a literary journal published by the Black Earth Institute dedicated to re-forging the links between art and spirit, earth and society
that involve cocks and your mother
or fake phone numbers for a good time,
or a hastily spraypainted Libertad
on a wall in Santiago or Saoirse
in Belfast or the full car murals
gleaming with dramatic fades
of skyscrapers and cartoon figures
the unknown artist spraypainted
somewhere deep in the trainyard
as the subway rolls third rail
sparking from the Bronx or Chicago,
to travel unnamed and the people say look—
the art of the city, the art of the human
heart that needs no name to say I was here,
without tag or signature, not the famous
ones, no this is something else, a vandal
ridiculing Caesar, a shout
against the secret police, a simple face
drawn with a black marker, the sly grin
that stares at me from the back
of a seat on the downtown bus
and how with a simple flirtatious line
the artist made the right eye wink
as if telling me a secret, as the bus
rolls past the bodega where gang signs
signal turf, or the great murals
that rise off the sides
of closed factories, in this city
where the young gather
underneath bridges, and highway passes
to make characters shine, or the latrinalia
I read on the stall door
as I sat down to shit
at the music club that said “in life
and punk rock, there is no
toilet paper.”
Sean Thomas Dougherty’s most recent books are Death Prefers the Minor Keys from BOA Editions, and The Dead are Everywhere Telling Us Things, winner of the 2021 Jacar Press Full Length Poetry Prize, selected by Jessica Jacobs and Nickole Brown. His book The Second O of Sorrow was winner of the Housatonic Book Award and cowinner of the Paterson Poetry Prize. He works as a long-term caregiver and Medtech along Lake Erie.
Other works by Sean Thomas Dougherty »
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