Back outside, the wind is starting
to pick up. I have that feeling
of acceleration, that quickening
that comes, and I might say is
required, when you have lifted
the lid off the cookie jar of life
by the simple action of doing
just one thing to extreme
and you find yourself pulsating
to the strange but intimate rhythms
of innocence. That streetlamp!
That puddle! Those train tracks!

I walk a few yards down them past
the old feed mill. First balancing
on the rails then walking on the ties,
I remember my desire to be placed
in the train yard of some small town
with no money or belongings just to see
what I could make of that pure potential.
I realize that is exactly where I am. Now.
I try to deny it, to say that I have my
room, some clothes and a very small
but undeniable amount of money.
How quickly we excuse ourselves
from the presence of freedom!
How we use even the smallest of
objects and obligations to drag us down!
Room becomes millstone, money
becomes anesthesia. Day denies night
as here denies there. But I am here,
staring down the tracks that I am now
sitting on, just inside the separation point
between the unknown and the known.
How marvelous I thought it to explore
the intricacies of the daily world while
just outside of it, just a short distance
down the tracks, lies something that even
my once-proud courage balks at: the night.
I slowly stand and begin moving down
the tracks, away from the city lights,
the named. That familiar feeling of
expansion, of oneness with the world,
fills my body. No separation exists
between my legs and the ground.
Now unable to see the tracks, my feet
become more sensitive, my boots tools
of precision. I am moving faster, deeper,
neither through the night nor the night
through me, but rather a melting and
mixing of one’s vibrations with the other’s.
The faster I move the less it becomes
a matter of speed and distance but more
a moving toward the nucleus of the night,
which, containing all possible motion,
recognizes no reality other than its own
stillness. When a man finds himself in
the land of the infinite, he must either
retreat immediately or attempt to
expand quickly enough to survive
without exploding. Pure expansion
is not possible within a human mind
and I feel my very self disappearing,
losing all awareness of my body as it is
no longer needed to create the illusion
of moving through the night, for I am it.
Free of bodily restrictions, I can focus
my energies anywhere. I become hearing
and am immersed in a world of vibration
with the sounds quickly passing beyond
the ordinary into a garbled cacophony
which reaches a peak, not through loudness,
mind you, but in completeness, and passes
into one continuous opera of pure voice.
I look and become sight. All images arise
and disappear faster and closer until I am
observing the past, the present and the future
in the true reality of the now. As with sound,
my vision becomes pure and I am floating
in a whitened world of electrical gauze.
Out of the plasma an image begins
to suggest itself. I focus my attention
on it and in so doing quicken its formation.
A face, it will be a face. I am not surprised
and neither am I afraid. I believe that I
recognize that face, that I had actually
expected it, was waiting for it to appear.
Its expressionless observance of me
causes no discomfort, for it too must be
of the infinite. But can it really be?
It is a human face, and must therefore
be of poison, weight and memory.
The more I observe it the more
solid it becomes. A change occurs.
A look of understanding settles on
its features and remains for some time
in our static world until it closes its eyes
as if feeling some inner pressure and its
look of understanding is swept away
by a silent wind only to be replaced by
an increasingly sinister smile swirling
the coldness of death all around as
the laughter begins gurgling up and out
of that quivering grin and I collapse
as a scream is ripped from my lungs
to go flying off into the mouth of my
apparition to feed the eternal,
murderous hunger of life.

Image credit:Adam Bixby
Matt Dennison

Matt Dennison's poetry and fiction has appeared or is forthcoming in 50 Haikus, 94 Creations, 99 Pine Street, 1870 Poetry, A-Minor Magazine, A Cappella Zoo, Absinthe Poetry Review, Abstract Magazine, The Acorn, Across the Margin, After Happy Hour, After the Pause, Aji Magazine, Akitsu Quarterly, The Alarmist, Alba, Algebra of Owls, Amaryllis, Angry Old Man, Anti-Heroin Chic, Arcadia Magazine, Array, Artful Dodge, As It Ought To Be, The Asses of Parnassus, The Aurorean, Autumn Sky Poetry Daily, Ballast Journal, Barren Magazine, Bayou Magazine, The Battered Suitcase, Beechwood Review, Belle Ombre, Big City Lit, The Big Windows Review, Bindweed Magazine, Black Buzzard Review, Black Heart Magazine, BlazeVOX Online Journal, The Blind Horse Review, Blink-Ink, Blood and Bourbon, Blognostics, Blueline Magazine, Blue Crow Magazine, Blue Earth Review, Blue Unicorn, Bohemia, BOMBFIRE, Bone & Flesh Aside, Bop Dead City, Bottle Rockets Press, The Broadkill Review, Broken Wine, Cause & Effect, Cavity Magazine, The Cerurove, The Charlie “B” Coffeehouse, Chiron Review, Cider Press Review, Clark Street Review, The Coachella Review, Coffeehouse Poets Quarterly, Columbia College Literary Review, Concho River Review, Constellate Literary Review, Controlled Burn, The Collidescope, concīs, Cottonwood Literary Magazine, Counter Punch, Coup d'Etat, Creepy Podcast, Crow Toes Quarterly, The Cryptonaturalist, Curbside Splendor Publishing, The Current, Damn the magazine, Dead Snakes, Defenestration, The Delinquent, DIAGRAM, die leere mitte, Dime Show Review, Diner, Divot: A Journal of Poetry, Dodging the Rain, dotdotdash, Dreich Magazine, The Drunken Llama, Dunes Review, E-Ratio, Ethel Zine, Eunoia Review, Every Pigeon, Exacting Clam, Existere, Eyedrum Periodically, The Fiction Pool, The Field Guide Poetry Magazine, Firewords Quarterly, The Four Faced Liar, Frogpond, G.W. Review, Gargoyle Magazine, Gnarled Oak, The Gorko Gazette, Grasslimb, Grand Little Things, Graveside Press, Great Weather For Media, GUD, Guts Publishing, The G.W. Review, haikuniverse, The Heartland Review, Heliosparrow Poetry Journal, Hiram Poetry Review, Hobo Camp Review, Horror Sleaze Trash, House of Long Shadows, In Between Hangovers, Indefinite Space, Infinite Scroll Magazine, The Inflectionist Review, Innisfree Poetry Journal, Isacoustic, Jabberwock Review, Jersey Devil Press, Juke Joint Magazine, Juked, The Knickknackery, Kudzu, Ligeia Magazine, Liminoid Magazine, Live Nude Poems, Loquacious Placemat, The Lost Poetry Club, Loud Coffee Press, The Louisville Review, The Lumberyard, Lummox Poetry Anthology, Mad Hatters' Review, The MacGuffin, Main Street Rag, Marginalia, The Mas Tequla Review, Matador Review, Matrix Magazine, The Means, Meat for Tea: The Valley Review, Melancholy Hyperbole, The Mas Tequila Review, Merion West, The Metaworker, The Midwest Quarterly, Midwestern Gothic, Milkfist, The Milo Review, Mississippi Crow, Mobius: The Journal of Social Change, The Mochila Review, Modern Haiku, The Monarch Review, Monkey Kettle, Monkey Puzzle Magazine, MONO., Moose & Pussy, Moss Trill Poetry Blog, MSU Libraries Short Edition, Muddy River Poetry Review, Muscle & Blood, The Nassau Review, The National Poetry Review, Natural Bridge, Naugutuck River Review, Nerve Cowboy, Neologism Poetry Journal, Newington Blue Press, The New York Quarterly Magazine, Night Train, Nixes Mate Review, Noble Gas Qtrly, Noon: Journal of the Short Poem, Northwest Indiana Literary Review, The Northwind Writing Award, Obsessed With Pipework, Oddball Magazine, The Old Red Kimono, Olympia Review, One Art: A Journal of Poetry, One Hand Clapping, One Sentence Poems, Octentatious Mind, ‘p[oOther Poetry, Otoliths, Owen Wister Review, Oyez Review, The Panhandler, Paper Wasp, Pembroke Magazine, Penwood Review, Petite Hound Press, Petrichor Machine, The Phantomicon, Pilgrimage, POETiCA Review, The Poetry Bus, Poetry Quarterly, The Portland Review, PØST, Pouch, Prole, Quatrain.Fish, Quarter After Eight, Qwerty Magazine, Rabbit Catastrophe, Rambunctious Review, Random Sample, Rattle, Raw Dog Press, Red Fez, Red Wheelbarrow, Redactions, Red Eft Review, Redivider, Reed Magazine, Riddled With Arrows, The Rising Phoenix Review, The Roanoke Review, Rue Scribe, The Rumen, Runes, The Rusty Truck, The Rye Whiskey Review, Sadwrn, San Pedro River Review, Saranac Review, Satori, Scapegoat Review, Sein und Werden, Sheepshead Review, Short Circuit, Sierra Nevada Review, Slippage Lit, Slipstream, Snow Monkey, Sonic Boom, Sonoma Mandala Literary Review, Soor Ploom Press, Sortes Magazine, Soul-Lit, Soundings East, The Sow’s Ear, Spillway, Spitball, The Spoon River Poetry Review, Sprung Formal, Stanza Cannon, Star 82 Review, Steam Ticket, Steel Toe Review, Stephen A. Dibiase Poetry Contest, Stickman Review, Steel Toe Review, Stickman Review, Still Points Art Quarterly, Strange Poetry, Stray Dog, Stymie, Sublunary Review, The Sun, SugarSugarSalt Magazine, Survision Magazine, Temenos, Thema, Third Lung Review, Third Wednesday, Toucan Review, Trailer Park Quarterly, Tree Killer Ink, Trampoline, Triggerfish Critical Review, Trouvaille Review, Tulane Review, Turbulence, Twelve Mile Review, Two Thirds North, Ubu, The UCity Review, Under the Basho, The Ugly Tree, The Unrorean, Up the Staircase Quarterly, Urtica Lit Blog, Viewfinder Literary Magazine, Vita Brevis Poetry Anthology, Veil: Journal of Darker Musings, Visions International, Waterways, Welter, Whale Road Review, Whiptail: Journal of the Single-Line Poem, Whiskey Island, White Stag Journal, White Wall Review, The Wild Word, The Windless Orchard, Witcraft, The Writer’s Circle Anthology Series, The Wondrous Real, Yellow Silk, Yemassee, Zymbol





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