Hot Pocket Annie Queen of Broadway
She only existed under the neon
swirl of Broadway
between 42nd and 9th –
a super billboard of iconic luxury,
she was the freckled faced beauty of
Ralph’s Americana college-cute
the world is safe in Polo dreams
and monogrammed elegance,
her blue ribbon smile cut with Woodberry pluck,
and her cinema curls sprayed with Nantucket goodness
but underneath the fried stench of food stamps
and the real face of Broadway spits through —
her face was ripped with open sores and pitted
with pockmark scars,
she tried to hide them with drug store cake mix
but you could still see the those
Iines of swollen sorrow like rotting
worms gorging in poison,
she wore ankle socks slutted
with tide marks
and thrift store shoes limp with no heel
they were two sizes too small,
hammering her toes purple making them
bloody and raw like sodden dandelion heads,
sometimes, she would take them off to let them
breathe dried scabs, forming a line of leeching crusts
across her toes in the rain, all you could see was an overhang
of boiled, pink flesh, like a holiday ham burnt on the rim,
she wore a flimsy cotton dress, well 50% cotton and the rest
polyester it was dank and moist and smelled of
rotten milk and ammonia,
she couldn’t do anything about the yellow sweat stains
that gassed the arms
but to avoid people’s stares and protect her tiny dignity,
she would clutch her
hands in front of her.
She had oversized calloused hands
to fend off revulsion and pity
the kind of pity meated out at a distance,
the kind of pity she detested. Frank was her
sweetheart then Jimmy, and Johnny T
riding the grease pole with fangled
teeth, she lost count of all the promises
they made, then she lost time
until she lost everything that mattered,
hers was the underskirt of
a Pepsi kiss with
no saccharin left
to coat –
her sordid panorama.
She had forgotten when her
birthday was, May or June
she blanked out all the
good stuff: like a bomb
she had exploded into
nothing.
She didn’t like thinking
about who she was
and how she got there,
scraping the alleyways off
Broadway for empty bottles
and 10 cents cans.
On bright days,
When the sun was bleaching
the buildings with an oily glare
and fried dirt,
she wore fake
raybans, and Ronald McDonald
lipstick, the Betty Jones of her
ghetto tableau; her pork belly
folded over three times had a
mushroom hue and was sagging
with indifference.
She existed on the fringes
of a twilight world,
just a living corpse,
a study in beatnik angst,
material for an Allen Ginsberg wannabe –
her eyes, leaded with grief
and hammered with pain,
the kind that’s punched into you –
leaving her numb and
ripened with hate
3am : underneath the
candy pink glow of
Times Square, lie the
skewered remains of Jane Doe,
a mottled portrait of gloom
fracturing the Manhattan
skyline –
as smoke rings circle the frost bitten air
a police siren switchblades the dawn
party hipsters rubberneck the scene-
there’s nothing to say: a blue veined
reminder of pauper hell.
Saira Viola is a critically acclaimed New York-based poet, author, song lyricist, satirist and creator of literary technique sonic scatterscript. Her work is inspired by her observations of greed and the excess of city life, influenced by an eclectic mix of music and literature. Viola uses artistic references, popular culture, street slang and nature to describe character plot and action. Her work often has social undercurrents and is arced with dark humour and memorable characters. She has published two volumes of pop poetry Fast Food and Gin on the Lawn, Mini Rebel Book of Poems and her crime satire Jukebox scored top spot on UK and US Amazon #1 best selling satire chart. Her poetry has been widely published on both sides of the Atlantic including: Push, ItInternationalist Times, Gonzo Today, Sick Lit, The Dissident Voice, Artvilla, Poetry Times, The Canon Mouth, Dead Snakes Long Press and others. When not penning words on her scripted universe she can be found turning the tongue of cosmic rainbows.
June 17, 2016 at 5:18 am
Visit https://beyondwords0120.wordpress.com for amateur poetry
We welcome your comments on our work
LikeLike