five poems

by Spencer Silverthorne



Watching Clarissa Explains it All after School in ‘92

 

You start a new school and immediately

want to skip to the window where maybe 

 

that boy with the ladder will inch up

rung by rung to interrupt a painful

 

lesson on the failure of justice.

Ms. Herald still thinks you’re a doll 

 

for wanting to sport her dangling,

silver-cross earrings; maybe your mom

 

has pair and maybe you can find

a way to wear them for Kevin

 

the next time he wants everyone

to know that no one should face

 

a window that’s not a camera.

It will remain shut through

 

the year in case anyone hops

in with all that strumming

 

from God — how did you get

on this side of trouble?

 

There’s no episode where your mom

will know how to fight Kevin’s call

 

for punishment against dangling peace

sign earrings at the front of the line.

Stranger by The Lake is on Criterion Two Months Before My Fortieth Birthday

 

I should say something about where I am,

but we’re here for the gushing in the brush.

I lost the lush fading to his geyser. I google

all the fish I refuse to commit to memory.

 

The repetition of parking a recalled Renault

beats the globalization of twinks shuffling to shore.

I could have used another twenty years in a spoiled

peace that only some shade of cedar could afford.

Should I worry about threats concerning my hemlines

or waterlines? If every killer keeps going through

a mustache phase, why do we insist on going out

to find anyone showing up to get the job done?

 

Why is it queer to have body, have horror, have it all 

as an epistemic leering on the edge of a generational

jab? This memory lasts longer than what I should know

about some markings that turned up in a French cave.

 

By the time my birthday arrives, I wonder what I need

to survive, even if everyone else manifests an escape.

Every dive, every duck from blow, every stroke in the lake, \

feels like I’m worthy of cutting through someone’s wake.

Watching The Craft Four Months After My Fortieth Birthday

 

I used to think identifying with Sarah

meant that I was choosing love

 

over absolute power. I did not want

to spend the night calling toward the sky,

 

nor did I want the electricity coursing

through my body to become like a shark

 

in the hallways of a Los Angeles parochial school.

Though I wonder which saint would fight me?

 

To this day I want to keep the locks secure,

to scrawl the right sigil to ward off

 

the threats of irreality. I still close

my eyes at the flash of a scorpion’s claws

 

among the writhing snakes and maggots

foretelling another death of an ego.

 

Imagine still being a son wanting to be held

instead of the one wielding the stinging scene.

 

This is a lesson in earthly delights

when we confuse love with submission.

I Shouldn’t Like How You Sound Like Jacob Elordi’s American Accent

 

You don’t get to be you. You go to school to learn how to be

a good boy, and if you’re lucky, you pick up a thing or two about


the difference between just getting along and getting away with

liking the way he grips your mouth when he wants you to shut


it, to shift your face to the side, to get a good look at you.

You and I are too nice for this. We know people who would bruise.

 

The whole family should not say a word. It’s good to bounce

back from the rough. Sequence be damned, I’ll get along

with all the other boys. I’ll bring him back to you, as if I’m telling

the story wrong, like a parent who keeps echoing out of time,

 

will you get in the car NOW; everyone has heard

that before, and they keep telling me I would be fine;

as long as I found somewhere quiet to keep my niceness

tucked and quilted for a great relative singing praises in a den.


I can only keep myself antiquated for so long. So I just let it ‘

happen, and if you could make me nice again, because notice

how the nice ones let their flaws stick out like thread

baring from an heirloom doily, one that’s so easy to yank.

Watching Pamela Anderson’s Shelly Dance to “Shadows of The Night” Two Months After My Fortieth Birthday

 

Do you know what it’s like to be

seen again? I don’t have anything

new. I feel for the volcano that keeps

erupting and pluming the last of snow,

or whatever volcanoes do to remind

everyone else of their presence.

A would-be lover shared a clip

of a would-be drone descending

to the depths of some fantasy crater,

only the clip ends with a tabby flicking me off.

I am worth more than just one

flick. The whole thing was created

by a prompt like this one. Imagine

if I radioed the intelligence the real

heart of this utterance. I can’t submit

this to intelligence because it has an address.

This Boeing 777-200 ER would rattle me

even if I splurged for extra leg room.

I am Pamela Anderson in the middle aisle,

she becomes a middle-aged, gay fop,

but the audience will never be convinced.

They internalize the director’s retort

THIS IS HOW AUDITIONING WORKS,

which could be the first thing

you see at Customs in a G7

nation, and someone will always

want sugar from you if you’re role

is dimming. So you’re moved to do

squats in the 35th row even if you

left your cropped heather-gray

jumper in the overhead.

I am back from the shoulder roll 

that went unappreciated, because

I thought you can see between

flashes of prose and intelligence.

Aurora Borealis for the singles crowd!

Yet, this prompt is for you and not 

for anyone who’ll refuse to kiss

you forever in Gran Via.

Forget Iceland.

Forget auditioning and seatmates.

It should have lasted longer than the shadow,

but like a shadow, a kiss will make me

wish myself to be all iterations

of Pam Am or Pan Am.

The legacy shall live on.

I will cross hemispheres

to be that Bombshell

just for you; how else could

I say it full chest without Pat Benator!

SURRENDER ALL YOUR DREAMS

should be your first thought.

If you could only see me now, 

If you could only see my wings

unshorn and fitted for return. 




BIO: Spencer Silverthorne (he/him) is an Assistant Professor of English at the University of North Carolina at Pembroke where he teaches poetry, editing, and composition. His work has been published in Action, Spectacle, Black Warrior Review, Blue Earth Review, Dialogist, Gigantic Sequins, Maudlin House, and others. He lives in Fayetteville, NC.

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five poems