her daredevil, embalmed with thorns:
the frigorific fog afflicting
this ferine february wasteland
she excavates uncivilized theologies
from sullen, tattered shafts
replete with intricate blueprints
of spaceships resembling cigars
the beetle-browed trenches
bordered with jutting stone lips
echo with eternal labyrinths,
consumed carcasses of cabooses
beneath delirious raving sidewalks
she unveils the festooned tomb
of a plutocrat’s prized crocodile
cloaked in citrine and pirates’ pearls
My Second Cousin’s Date to the Wedding
She was primitive and posh,
all lilac lipstain
and fenestrated poise.
Within those cloistered chromatic caverns
lurked a tactful tigress
behind fineprint claws
and jingoistic jive;
a cherry-coiffured ringer
for The Dorothy Malone
in her jazziest B-queen A-line swing.
Backstroking through buoyant babble,
she emerged fluently definable:
another fantail fadeout fayalite
wizening beneath the floodlights,
unable to pause the palpability
of cocksure bottom lines.
she was something between
a fabrication and a famine
disclosing her leeway
along saint fausta avenue
clocklike pear-drops pleading
the falter of her framework
unrobed for all to remiss
crystal women in abridged kaftans
passed by in peckish parades
coddling pussycat pocketbooks
inhaling the spicy corkscrew sun
pendulous men with wilting wives
uprooted quarters for cajolery
bracing for a madcap show
she twirled her violent stare
skivvied down to weeds
undulating underbelly bones
the garish grace of defrocked queens
Delilah was his altar, his pyrexia,
his bottomless pyre.
Her gambled glamour was
wild lilac quelling quaking trees
through terraces of fruitless coulees.
Alone she could assuage his aptitude,
Her peregrine prowess humbled
cloven poachers and penurious priests.
Volcanic vipers writhed in the lithe of her limbs.
No man could withstand the herald of her hipline,
nor the rush of flustered lips so artfully opined.
She could smooth her limber graze through his vainglory
for all the moondaze through.
Megan Denese Mealor has appeared in numerous journals, most recently Fowl Feathered Review, The Opiate, Really System, and The Visitant. Her debut poetry collection, Bipolar Lexicon, is forthcoming in October from Unsolicited Press. Diagnosed with bipolar disorder in her teens, Megan’s main mission is to inspire others stigmatized for their mental health. She lives in Jacksonville, Florida with her partner, son, and two cats.
Brian Michael Barbeito (photo) is a Canadian writer, poet and photographer. Recent work appears at Fiction International from San Diego State University, CV2 The Canadian Journal of Poetry and Critical Writing, and at Catch and Release-The Columbia Journal of Arts and Literature. Brian is the author of Chalk Lines (Fowl Pox Press, 2013, cover art by Virgil Kay). He is currently at work on the written and visual nature narrative titled Pastoral Mosaics, Journeys through Landscapes Rural. http://hyacinth-wildflower.blogspot.ca/