Ali Power
WHY I AM NOT A PAINTER
Almost full-frontal female parapet decorates
Familiar strata, a necklace performing
Opposite actions, edge motif loosening
Unbinding the identity of the scene
A marshy landscape confronted by
The opposite of an audience
An ally, a skeleton of a witch’s kitchen
A grotesque representation of love & collateral
Motion, a pile of books topped with a skull
A surface set in letters captioning the belly
Blotchy eros, full-bleed translation, women
On top, visible in bed’s apparent absence
That space with red absorbed poses
City views polarized strangely
The surrounding hills so accurate
I went to the highest place I could to redraw it
To recast the models of self-portraits
I adhered power to these portraits
An indentation to the upper lip
Took refuge in the understanding of a white shirt
A finger set against a dark background
Within an oval frame of chronological gestures
Copies with no location
This is the history of nowhere
So unaffected by what is going on
MISTRANSLATION CCI
or MEMORIAL DAY
Beneath my reactions
Are stronger reactions
Erroneous boyfriend,
A plague on both our houses
I cut my losses
Stop going along for the ride—
Helvetica subtitles & bad music from the ’90s
I should know better
Whiskey rosé piña colada michelada
It had everything to do with freedom—
You’ve gotta give for what you take
I’m waving my fuck you flag at you
Slowly, I’m eating this hotdog sonorously
All by myself
Ali Power is the author of A Poem for Record Keepers forthcoming from Argos Books (Spring 2016) and is the editor of New York School Painters & Poets: Neon in Daylight (Rizzoli, October 2014).
Ali Power is wearing the golden body armor, the brass skull necklace and a 3 spear pink quartz necklace on long leather cord, she’s passionate in her mactaggart jewelry and laughs aloud for all to see.