The Project Gutenberg eBook of American Papyrus: 25 Poems This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. *** This is a COPYRIGHTED Project Gutenberg eBook. Details Below. *** *** Please follow the copyright guidelines in this file. *** Title: American Papyrus: 25 Poems Author: Steven David Justin Sills Release date: October 1, 2003 [eBook #4545] Most recently updated: August 21, 2012 Language: English *** START OF THE PROJECT GUTENBERG EBOOK AMERICAN PAPYRUS: 25 POEMS *** Copyright (C) 2002 by Steven Sills AN AMERICAN PAPYRUS: 25 POEMS by Steven Sills Post Annulment 2 Afferent, the city bus cramps to the curb and brakes through Solipsistic muteness With an exhaltation startled and choking. As the sun blazes upon the terminal's Scraped concrete The shelved rows of the poor men Hear the sound die on the pavement In a gradual dying echo. A cigarette succumbs to the voice as Carrion brought to life; all the tattered people awaken; And a man spits toward the tire of the bus, But misses. And as he watches his own spit vanish From the hard crest of the world, And silently scrapes his lunch pail against A corner of a metallic bench as if expecting the pale to bleed... And hoping it would bleed...he tries to remember the angles He and his wife stood to project The intermingled shadows that both Had labeled as their marriage. He enters the second bus: Its coolness sedating the skin that Overlaps his troubled mind. His thoughts pull together Like the light, cool flow of the air conditioning. He feels a little pacified. He knows the shadow's intangible depth: Its vastness having overpowered him these months Until he could not reach the logic that told him To find himself outside its barriers. As he stares out of the window He wonders why she has left. How could she have left without indication When he has remained angled toward work So that he and his wife can stay alive? In the bus window he sees his diaphanous face--the windows Of the Hilton, where he has a job in maintenance, Piercing solidly through its head. He rings the bell. The idea of her not home, and legally annulled From his life--her small crotch not tightened to his desperate Thrusts--makes him feel sick. He gets down from the bus. He goes to work. He suddenly knows that being in love is not love. ------------------------------------------------------------------------------ Earth I use her earth to plant my seed-- My limbs twisting around the collective molecules, Trying to dig in. Only the obscurity of my body Presses so fully that it is neither Body nor bed nor the intersection of both, But euphoric traction; And then, planted and repulsed, Only the seam of backbone minutely faces her, That bed of earth. With all conscious force I breathe the aloneness that intangibly defines the Air. I swallow its ambrosia Of depth and ask myself Why I ever married the woman. There is void. Then a hollow answer calls my name and says "it was time." I realize myself in movement, parting the scene. I use what has been planted for the reaping-- My suit tucks me into its structure of cotton; And soon a building will be again the structure Around men of cotton suits, pushing a product. Lost, I drink my coffee alone on the stoop. She had asked to fix me breakfast But I would not let her. My miniature is one and black. I drink me in when I am not Pressed by the coffee's steam. Cars' casketed phantoms of people Chasing up and down Dunlavy Street of Houston After something--their whole lives after something-- Come and go from consciousness like respiration. The people plant and reap. Who can count all of their Insignificant names?-- Animals that are not created sensible enough To propagate unless lost to frenzy, Caught in structures without meaning. ------------------------------------------------------------------------------- - Bar-Room Buddies We Mongoled Human experience. We pushed it into our mouths As the crisp pretzels of which the shape became salty dust At our tastes: the crispness of life, And we Mongoled human experience. The tequila, that Sandras or Cassandras, or whomever it had beeen At the moment of malevolently blessing our heated and Maddening consumption, was what we left Our wives for; and then hardened ourselves on The springless cushions of the sofas of our friends Whom we eventually forgot the names of: The wetness of human experience that we Mongoled, And felt the bladed emptiness Of stomachs that could not consume food On mornings after. But the Angels of bar rooms continually Appeared before darkened stages where, in front of guitars, We played. They apppeared at various stages to the weeks of the years. They came, silently whispering themselves off As Sandras or Cassandras; Stared up at us for two hours; and disappeared. The reappearance of their light enamored us, and we left And followed but found bats that offered No shelter, and often caves we could not fit into Or were forbidden from entering. We invested our capital In the Silicon Valleys of this great nation. Third-world bitches, in factories, became sick for our chips. We held power. We bred metals and bought the ownership titles Of properties, but could not find a home of the world. We married again and brought forth children Who were duplicate strangers of ourselves. ------------------------------------------------------------------------------- - The Retarded Legs clamp around the rim-- The whole seated body sticking slightly As moaning howls come from his Paralyzed mouth. It is after having Put him to bed for a nap, and then the pot, That this woman who would dab the bile From his bed like one who napkins a spill from A tablecloth, does not clean away The substance behind the smell Which predominates over the bathroom urinal And aggravates his senses. No woman to do these tasks, And then to rim her hand Under the butt; No woman to drag him from The pot, After she has had his body bent Toward her for the wiping, And flop him onto the bench In the shower; no woman... She sits, cigarette limp in her mouth, Thinking that the day has almost ended. And the stars she stares out at From the living room of the group home She remembers are other earths limping Half-free in the grips of other Dying suns. ------------------------------------------------------------------------------- - Houston In Houston's summers the gods Use the clouds as urinals For three minutes daily. In Houston the Boat-People Come from planes. Inner-city--intermingled and alone Like its green Buffalo-Bayou Strewn only in the imaginations Of those who run along it briefly. A mile from the bayou The settled imagination of a Nine year-old Vietnamese girl Allows a mangled brown horse To elongate and flatten out To the reality of the rolled up carpet (All because of the rain). She feels the wetness now beginning To seep into her clothes; She raises herself; she sees the old Cuban Walking from the house with hands To the sky, as if to make the heavens appear a little longer In the manner that the downtown buildings, From Dallas Street on, by their Stories of windows draw down the sky's enormity from measurement Both extensive and inadequate; And she follows him. Apart And yet they both think about the Vietnamese Teenager with curlers in her hair Who yells "boo" behind doors That are entered; The Cambodian boy who To the view of the Montrose area Pours on the bare shrubs, And then strips and pours upon himself, The water from a hose, and that both animal and plant Glisten in the sun As if they have been greased; Falling into Houston's world of high buildings From the descending planes While hoping that the big world would Not overpower their memories; And the Cubans, in house #2 always yelling of "Miami." They believe that Cambodian refugees Always clean house #1, That Africans never clean themselves, and that Laotians often pour rice down the drains Causing the faucets of the house to stop-up; And that the welcome-center Manager Does not care to bring over a little clothing And a little food or take them on little trips To the Social Security Office or the doctor's office Past 5 p.m.-- But of different seconds in that minute, Different lengths, and various perceptions. She remembers the ugly man In Vietnam that ran from the police And then a scar around his eye Opened from the clubs and the blood Tried to escape him completely As the body attempted to pull itself From the street, and could not. He remembers thinking that the Cranium of an old man is always heavy On the neck, and that his Is becoming like this. He desires to clasp the gate That is around the Hispanic cemetery And watches the cars on Allen Parkway, below, Curve and toward the sun Become a gleam moving endlessly And instantly gone. He desires to arrive there and Read a few tombstones Before and after watching. She desires to imagine horses Carrying her away from here to the West, And other horses following with her family behind. She desires to follow the Cuban that she fears Since he is moving away from the refugee houses. There are no horses in inner-city; and The Hispanic cemetery cannot be found To souls wanting to rest there. "Este cerca de calle Alabama?" He wonders,. The rain stops. The hammers and saws peel their sounds from a roof. And he notices her steps Despite the stronger sounds; halts; And glances behind him as shingles fall ahead, While wanting her to completely leave him And wanting her to come with him. In Houston's summers, At certain areas, shingles like The god's shit falls from housetops And the dung dries in the air, Flattens, and ricochets to sidewalks. In Houston Cubans pack From refugee houses And plan to fly away into America, and depart Far from the Castilian hot-dog vender Of Herman Park waiting for The thirsty and hungered And those ignorant of what they want But know that they want something And so come to buy from her Who wants people to come to her For more than the chips Because the hotdogs are overpriced, Who formulates That she is unskilled And that a computer course would answer it all; Far from the Netherland psychologists who Stares at her ebony reflection In Rothko Chapel's dyed pool; Apart from others, and no-one, all Pulling alone for humanity to both Come and go from their lives. ------------------------------------------------------------------------------- - The Politics of Herb's Woman Waitresses lightly frisbeeing out Dishes of breakfasts Catching glimpses of Colonel North's Photos on the front sides Of customers' papers and Formulating judgments Of rebel or martyr From an appearance And a few words that Drifted in when the Hands relaxed plates to table mats; Farmers wishing the seeds To suddenly open to be plucked up faster So that they are not The last ones laid in By their hands; Little "third-world" nations of people hoping For the great debtor nation to continental-drift To bankruptcy, painless and alone; And nearly empty of thoughts--Herb's woman, Jeanie, Behind the Ellison Building standing With concrete drilling its stiffness Through her soles. There had been a time-- With face raised from her age-smelted pose To the ever firm stories of that building-- That she would think of receiving her paycheck so she could Go to K-Mart and have something. But now years on top of each other, Uncountable to her, She continues guiding The few of the masses of cars That turn into the lot Where to park: in winters Conscious of the visibility Of her cold breathing, And summers with the scents Of greased telephone poles And sights of light gleaming off Car windows, she thinks Of buying old junk from garage sales For her yard sales, with the same prices, So as to recall the sounds of human voices Other than her own. ------------------------------------------------------------------------------- - Brumfield His job was a novitiate where there was no operator's manual With which to have faith in, and no rules But to move with the dustmop pushed before him Along the empty corridor, and then down a staircase Where he could descend to more passive depths in cleaning. At home he would smell the odor of his bare feet coming to him; Would see the blue under his toe nail that looked like marble; And these would be dominant sensations Though he would be vaguely aware of them. Beneath his bended legs he would sweep his hand To capture a fuller scent as his fingers would flick To capture a fuller scent as his fingers would flick His unshaven face. Then in his only room where the bare mattress Was lain along with his leather jacket And the dirty underwear cuddled around a clean toilet-- Where the Rosary hung on a wall And the guitar leaned in a corner-- he would do his push-ups. Most of those early mornings some train Would pour its breath to the weeds At the edge of the tracks, losing them In sound and mist of a voice Screaming out, alone, Through the cold and the living. His arms would tremble With the body weakening, and then demobilized, to the floor Before the count of fifty. Through the fogged condensation Of the upper corners to a window He would glance up at the train-- Each car imagined as the girlfriend, Cindy, Or the seminary, which he never Grasped or rejected and so They slipped away; Or his mother, who with cancer Began to close herself off to him-- Grasping one of those trains appearing at the time With the familiarity of two strangers Who recognized each other's desire to remain such. ------------------------------------------------------------------------------- - Oracion A Traves De Gasshole (Patron Saint of Respiratory Therapy Workers) Saturday. All the same: A silvery grey Thin and undistinguishable From skies to parking lot In exact shadow; and he finds his car. The lid, laced in rust, By the turn of the key, Parts the grey as it pulls up; The grocery bag is dropped into the hole; And the ground beef slaps down on the floor Of the trunk as if a second slaughter, Its grounded nerves convulsing it A couple of inches nearer the oil stain. That meat, in body, that last moment After consciousness has severed itself; Skin peeling under the fur, hidden, But not from the last hot beams ahead Of emerging dusk, becoming crisp And then soaking up the hot blood, as the trachea, With the last of the air drawing in, begins to fold its walls; and he could imagine it Like he could imagine, from unexact memories, The woman, last night At the hospital, whom he began to like-- her body pulling cell by cell Apart before he had a chance To finish the rescue with the hose Descending the nostril as a rope, and then flushing out mucus. He gives the ground beef an air-born somersault to the bag And closes the lid that is connected to the vague light bulb of the trunk. The Gasshole's reflection on the trunk lid Is lank and curved; the appearance of his face With its facial tip of the nose and its greased Separation of hair like a wet muskrat in a metallic reflection. His face moving away, he sees an old Hispanic man Who walks from the area of cars carrying two bags Of groceries in an embrace that could be For weighty children; he thinks "The senescent, Carless, careless baws--turd! A campesino!," And he envisions himself as that: having to pull out the thorns That pierce through his tennis shoes as he shovels scattered cacti leaves from out of the back Of the pickup to his animals; And living in the dry ravine surrounded by houses made of wood That had been patted loosely together like adobes, beside The families of the kiln workers Who with him eat out Land's blessings And piss and shit out onto her graces, But himself happily not knowing the language of the Mexican people... Himself not wanting to know the language Of any people that his sister, Cindy, and college pal, Dave Broom-Up-The-Butt Echo. He does not wish to think of them Or the vaginas that are not his to put on Or the illusive woman who would be sick with him like a child lying on the sofa in fever and hoping That in the shadows on the wall and the Passing sounds that are concentrated on her mind One will bring deliverance--only placing the deliverance On him and yet loving him for himself Beyond that need. And while unlocking the door of his car He feels that the recreation in life is also a routine: A routine of sharing and parting, And at the end one is grounded and tossed Before the validity of his own Perceptions is resolved. But he is alive, Now; and he will put away his groceries; Read a chapter of his Biblia, A cenotaph of the dead.. maybe a verse; think of forgetting mass and mailing in his tithing And to veg' himself away a few hours Before he would have another night Of throats, lungs and The air of the masses. ------------------------------------------------------------------------------- - Come (Camp Wonderland for the Retarded, Lake of the Ozarks) Grabbing the already read letter, Slipping out hot and wet From the bare mattress-- Like Sweet Pea's turds Right before His psychomotor seizures, Only without a softness to stub myself Into--stiff and hard I drop From the cold rim of the bunk (Even if I awaken The idiots below). With non-syllables and vowellessness A pitch that is language enough To keep this man, Jim, From wherever The unassimilated disappear Howls "He does not want me here" While its flesh of Jim beats the plastic urinal On the walls barricading a pillowed head. The joke is on him this time... All over him for the next hours. The letter's impression Writes and rewrites in my mind: Come, my sister calls to our father Like Ronnie's suppositories butting back. Only suppositories are meant to do so. Come, she speaks to me, And the shrink Shall put in touch All that he did to us. Tripping over Keith's mattress I step out in humid silence And wipe my cheeks. Two cabins, beside ours, simultaneously fry Bugs in blue, electric lights. Keith, a crippled rocking horse of autism, Scrapes the feet of his vibrating body To the bench where I sit. Sit, Keith; go back to bed, Keith; Go to the bathroom, Keith: In this camp I shape the minutes of his life To some acceptable pattern. He rubs his hands together As if trying to spark fire For the inhabitants Of his imaginary world. Stop that, Keith, I say. Sit, Keith. Keith sits: There is no coming out For him after twenty years This way, Or perhaps for me. The pale gas lamps are strewn around A small area of limbs In a corner of the sky-- All but patches are aflame Like a roof of a tent around The stakes, ready to break off And fall. Rock, Keith, As the sun is stroked So far into the lap of the night, Suffocating and as good as gone. The folding and unfolding Of a crinkled letter into squares; The imagining of the counselor Of cabin four And what a pulse would have created If her head had drowsed To my hand on the back of her seat On our way here; The general silent howling of "Come!"-- Keith does not cripple to this. He has no sister that calls a stranger back To erase and draw back Them both. He does not say "come!" All hours. He comes. ------------------------------------------------------------------------------- - A Gentleman's Right He must have thought That there was some covenant of the old That bound each to move around it In a square orbit. he was fifty now, so there Must not have been any question: Lessen the speed at the train tracks; Stumble his car over their ribs; Swerve closely to the drive At a slower pace, and hope That where men dodge the bumping Of their tails from Parks For a private club, That one would come Out from the doors, partnerless. If not, he would have To go around the block Another time Like other old fags before-- The railway crippling with Its iron in each return raising, Cracking up from the skin of the street; Limbs of that bar's tree Waving down (some To the windshield), warning. Thoughts that the energy of youth Had some pivotal focus Made each imagined man to him Like a lollipop, but the parks would not do: There the man with the smashed fender Might be obligated to 69 A winner without a face-- a drag race ending in the winner's backseat, And on his tools which would rib in. And inside that bar where women snuggle Away their faces in equality, And where men rotate hips on the dance floor Like an earth's axes...this would not do: For there were no friends to affect Mutually and faggishly in embraces; And the young and sensitive Were Oriental and fonder Of the cigarettes They put in their faces And the beers that suddenly appeared Before them. This would not do: Mouth-hugging the earth On its bulge of life Or moving to songs Where the dances never end. He was an old fag and must retain A square orbit. It, at least, Was a gentleman's right And in accordance with the Manner of the fags. The block was long. In the shadows and oblique actualities He felt its length. His stomach tightened In fear of the length. ------------------------------------------------------------------------------- - Transitional Mendacities No, the supremity of having been split off from A larger entity by being spit out From pussy lips while Reeking pain and havoc Like a living tongue pulled From aperture and den Is not sign enough That he is meant To be sustained As an integral part of the world, Unique and indispensable. Thinking about how much longer He will need to play out the day That issue is not his, and never has been. "The job was done" He could say, later, After the storm. Hand-limp, His broom dance sweeps Upended under an empty park bench-- Dirt caught under The tongues of his feet-- So his paycheck Will come in the mail And become bank figures He can suck from To keep he and his woman Housed and fed, and well enough To legally rape each other in embraces, Forgetful of their lives. The man has a son, and stands nights aching behind an assembly line, Sleeping the days away While his son goes to school. The son thinks his father Is thoughtless and dirty And his mother a grease-bitch For marrying him. The son grows up Between his college books, And begins to put it together: A society of men Wanting to take a variety Of stimulating produce-- Though some were more the makers Than the takers; The image of rightness In a man putting his hormones To the making of a company In a family; a family That needs a provider to survive; A man honorable and trapped And there are nights He awakens, gagging at the Sudden thought of a man Next to him Who had engaged his body In a lower form of sharing. And he wonders if embracing a world Of ideas can be done When all things cannot be believed; If humanism is Energy vented To avoid futility; And what grossness He would have to justify next-- All on those nights When self-perspectives Are swept under in change. ------------------------------------------------------------------------------- - Man of Coal You knew it was coming: Twenty-three years and the mine Would notice you one time, Photocopied. A voice below bellows Your name, Dave, Into the settling air of coal dust. After you shut off the engines And descend beneath the dragline's skeletal Nose which canopies like a skyscraper on Its side in mid-air You confront a face You cannot see in the descending sun. Shadow-still, Enormous might engulfing over you To the height of The dragline's triple-tank wheels, You see him-- The heels on his leather boots Locked in the train-track grooves of dirt. As he hands the notice to you Its stiffness shakes In your calloused hand. You know that what is left of the day Is becoming cold; and despite the smell Of dirt there is a scent Of watermelon in the damp air, Although you do not know it as that smell Or that there is a smell at all, really. And yet a faintness of some half-knowledge That touches its weight lightly in your mind Drags itself into places you cannot touch. Pulling out of his shadow You think of how you might hand This sheet to your wife Like a child presenting to his mother An award from school: Your wife screaming laughter of relief As she hugs the paper to her breast; Or how your strong hand might sweat As you pick up the receiver of the ringing phone, Expecting that after saying "Hi" That one of your college children's voices would end The conversation there For you to hand the vibrations To your wife--but instead That child Congratulates you For no longer destroying the land. The noon hour whistle Vibrates the walls Of the hollow heavens To the cab; the thermos-well Of soup, sitting on your lap, you cannot see, but You feel its stillness Stagnating and absorbing The contaminating minerals Of the tin, walling in the contents; And still you want to turn on the ignition To finish out one more complete day In the twenty-three years here Of hard work. The quandary then snaps, and you escape. When out of the valley you enter the truck And close the door-- The second time harder, and it latches. You turn the key And the truck bounces to the highway. You stop at the sign; Stop the motor while Still on the dirt road; But in the end turn left, again, Home. ------------------------------------------------------------------------------- - Maddog (Or Death to the Barbie-Dame Image) You said that it happened--that day you ran away From a self you buried underneath the ice-packed snow, All those cold years ago--when your last friend, then Had put an end to the Gabriele whom I've never known. This Friend, like yourself a Barbie Dame, became totally lame and Withdrew out the door when you needed more hands to keep Your epileptic roommate From smashing her head on the floor. Gabriele, held together by the stitching of hate-- The plastic-eyed polar bear with the stiff arms That the factory of the human race mutantly created-- This time it will be you who shall feel the wall of artificial Fur ripped from its threads, and your stuffing falling out. For a little maddog on top of four joints Makes a person see the unsealed human fragments That had been smoothed over in time Like a million and some bone fractures The milk of approval had swum into and covered over for looks. For me fragmenting came yesterday when I saw a welcome mat Iced over and yet I entered: Your house was hot and your oven smelled of baking meatloaf Although you had said that you could not be domesticated. And then I saw your bottle of wine Standing at attention before two glasses. The pledge that bowing to anything or anyone was wrong...that people Were only needed to gain the most bare Of physiological and psychological needs (pitstops to being human)--this was gone. Gone with your hair brushed and your skin smelling of perfume For some other man than me. Come on Gabriele, the gal that used to chew tobacco and Spit it into an empty beer can... The gal with the deep dark-ocean eyes... The maddog gal, grip that wine glass now. For Gabriele, you smile at everyone with meaning You are as together as a feather when a hurricane is in town, And when the hangover's over and your own insight has Fragmented you from a million pieces to a billion, My stiff polar bear arms Shall poke and not embrace. I sit back at this party I am hosting-- My back firmly pushing against the back of my chair, And my head and eyes cocked. You all are the performers this time... And Gabriele, you are the main attraction, Attracted, after this night, to the omni-present sense of your Smashed self; and me-- Sensitive little me in no man's land Where no man wanted to grasp me from... And no woman-- Mended back together in thy survivalistic polar bear image. ------------------------------------------------------------------------------- - Becky's Demon "Something happened. i don't have those visions anymore." And you believe with a mind like Papa believed with When i told him i could see things Clearly before they actually Were. His back and forth pacing from those same two windows-- Which had been like a toy soldier powered on a human battery With a three minute's stand at one, and then the next, Suddenly stopped. For i was different. You anointed me And cast me out. i was alone. You caused me to hide Beside a pitchfork in the shadows of the corners of the barn. Yes. Papa stopped. His eyes moved. i'd never seen his eyes move Before. They stared down at me. My child's eyes Below--and he aimed his for them as a fisher for prey in clear waters. i backed up behind the pipe of the kitchen stove.. But with one stretch he reached his arm over Like a bear's paw that in force comes down like a Redwood. my knee aching as if broken, i crutched up From the other side of the room, beside the door.... Then, bending on my knees the next conscious second-- Feeling the blood of knee caps sticking to hay and dirt-- Seeing the sun poke like sticks through rafters and cobwebs-- Thinking i grabbed a hold on the sunlight which could Lift me Up like a rope; but grasping the pitchfork-- Raising the pitchfork-- Pitching the pitchfork-- After hearing the creaking and scraping of the opening barn door Plowing The top soil of the dry earth. Thinking: he would never kill my shadowy corner. II And in this plush chair of the Bishop's office i sit a decade And a half later--a Salem witch of the west explaining her Dull, trembling self before three Mormon men bending above me. But you don't understand me, as if anyone ever has. i had psychic abilities. But you don't want them, so they're Gone; And i'm good. i no longer believe, Bish'y, that I saw Benson Dying And Yourself rising above the Twelve. But You're still scared of me. You only want to anoint me And cast me out. You only want me to hide in a barn, And belong to shadows. You call my abilities a possession of a demon. Papa doubted i could see; and you see me as perverted. But you do see that i see... That i have something with some power. You and the Missionaries lay your hands on me... me who left my Protestant roots so as to be rooted in your Family. You put your cold hands on my forehead, Trying to vacuum out my psychic abilities, Which i tell you are no longer-- Trying to take away my saying that i'm okay... i'm good. Speak to me. Don't cast me out and leave. ------------------------------------------------------------------------------- - Where, Oh Where, Did The Mall-Lady Go? They wanted her to drop her thoughts As naturally as her underpants fell, after they were Over the hips, so the steaming winds of her daily showers Could clear her of encroaching stain As she had been cleared away. They were a function, ignorant of their thinking, charting Charts. She felt she would have to ignore these doctors and Nurses in the mental ward. She would have to ignore the pacing patients Asking cigarettes from her. The hall was rectangular. Everyone moved rectangularly. She would go to dreams of past realities Where she was watching the shoppers' reflections As they passed mall's little fountains-- Different types of people-reflections but all silvery In the still of the waters, Happy and part of the lives of the mall. She would imagine herself sitting on a metal bench-- packages of her new clothing pulling on arms and chest Like the recalling torpor that came more easily To her lower legs; the weight of the mink that arched Her aching shoulders more like a lady; And a small sack of chocolate stars Touching her upper neck-- Wondering what packages her fellow-creatures Bought to be brought home and to whom They brought them to. And then, as the locks of solitude clicked in her consciousness, Came the wondering of where, oh where, Did the Mall-Lady go? ------------------------------------------------------------------------------- - Savior-Searcher In The Bible-Belt I can see you in those dry moments, then As clearly as if I were there: staring at the cracks Of the white ceiling above the bedpost, wondering if You will slip down three flights to the outer darkness Like your ex-Mormon roommate, here. Your visual mind, Against your will, probably thinks about your squirm That a few moments ago squirmed you of your juice, Wiggled her skirt back on, resurfaced the lip-spit Crackup in her concrete of makeup, and wordless, Walked like a princess out the door. As the last of the ecstatic vibrations tides you in the rear You arise from the raft of the mattress. Then you cover up your nakedness, And move to the light of the living room. And then I actually see you, Don, in the hour that you had told Me to step back in. You are bending over the end-table stained In the blood of wine. Sunlight, stripped silver from the grey Clouds, pours through the window to the table. To your right a nine of swords card of a man pierced in the Back gleams as it walls the card of your future lovers., And the redness of Doctrines and Covenants to the far left of That table also looks pure in the light. You do not see me. Your mind is racked in screwing the pack For an answer. You turn another Tarot Card In the order your destiny is to be read. Your sad eyes look up And your languid voice says that you are late For your meeting with the local Bishop... A meeting to straighten up your fucking life. I laugh! In bitterness that shakes my intestines, I laugh! Another hillbilly man Has lifted his head above the rest--a foot up from the jug-- And has blown his breath into the air Which 'naps another young and fragmented one To the call of being holy. But before you arise You turn the gleaming card of number four-- Your eyes in a more motionless trance than before. ------------------------------------------------------------------------------- - New England Washing (Mental Account, Some day of Gorbechev, 1987) Another hour. There is no circulation Beneath the steering wheel for my feet. Outside myself There is the last of the sun at dusk But like the conquering Hsuing-Nu Pushing themselves beyond a Great Wall and through an eternal Gathering, it is hardly felt. There is nothing great to trouble me And nothing substantial descends on my senses, Giving me thoughts other than the fact I'm thinking nothing: Only A flock of birds in the corner of my left eye Blend down with the grey skies As if the fence barricading The farm land does not pertain to them; Thoughts of the center line And not going over it. Days of Gorbechev, the radio speaks of, But not his nights--where, one time He may have smashed A big, red cigarette in an ashtray With an action stiff and slow; And as he stood up the mattress of his bed may have Raised to touch his rear, again, Like a quick and soothing give-me-five handshake; And opening a window of the embassy To escape the stuffy dryness Of electric heat to his suite, He may have let the cool American air Attack him with the smells and sights Of its diplomatic car exhausts, Grey and orange from street lamps And store lights...and how The nation breathed for once as it moved. The third: road; cows, like islanders; Multi-tinted bladed fields broken by acres Of forests and pastures; a black-sun scene with Car lights; a vision blurred and pebbled Through the windshield-- A truck passes my pinto; Muddy water slapping its face; Its stick eyes smoothing it To a duller complexion. It isn't yet Christmas And I am going home. My parents one day drooped In front of all, and were old-- We should be having much to say... I, thinking like them, with The mind of the world, And us smiling unhappily And speaking none of that: But a lot will be said. I am a bum. One of their hearts shall give in And their marriage will be a farce... Even in car accidents the married Die separately. And then the widowed Mother, smoking the cigars of her husband, And coughing them as the husband had done But in the apartment of the son, might Visit away her life: I would Bring her there, thanking God for a reason Not to try hiding all of me in some pussy As in daylight the main part Goes into underwear. This is their town Far from trays with saucers And plates and spoons and forks (Sometimes hardened in scalloped potatoes Or bent) and knives and glasses (Glasses sometime with folded bread inside)... But forever coming down the belt for the Dumping and washing...the trays that disappear In a square hole and come out clean Will continue regardless if I am there. Men fuck virgins; a child-worker Is born and all is holy. There is nothing great to trouble me: The rains that drop and drift next To streets in gutters, take away Smashed Pepsi cups and beer cans Without intent, bound God knows where, But out of sight. ------------------------------------------------------------------------------- - The San Franciscan's Night Meditations When I am at a dead-lock In your rear and the language of my body Will not come from The third element of the soul, What am I to say?-- 'ALL BUT ONE DEAD: Mexican immigrants celebrating the Stowing away on a 120 degree boxcar With urine in their stomachs, Acknowledging capitalistic thirsts... Sigue sobre pagina".. Double hubble The peso is in trouble And to Mars America plans Jumping over the moon, And all this has disturbed me!" The night is full of impulses To live and to run and seep heavily Into its dark robes of Silence and morbid rightness; And as I, again, try to thrust on dryly-- A log without a river traveling it To the product of lumber-- and hope to create love in The smackings of night, Like anyone else, I know that soon I am to apologize for lack Of an ejaculation, And will promise to have a counselor Tame me to the exclusion of All but work and lust. Sounds of people Kicking around the Night of early morning Beneath my lover's window; And I withdraw under the sheet, lying flat with the dead moonlight. ------------------------------------------------------------------------------- - The Philosophy Of Rita And Herb Staring fixed at the rows Of flowered Wallpaper a pale gray In the dark efficiency-- The three walls still absent To her consciousness As a shadow of silver lightning Fades the greyness Of one portion in her view-- The "schitzophrenic" lifts up a cigarette hidden behind An ashtray and the flat ground Of ashes on the table, which Skid and resurface with her Hot breathing. She thinks they are Continents drifting, and herself Upon them. From feeling stiff and pushed under-- Numb to the point of a corpse-- With insecurity enough not to remember, Even, her ABC's, Rita runs into the night Where outside of a window She blesses the workers making Colonial bread. An old man in a cowboy hat, Herb, Is saddled on the wooden railing of a porch To an apartment complex: seated there beside a remembrance Of a young woman like Rita. And in the spitting fumes; bad-muffler sounds; The rocking phallicism in radio music of passing cars, He feels he has to move or die And gets down To his pickup. And Rita, upon dawn and upon the end of rain, Walks the streets again after tiring, Ready to go back and confront the curfew-conscious Group home, and the "zero" on her record full of Zeros. She worries about carrying in her womb A mini-Herb with scabs of grey hair And little pot-holes in his tiny face, Though she is still a virgin. ------------------------------------------------------------------------------- - Estivation Weekends in Tranquility Park-- With the downtown buildings, hallways of giants clustered, Exhaling the coolness echoed From the rectangular mouths of doors Opened and closed by cityers-- A coolness came over my thoughts The way lack of wind contains The hastening of Yosemite's flames. There, diurnal and punctual, she crossed That small area of grass, fountains, and cement Which were generally buffeted more fully by sun and adjacent Sounds, moving the park more than Bush and Dukakis' Presence. "WALK" was always lit when la chica Approached the street, carrying her library books. When would she, artificial and pneumatic, Who like Houston's miniature stop-lights While going to work, veer my movements To slide off a plane ticket and be led Through and from burning Amazons And green-house climactic changes-- Through wasted ozone and my own depleted life-- The breath of her mouth my only nourishment. Masking tape From hurricane threats Remains at the edges of windowpanes; Palm trees, below, are hybrid to cement; Thuc Nguyen's business report figures Blend and bury themselves as distant sounds; The staff meeting and this cigarette industry are gone. Slid off a plane ticket caught in life's winds Restless No friends for real All wanting something from me The outside world has nothing Except life-ending amusements of Sex to escape void The dead have some solidity of truth About what happens after life Even if they are not aware of it, And the rest breathe in fables Everything is surely unchanged in Springfield, Mo., where I was raised, But none of it is mine Nothing is ours--humanity drifts along And intersects briefly in alliances My friends Are co-workers whom I must expire My life with civilly As we light cigarettes And bitch of no new raises When would she pull on my arm Tugging me thoroughly into breaking glass Of the 12th floor conference room To fall, putting me out violently, When I can no longer dream ------------------------------------------------------------------------------- - Mid-West Hymn of Aten Aten, where it is throned on the television beneath the window, Sees above and below and says nothing: It enjoys the woman secretary and the road constructor Who from opposite shifts of the sun Come to it, the cat; Follow the roaming in its mansion; Pensively laugh as it clings to hundred dollar drapes; Feed it holiday popcorn on the throne; And close the drapes that the cat, Aten Had opened by its tugging, And will open again: Opening below Where the woman, statue of her liberty Wedged in a mud layered hill of snow Ankle-thrusts The tilt of her body after a moment of standing still: Face looking in the trash receptacle that her flabby Breasts rest on the rim of and point toward; head bowed To the tin; And mind distinguishing between good and Bad trash. Her hands raise from the snow-blended Mixture to push back the hair that was intimate with trash. She raises her head and glances up at the sky that She had noticed a few seconds earlier; and wonders Of the person who would throw away a nightgown And wilted plants, dented but unopened cat food, And scattered baby pictures-- But the cold wind pushes further into her rashed cheeks; And she drops the gown before she can mentally conceptualize The woman's possible image She digs further and... And opening Above where Two crossing jet Had each made an element Of a cross in the skies--- A third, now, and the Heavens appear to play Tick-tack-toe with their bad arts, Or do not know how to push out caulk neatly When hoping to seal out the heavens. ------------------------------------------------------------------------------- - McConico Through the hazy waters Of his hot bath, looking, he thought That his woman's pubic hairs Should naturally have come out More permed like his, Regardless of her color. The door being shut and locked With a rifle in front--still he heard From the living room a forum of senators' Televised voices discussing laws of limits In openness and freedoms And ramifications. He did not understand-- As the mirrors steamed, dripped Down from the air conditioning's touch, and resteamed When it shut off; And when he wondered what home owners Had used the bathtub before And what disease might be Dropping from the cracks around the faucet--that The fags would push down the American way of life. He did not argue that if they were isolated From the mainstream, their liquids might get off on any Products as they worked for the cost of their isolation In, for example, a barren region of Texas; And that the isolated would, by the testing of the Virus, be proven witches So there would not have to be witch hunts-- No, he just felt their destruction. And he thought of his woman In the bedroom, waiting, and became Forgetful of anything But the desire to have her. They had that freedom. The American constitution Said so---freedom to live and breathe And fuck and fuck.. Fuck so hard that the penis would Knive through the condom And spray-paint the man's name On the dull walls of the vagina. They had that freedom--those inalienable rights-- Her to be banged and to squeal To her friends that she was in love And him to white pussy And a gal that he could call his own... His woman. And if the initial M got ready To graffito-crawl his way out-- A problem for the rest of their years--- She could erase it, not remembering it With any more significance than Having clipped a broken end Of a fingernail. She had that right. Her man said so, and so said The American constitution. His shift in Toastmaster Had for that day ended, And so now he could rest in waters; Focus on the bubbles that rose When he farted; and let the memories Of the entire day be released to rise and fall Like the steam. He would have to scrub himself Good before going to his woman: She understood money With its charm of a cocaine high-- Although the need for dominance And the breaking of rules Made her love him Who still did not supply her with all of her needs-- But the composite smell of the factory and the drugs That he sold after each shift Would lessen the good feelings that made That understanding. ------------------------------------------------------------------------------- - Beauty Shop Motif Taking the boat two hundred miles With her Ozark loving husband Not having the key And why I don't use The hair dye she prescribed-- The one I had bought from Her last time-- I say, "Yes, Honey" And watch her lips through the mirror speed on. My back aches in the chair stiff as a board. Have I gotten as old as this? Have I started saying, "Yes, Honey?" Conscious of slight pains and discomforts-- Words as silent racing of lips. Another shampoo is ground harder In the grey hair of my scalp. The long gray weeds that grow out of it Will be chopped off another two inches more Than what I asked her to do. In a room of old women, like me, Who let the buzz of dryers And loud beautician speakers Keep their minds active from remembering, My bored and wayward eyes See in the mirror (Now seated in a once empty chair next to mine) A young one: Her fidgeting body willfully captivated; Hair held high and hostage; Curlers stiffly tightened; Bulges diluvial by Cylenderic Bottle Held ungodly above her head And squeezed by gentle but firm hands Of a male beautician-- And I remember that the noxious liquid Dribbles under Cotton Crowns Around one's head As the eyes water from the sting Of this thing called love. Somehow I want to warn her Although she may not be a stranger To being whitewashed In a man's liquids And the click-of-the heels logic Of women, as if One's whole damaged life Can be bounced from a mirror In and to all women Like an SOS. ------------------------------------------------------------------------------- - Sculpting of Winds It was as if certain people came in. Those disliked were Disregarded and the rest kind of circled in and out But at the time in and a small period out were associated with And considered part of that person's reality by himself The way a cat brushes against certain familiarities Agreeable enough as it goes for its meal, And so I befriended places. Saltillo in Mexican mountains when the land shivers in shadow And the sun stretches through the air and beyond it With an intent to overpower what is closer to man-- The River-walk and the Alamo and between both where A Philipino in green shorts eats the grass Where sidewalk and road intersect. There is a city where I Thought I could find myself less lonely, And so I have returned home. Snow embraces Springfield's earth to its death. Under the sounds of the rolling drips of water in the gutter I am frozen, though fingers tearing apart the wet leaves I pulled off from a tree, wishing they had been Dry to grind and become the physical appearance of the wind. Cracked and peeled back from a boot a portion Of the snow is removed but refreezes more heavily On one area of the dead. I stand as an outsider Imagining myself to allow a job section of today's newspaper To become the thoughts that crash along in the mind of the wind. I need money but cannot find anything worth doing. To change from a person to a commercial function to eat...this.. This day I shall sleep away As the night. In Springfield, Mo. The Great God may also await for his eviction. Two hundred Indians in Houston bow down to Krishna as the gates Men lock around him are opened and closed. But in Springfield he probably awaits, His red-sock feet on his sofa As the furnace blows The Soviet flag on the wall before his feet. His walls may have many flags, And his mind thoughts of glasnost and communism Intermixed.. impractical thoughts He must sacrifice so that He can exist together more easily With the community of the dead, Unalone. ------------------------------------------------------------------------------- - Post-Annulment Afferent, the city bus cramps to the curb and brakes through Solipsistic muteness with an exhaltation startled and choking [People are play-things in one's reality! One must look Into other eyes or he'll be reminded that he is a user too] As the sun-god, Aten, blazes upon the terminal's Scraped concrete--its graven image-- Making the place an Amarna, The shelved rows of the poor men Hear the sound humbly grazing Through whispered reverence over The glass-speckled pavement In a gradual dying echo, A cigarette succumbs to the voice as Carrion brought to life; all the tattered people awaken; And a man spits toward the tire of the bus But misses. [Religion is a lie! Everything is a lie!] And as he watches his own spit vanish From the hard crest of the world, And silently scrapes his lunch pail against A corner of a metallic bench as if expecting the pale To bleed...and hoping it would bleed... He tries to remember the angles He and his wife stood to project The intermingled shadows that both Had labeled as their marriage. [Marriage, that sanctified legal rape, fosters The child-man to be a destined societal function As he grows up in the family unit] He enters the second bus: Its coolness sedating the skin that Overlaps his troubled mind. His thoughts pull together Like the light, cool flow of the air conditioning. He feels a little pacified [Come to thyself, human, the refuge from lies!] He knows the shadow's intangible depth: Its vastness having overpowered him these months Until he could not reach the logic that told him To find himself outside its barriers. As he stares out of the window he wonders why she has left. How could she have left without indication When he has remained angled toward work So that he and his wife can stay alive? In the bus window he sees his diaphanous face--the windows Of the Hilton, where he has a job in maintenance, Piercing solidly through its head. He rings the bell The idea of her not home, and legally annulled From his life--her small crotch not tightened to his Desperate thrusts--makes him feel sick. He gets down from the bus. He goes to work. He suddenly knows that he is not in love. End of Project Gutenberg's An American Papyrus: 25 Poems, by Steven Stills *** END OF THE PROJECT GUTENBERG EBOOK AMERICAN PAPYRUS: 25 POEMS *** Updated editions will replace the previous one—the old editions will be renamed. Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works 1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8. 1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others. This particular work is one of the few individual works protected by copyright law in the United States and most of the remainder of the world, included in the Project Gutenberg collection with the permission of the copyright holder. Information on the copyright owner for this particular work and the terms of use imposed by the copyright holder on this work are set forth at the beginning of this work. 1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States. 1.E. Unless you have removed all references to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. 1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work. 1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™. 1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License. 1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1. 1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9. 1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that: • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.” • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works. • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work. • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below. 1.F. 1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE. 1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem. 1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions. 1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg™ Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life. Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org. Section 3. Information about the Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws. The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS. The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate. While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate. International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff. Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate. Section 5. General Information About Project Gutenberg™ electronic works Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support. Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition. Most people start at our website which has the main PG search facility: www.gutenberg.org. This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.