Digging in the Wrong Place

 

Compromised, they call the card. My 16 digits mined

by algorithm or bunker genius fiddling,

for $1633 at Best Buy; the robbers have

all my numbers save the back code to complete

the inspired transaction, the Take back one kadam 

& so they are. Far enough away from the Nazis for now,

 

Boston thinks it’s annexed the assholes today

in a gazebo. Nazis in a gazebo?! Only Indy could flip

his revolver & trusty whip into a suitcase, beeline

a passenger plane & catch ‘em sneering in their insignias,

gathered like poison in standing water. In the film,

the strong backs open empty sand while our hero squints down

 

upon the twisting floor, asking Why did it have to be

snakes? Don’t waste breath waiting for a revelation

of perfectly directed sun. The diorama is none,

& we can’t count on the wrath of God to gather

His phantom forces to melt their brainwashed

faces one at a time, down to the skulls.

 

 

Miners in Taijuan

—from photographs by Stan Grossfeld

 

Perhaps brothers, these two pitchy

instruments savor warm water

in a metal bath. Beers at arms’

reach, a coal accord for labor.

 

In the outsider’s monochrome

any untarnished aspect of

the image is silvered. Sympathy

is less than the universal,

 

but still the color of deserved

rest, arms that rip the underground

asunder, later burn chunks to

boil rainwater from the sky’s well

 

while factories feed, the country

busy raising a colossus.

If Providence doubts its welcome,

these two tender invitation.

Max Heinegg

Max Heinegg’s poems have been nominated for Best of the Net, The Pushcart Prize, and been a finalist for the poetry prizes of Crab Creek Review, December Magazine, Cultural Weekly, Cutthroat, Rougarou, Asheville Poetry Review, the Nazim Hikmet prize, and the Joe Bolton award. Recent work appears in Thrush, Nimrod, The Cortland Review, and Love’s Executive Order. Additionally, he is a singer-songwriter and recording artist whose records can be heard at www.maxheinegg.com

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