOMINO'S PIZZA MAN

Superbowl XXX. And see, strung-out and thin,
The skeleton has been exposed against
The Domino's Pizza man, enveloped in
A black felt background. Poor Bones, he's been flensed.
That baggy uniform, a backwards cap,
He's pierced; he's heroin chic; but he's all grins,
Come from the darkness in his rattletrap,
Burlesquer, rake, this rack of candlepins,
Giving long odds, right here at the front door,
A real smoothie, with a faint ennui,
And winning the bet he'll be returning for.
Another working stiff, like you or me.

PROFILES: ANNE DANCING WITH SKELETON

(Or was it XXXI? Oh well.) That's Anne.
And look who's back in this one: portrait style,
You see, Anne's dancing with the pizza man,
Our old friend Bonesy, with the killer smile,
Doing a sort of earthy, homegrown bop,
With those dark, bedroom eyes and the cleft chin,
Belting it out like soul with ZZ Top,
But think about his humble origin,
Bouyant with life, jouissance, the growing buzz
About tough prizes won along the way
And toasted. But, then, everybody was.
Becoming much the man you see today.

Source: Poetry (Poetry)

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This poem originally appeared in the August 2000 issue of Poetry magazine

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from Medical School Skeleton with Domino's Pizza Man

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  • Poet and editor Greg Williamson grew up in Nashville and was educated at Vanderbilt University, the University of Wisconsin at Madison, and Johns Hopkins University’s Writing Seminars. Williamson has published several collections of poetry, including The Silent Partner (1995), winner of the Nicholas Roerich Poetry Prize; Errors in the Script (2001), runner-up for the Poet’s Prize; and A Most Marvelous Piece of Luck (2008).
    Williamson’s demanding and innovative approach to formal verse—a master of received form, he has also invented several constraints of his own—conveys his wry humor and the wide-ranging scope of his attention. As poet David Yezzi observed in the Yale Review of the poems in A Most Marvelous Piece of Luck, “Williamson's wild inventiveness—formal, linguistical—would be a trap for lesser poets, his masks at times so elaborate and seamless that only a poet of the first order could speak affectingly through them. . . . His dazzling poems...

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