March 14: “The Friend”

The friend lives half in the grass
and half in the chocolate cake,
walks over to your house in the bashful light
of November, or the forceful light of summer.
You put your hand on her shoulder,
or you put your hand on his shoulder.
The friend is indefinite. You are both
so tired, no one ever notices the sleeping bags
inside you and under your eyes when you’re talking
together about the glue of this life, the sticky
saturation of bodies into darkness. The friend’s crisis
of faith about faith is unnerving in its power
to influence belief, not in or toward some other
higher power, but away from all power in the grass
or the lake with your hand on her shoulder, your hand
on his shoulder. You tell the friend the best things
you can imagine, and every single one of them has
already happened, so you recount them
of great necessity with nostalgic, atomic ferocity,
and one by one by one until many. The eggbirds whistle
the gargantuan trees. The noiserocks fall twisted
into each other’s dreams, their colorful paratrooping,
their skinny dark jeans, little black walnuts
to the surface of this earth. You and the friend
remain twisted together, thinking your simultaneous
and inarticulate thoughts in physical lawlessness,
in chemical awkwardness. It is too much
to be so many different things at once. The friend
brings black hole candy to your lips, and jumping
off the rooftops of your city, the experience.
So much confusion — the several layers of exhaustion,
and being a friend with your hands in your pockets,
and the friend’s hands in your pockets.
O bitter black walnuts of this parachuted earth!
O gongbirds and appleflocks! The friend
puts her hand on your shoulder. The friend
puts his hand on your shoulder. You find
a higher power when you look.

— Matt Hart

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