From “The city has sex with everything”

 when the air shaped like the inverse of Megan

accepts Megan as she moves.

    If Megan is a system of exchange

that floats her labor and her point

  of view in vapor/liquid soup

passàging through her valves

and if her later corpse, collapsing,

 updates its inversion of the air

 even more than did the air displace

when she grew from brown-eyed baby

into strong laboring woman in blue jeans

  and heathered wool,

and if the air and earth draw from Megan’s corpse

  all the energy and minerals

 she pulled from her surrounds

to build her nails and bones and teeth—

 if the exchange doesn’t stop

but only ceases to support her consciousness,

 and if her consciousness was corpse anyway until

it found relation,

 then what demises

is the potential for the human social,

and another sociality

 will unbutton my whole shoe

and tongue hang limp,

  what sex is for but stops me

 at the barrier, a pixelated

glamour reef though very

   close and simple, smell a

  flurry, parapluie paraphrase,

 energy funneled through a shape.

You filtered chemical

 information in such a pointy

fulgent scrambled way, in the city

    and outside the city in the vernal zones

   and aqua zones the city shaped, flow-charted, realist

 trucked. The city caved under

     when the zones rose and lapped around the pilings,

 manged foundations green,

      rotted the teeth out of the mouth of the city,

 harbor high-rises

dark and blown. The city is extremely fragile tender

 human mesh and will be mush

    and mushrooms grow in, there is room in, ruins

roam the rearticulated harm.

speech by a flaneur—no a flaneuse—

On my face, D. folliculorum are relaxing

 like Tenniel caterpillars leaning on mushroom stalks

  against the bases of my hair follicles

 which provide shelter and shade.

These critters are peculiar to

   the ecology of the human face

     which I take around the city

     open, close   it is my means

    of feeding   I rely on

  changing its shape

in response to others’ faces and postures

  to reduce my risk and increase my safety

   and my likelihood of being

    included in the group’s collective

      life. I smile a lot and hope it

     don’t look fake.