I open the page and the chat bar’s


The greyed-out dot fuzzes in my greyed-out head. Are you there? I type and my finger hovers over send. The pressure of the splinter on my shin, the sour blood, the throb throb pulse remind me not to ask. Are you there? Tracing, tracking, trapping her in your head, pinning and pressing her for later. Her


eyes fail to notice yours spreading her shirt. Her dumb passive fuck-yeah-that’s-right-there-harder-harder-yes skin hangs from her body, sits, limp, waits for another morning and another till the last, and sweaty stenching takes the toecaps and the fists, the fingers, come and piss, the eyes, the tongues, the whispers, the leering, beer and bliss, the


stare of a stranger at the table by the door. Are you there? I know the sound exactly, its pitch its timbre, its tone. I know the sound rubber, scuffed and broken, the gravel stuck between two treads, the click-clank-echo of your shoes in each room of the tit gallery in your head. I know the height, the depth, the doorways, the spacing of each portrait, each length of pace, each length of stare. I know the moment your skin slips on your skin, slides, pummels, fights, rips and sighs, the angle of your head as you turn to go, fixing on the


spaces between each portrait. You suck the skin from my flesh as you leave, to cloak you in the ice-stab-sting of your mind. Are you there? My slashed leg screams and I drive my knuckles on the broken wood, slam, slam slam, till they scream back and slam the keys and the letters scab the screen one by one through the pain, and fibres peeling, pus sluicing, bone fighting wood fighting bone, letters sicked up from the scream, and my finger presses down and the screen goes


~ by yearzerowriters on November 18, 2009.

15 Responses to “SKIN BOOK #4”

  1. It does my head in reading this. I feel stuff. Lots of stuff. I wanna shake my head to get the stuff out, but it’s all too crowded in there now.

    Anne L-G

  2. Ann, I hope by the end of it everything will be released. It DOES have a happy ending. I want to reassure everyone of that now 🙂

  3. This takes a few readings to figure things out…the ‘blank’ breaks work quite well, not too forced…

    I like the rhythms…the parts where you list different parts of the body or synonyms…not sure if you overplay this bit though, too many repetitions too close to each other?…but as it poetic prose you can probably get away with it.

    Good to see the tit gallery has legs…


  4. Yeah, it’s a tough balance, Oli, because this is prmiarily intended to be performed rather than read off the page & I haven’t done it to an audience yet so I although it’s my feeling that those bits will work out loud I don’t know. This isn’t how it’ll be presented on the page, either – the blank space will be filled with Sarah’s doodles & scratchings which I hope’ll make it more balanced. So I agree it’s a bit stark as is

  5. Still not sure how to order my thoughts on this one.I read it twice and each delivered up wholly different readings – which is good obviously. May have to give it a third go for the presiding vote. I did get a fleeting notion of scrolling through (porn) thumbnails with the ‘portrait’ stuff. Is this one intended reading of the tit gallery?


  6. I love the rhythm of this — it’s really remiding me of Gregory Corso’s rhythms. And you didn’t even have to serve time to get them to work.

  7. A happy ending?! And I had so much faith in you, Dan.

  8. I think it’s purrfect, I do.


  9. I can’t help but take this personally when I read – something about it sticks to an experience, but it is totally foreign at the same time. Makes me a bit squeamish, in a very good, unsettled way. I’d like to know what your idea of a happy ending is. Can’t wait.

    • I think that’s what I want to do with it – not in a bad way but in a way that makes the reader feel something of them in the characters even if they don’t want to. I really hope the happy ending works for people

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